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CONTEMPORARY DANCE GUCCI WINE HARVEST MUSEUM FASHION DARES OPENING photography GALILEO MUSEUM SMART DIGITAL WINE TOURISM digitally VENICE ARCHIVING BIENNALE HISTORY TECH TRAVELS
MIXING THE WISDOM OF THE PAST WITH THE EXCITEMENT OF THE FUTURE
in-depth coverage of the 2011 conference
introducing
BLS blending literary supplement
Events Meet Fashion During Palazzi Farewell Party By Special Event Management Course Coordinated by Prof. Stefka Kovatcheva
Blending is created and produced in collaboration with the students and faculty of Palazzi Florence Association for International Education
This semester PALAZZI tasks its Events Management class with organizing, coordinating and executing a specific event for the end of the semester. This time the project included the planning and organization of the FAST fashion show at this semester’s Farewell Party. Many may not see how it is possible for 20 students from different backgrounds, experience and knowledge to collaborate for the planning of a fashion show. In the beginning of the semester, the announced challenge quickly transformed into curiosity and enthusiasm towards the real-life project. Encounters between the Event Management students and other classes involved in the event helped facilitate organization. For example, the fashion design students shared their mood boards and talked about their semester project: the creation of a unique bridal collection inspired by designs in nature and love. On the runway, two bridal gowns were featured, one traditional and one non-traditional, along with seven bridesmaids dresses, each inspired separately by swans, spiders, hearts, flowers and other aquatic animals. In addition to the bridal collection, there will be two dresses from the pattern-making class (inspired by Tomoko Nakamichi), four dresses from the drapery class, approximately 35 pieces of jewelry and five to six pairs of handmade shoes created by Palazzi students. The Event Management students were then divided into different groups of four students who planned each aspect of the event: budget and checklist creation, model search and coordination, press release, invitation proposal and event marketing. During the semester, students learned how to work as a team while respecting various project deadlines and how to think out of the box. Professor Stefka Kovatcheva took the best ideas from
Spring Music Activities Teaser: Music Like Never Before! By Thomas Brownlees Music Activity Coordinator for Student Services
Every musician experiences a life changing moment the majesty and power of real music, untainted and unspoiled, is witnessed. I vividly recall my moment: It was on a warm Sunday morning; I had the privilege of observing the Italian Juvenile Orchestra’s open rehearsals. Imagine a hundred kids streaming into the space like football fans at the stadium, each carrying large instruments on their little shoulders. Then picture the initial rowdiness intensifying into pure chaos as the youngsters start tuning their instruments, randomly screaming at each other and performing indiscriminate solos resembling popular tunes. At this point the cacophony is a smearing noise, a thousand layers of overlapping sounds. Then, the conductor arrives and makes the slighteach est wielding of his group baton. A surreal and silence swiftly helped to descends. put them The magic together into of music a single vision for the fashion show. The entire effort showcased the hard work of multiple student groups and created a great opportunity to celebrate the successful study abroad semester. In addition to the good-bye hugs, handshakes and swapping experiences from the recently concluded semester, guests enjoyed an Italian style buffet and beverages and entertainment featuring the Palazzi study body. During the event, the Event Management Students had the opportunity to work on-site, helping with the set-up, the coordination of the models and the accommodation of the guests. The farewell party took place on
begins, composed and elegant. I first felt astonishment at perceiving a harmony and perfection unconceivable just a few seconds before. Then I felt the pleasure of music played by no mechanical device but by hand. The pleasure of music rising before your eyes and directly speaking to your ears, not the distant music wafting towards the last rows of an enormous concert hall. Once you hear music like this, it’s likely that your vague and undefined interest for music becomes a lifetime passion. It is this inspiration that led me to plan with Student Services a calendar of music activities that will provide students with the unique opportunity to go behind-the-scenes in the music industry and to be involved in this art from the other side of the record. Students will be able to listen to the real sound of a classical instrument and to witness the fascinating process of creating and recording a song from the far side of the studio mixer. This is something quite extraordinary: to be able to see what is hidden from the eyes of the public, and to be for a moment a part of the music industry as professionals instead of consumers. The Spring Semester will offer an excellent chance to join the vivid Florentine musical scene. Take heed, leave the iPod at home and get ready to listen to music in a way you have never experienced before. Thursday, Dec. 15, 2011, from 8:30 pm to 10:30pm at Palazzo Pandolfini (Via San Gallo 74), which features high ceilings, historic frescoes and a beautiful garden. The party also featured in addition to the fashion show a contemporary dance performance (see the Performing Arts faculty profile for more details), a hip-hop dance group, as well as students from the music department.
Letter
from the editor By Grace Joh Dear Readers, This semester’s magazine theme and production have come together in a deeply auspicious, not to mention coincidental, moment in our publication’s young history. The Digital Renaissance theme in the feature section certainly generated a contagious excitement amongst our regular contributors for its innovative topic. The theme, presented at the yearly sQuola and SUNY Stony Brook conference in Florence, gives an in-depth overview of the rich program of speakers and panels at the three-day conference. But that’s not all. The feature section is in fact a novelty in itself: starting from Fall 2011, the magazine theme will cease to occupy the entire issue and will be concentrated in the theme feature section that opens the magazine. This substantial change reflects a complete remake – given the theme, why not adopt the term Renaissance – of Blending magazine’s structure and content. The changes and resulting operations were planned and carried out with this semester’s Lifestyle Magazine I class, who analyzed every aspect of 1 - B L E N D I N G | FA L L 2 0 1 1
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magazine production from proposing new sections and layouts to the design. Some key features that have been implemented are, not in any particular order, a) Palazzi staff and faculty section editors that will work more closely with our writers, b) a more significant photo section for photojournalism and photography arts, c) new layout, d) a renewed interest in the performing arts, and last but certainly one of our top surprises to announce, e) the brandnew literary supplement featuring excellent short stories written by the Creative Writing class. Seeing how much Blending has evolved in the span of a single semester makes the Digital Renaissance theme even more significant, given the era that we live in and the continued possibility for positive growth. Whether you are a current student at the end of the very first semester abroad in Florence or a regular reader with us from the start, we have high hopes for an enhanced reading experience through the renewed, revived and “renaissance-d” Blending magazine. Happy reading! l
BLENDING Semestrale (Semesterly Magazine) Reg. Trib. di Firenze n° 5844 del 29 luglio 2011 Anno 1 – Numero 1 – Autunno 2011 (Year 1 – Issue 1 – Fall 2011) Direttore Responsabile (Director) Matteo Brogi communications@palazziflorence.com Coordinamento editoriale (Managing Editor) Grace Joh grace.joh@palazziflorence.com In redazione (Masthead): The following production team was coordinated by Lifestyle Magazine I instructor Rocco Poiago Progetto grafico e impaginazione (Graphic design and layout): Maria Vasquez Carey Wong Megan Looney Photo editors: Elizabeth Miklozek Melanie Hill Redazione (Copy editor): Brianna Bond Rebecca Valpy Organizzazione e marketing (Organization and marketing): Allison Miller Laura Aloise Copertina (Cover by): Photo by Allison Miller Concept by Elizabeth Miklozek Editore (Publisher): Florence Campus per ingorda Editore Via Alfonso La Marmora 39 50121 Firenze Redazione (News office): Corso Tintori 21 50121 Firenze Tel. 055-0332745 Stampa (Printer): Nuova Grafica Fiorentina Il numero è stato chiuso in redazione nel mese di novembre 2011. (This issue was completed in November 2011). Copyright © 2011 by Florence Campus, Firenze All rights reserved.
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DIGITAL RENAISSANCE CULTURE VISUAL ARTS PERFORMING ARTS FASHION FOOD WINE photo story OPINION
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Blending Literary Supplement
Photo by: Alessandro Schneider
The Digital Renaissance The conference united academics and professionals from Italy and the U.S. who presented the following topics
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Starved for Culture: The potential role of food blogs in the study abroad experience A. Lawrence, Apicius This paper exploreed the idea that Italian food blogs, Web sites and related social media can support students abroad in their search for a deeper cultural understanding. Not only do these blogs and Web sites introduce and educate students about local specialties, but they explain and often connect gastronomy to the larger concepts of culture and values in the host culture. Most significantly, the presentation examined the potential of food blogs and related “new” media to act not only as information, education and support, but as motivators for a more active (i.e. non-virtual) involvement with Italian gastronomy and related interactions, thereby satisfying students’ hunger on both a physical and cultural level.
Photo by: Alessandro Schneider
Italian Poetry in the Digital Era: Programs and Perspectives L. Fontanella, Stony Brook University How does poetry “interact” within our telematic age? How do its long pauses for reflection and absorption cope with the short and quick times of online reception? What are poetry’s perspectives, what are the new expressive and interactive fields of a genre like this one, which is traditionally considered a private and “secret” practice in our time? Some years ago, Cesare Segre talked about the progressive “crushing” of literary creativity, meaning, for example, that poetry risks suffocation or trivialization in this modern, frantic and often superficial times. A general disaffection towards poetry may be added to all this: this is considered today as a difficult, complex and not usable genre. What are the most significant Web sites promoting and spreading Italian poetry? What projects and programs do they present to poetry readers and writers? How has “poetry audience” changed? The lecture examined these questions and new problems, and suggestd some “new possible ways out” for Italian poetry and possible future openings to the digital field.
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Photo by: Alessandro Schneider
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Digitizing the Grand Dukes: The Medici Archive Project enters the second decade of the 21st century with digital images online L. Kaborycha – Medici Archive Long a familiar player on Florence’s academic scene, the Medici Archive Project has been a training ground for young scholars, many of whom have gone on to teaching positions both here and abroad. The material these researchers have entered in its database, Documentary Sources for the Arts and Humanities in the Medici Granducal Archive: 1537-1743, over the years has grown to a sizable collection of documents, fully searchable and free of charge on the Internet. Now, thanks to generous funding from the Andrew W. Mellon Foundation, the Medici Archive Project is preparing to digitize the entire archival corpus, presented on an entirely new software platform. The new platform, with its digitized images, will enhance the participation of the scholarly community on an unprecedented scale, bringing the virtual Medici Archives to the entire world. This talk demonstrated how to use the Medici Archive Project database for personal research and in the classroom, as well as discussing opportunities for internship and community involvement. Photo by: Alessandro Schneider
Children’s Cartoons A. Cannizzaro, UPTER – Università Popolare di Roma I love cartoons. Maybe it is because I studied architecture and I’ve been drawing for a long time, but to me animation is like paradise for directors: it can draw a whole world and therefore create one from nothing. It can create its characters without having to adapt them to the face and character of actors. But where to start in creating a cartoon? I started from what I had at my disposal: I thought that maybe by using together several simple programs I could end up with some results. I moved on like a child, in the sense that I was completely new to any specific software. The idea was to develop a simple kind of graphics based on essential geometric figures I could use to draw. Once the drawings were ready, I then added a very simple program for editing to create some basic animation. I insist on the word simple because the use of elementary softwares is the essential condition to allow children to express themselves through that fascinating tool which is animation.
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The Representation of Knowledge in the Realization of Cultural Digital Products: The Case of “XL-Knowledge” R. Lanfredini, S. Ranfagni, A. Bemporad Università di Firenze This lecture examined the organization of individual and collective cognitive processes for the creation of cultural products intended to improve the response to the cultural offer. This study took into consideration the convergence of philosophical ontology and the consumer marketing theory. The first one is seen as a systematic and structured description of what exists. It is directed towards the resolution of questions of definition, classification and communication. The second one offers the instruments for an analysis of the consumer’s market who are the addressees of the cultural offer. The integration of these two disciplines aims at providing a clear and shared representation of knowledge from which intelligent and highly interactive digital products can be created. This analysis was carried out by presenting the case of “XL-Knowledge”, a digital product used to increase the usability of the Uffizi museum.
The Digital Globalization of Local Food: A Sustainable Paradox? Z. Nowak, The Umbra Institute In our hyper-modern world, the celebration of local food and the digitalization most of life’s spheres seem antithetical—are they? My presentation looked at the binomial local-global to see if the “new gastronome” can truly be local. One fundamental question is if the use of the Internet as a marketing tool for small, often artisanal producers will lead to their success in a global market—does this render the “green” of local food a shade lighter? Or do transport costs represent only a small overall part of a food product’s energy footprint, making global just as green?
RIP Intellectual Property G. Fallani The Internet protocol (IP) has given rise to both a cultural and a technological revolution that is changing the way people think and behave. The Web is a plural environment characterized by an abundance of resources where cooperation appears to override competition. The new practices force the individual to a complementary role, dealing with complex totalities that transcend it. Here, the idea of intellectual property seems to be doomed to disappear, giving space to a new humanism that, thanks to technology, is affirming its progression as a result of an actively public action.
New Media Art Studio: Drawing the Figure with the Mind of Michelangelo Software J. G. Albano This presentation featured the new media software, Mind of Michelangelo, developed by J. G. Albano in collaboration with Harvestworks of New York. The software was designed for studio artists to assist in developing innovative figure renderings as well as unique compositions. The creation of the software was influenced by Albano’s development as an artist at the Art Students League of New York where he served as Robert Beverly Hale’s studio assistant and monitor as well as his study of Renaissance drawings and Michelangelo. The principles of drawing the figure established in the Florentine Renaissance were applied to the new media program allowing modern artists to incorporate the software into their artwork or capture the life model in innovative posing. The presentation demonstrated these features and presented the audience with an opportunity to explore the software’s ability to create innovative images and to find more information about Albano’s book Drawing the Figure with the Mind of Michelangelo and the software.
Dialectics Between Tradition and Innovation: The new Dantean philology of the digital era C. Di Fonzo, University of Teramo and Florence Can the digitization of texts replace the skills of an editor who reviews, collates and judges? In order to answer this question, the history of philology and, in particular, the history of Dantean philology should be retraced in order to see how text editing has changed in time. A brief profile of the history of textual criticism must be traced just for Dante’s philology.
Eccentrics in Tuscany: Literature, Food and Wine. New Perspectives on Tourism N. Ceramella, Università per stranieri di Trento What do we mean by ‘cultural tourism’? Besides traditional activities like visiting museums and cities of art, the concept has expanded to entertainment (e.g. theater, concerts, sport events), natural attractions, mountain and sea activities. But there are two relatively new entries: literary and eno-gastronomic tourism. Though they represent two particular niches in the tourist world, both of them are growing fast, especially the latter. The presentation showed how they can be combined together focusing my attention on Tuscany, by far the leading destination with Italians and foreigners alike. Indeed, visitors from all over the world have always been mesmerized by such a magic region offering them unique scenery and art. Add to that literature, food and wine and you will have the most appealing ‘cocktail’ of all. Enjoy!
New technologies to revive the past. Social Networks to live the present. The condition of art in Italy in the relationbetween institutions and citizens F. Pira New technologies bring the past back to life. Social networks to live the present. The lecture was inspired by Zygmunt Bauman’s idea that “in its liquid-modern form, culture is shaped around the liberty of individual choices. It’s destined to serve the needs of this liberty.” This way, when we visit a museum a Smartphone can show and describe to us the works of art that we have in front of us. And we may know all about our neighbor from their Facebook page, by communicating through the network instead of through the balcony next door. Italian public administration is making an effort, however, to meet its citizens on the Web.
Tracing the Historical Development of News Discourse in Electronic Corpora N. Brownlees, University of Florence The paper discussed the recent research that has been carried out in the compilation of digitized corpora of Early English periodical news. The 17th and 18th century press make fascinating reading, but only very recently have electronic resources become available to media historians and the general public at large. Through these resources we can see the linguistic and rhetorical strategies employed by early journalists as they wrote up the news of the day. The presentation concluded with both a cultural and linguistic overview of 18th century American and British newspaper advertisements found in two online resources.
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Photo by: Alessandro Schneider
Cultural Heritage Valorization Via Collaborative Platform and Europeana N. Mitolo, M. Paolucci, M. Serena – University of Florence ECLAP (European Collected Library of Artistic Performance) is a project to set up a Best Practice Network and a service portal that will take advantage of advanced social network semantic solutions and delivery tools for the aggregation and distribution of rich multilingual performing arts content. This will result in cultural enrichment and promotion of European culture, and in improvements in learning and research in the field of performing arts. ECLAP (http://www.eclap.eu) is focused on setting up an infrastructure for integrating multi-lingual metadata and content coming from several European Institutions, and making content available on Europeana, the European Digital Library.
HOMO TURISTICUS in the Digital Era S. Annecchiarico If the relation between tourism and digital communication evolves exponentially as the result of the versatility of information implied in this new communicative technology, the treacherous risks of distorting the human contact and the respect towards nature, cultures, people and places grow implicitly. While the term “industry of tourism” is now commonly used, the new social subject of Homo Turisticus can be assimilated to it. This lecture focused on the vocabulary that the new digital technologies dedicate to tourism and to cultural tourism in a strict sense, to then open a debate on the possible solutions for minimizing the risk of distorting the human and social relationship among the various subjects involved. Photo by: Alessandro Schneider
Interaction Food Design: between Food, Practices and Culture S. Massari – Università di Firenze, Siena e Urbana Champaign University of Illinois This paper explored the ambiguous term of “food design”. What does “food design” mean? And how much is the design process strongly connected with social and modernity changes? Should food design be included in culinary arts? How can technologies and new socialization media influence or modify usual human activities – behaviors related to food experiences? Discipline definitions are changing, and so are the expectations for people working in the many aspects of gastronomy. The interconnections between food and society, food and markets, food and culture, and certainly food and politics are starting to be perceived and very strongly felt around the world.
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The Digital Archive of the Neapolitan Theater A. Lezza – N. Acanfora, University of Salerno This paper presented the Web site Teatro Napoletano (www.teatro.unisa.it), a digital archive created in January 2011 and sponsored by the University of Salerno, which was directed and founded by Antonia Lezza. The Web site, whose main purpose is to archive, promote and spread the theatre culture of Southern Italy, is a free Internet space accessible to all that can submit bio-bibliographical information, online operas, press releases, interviews, images, audiovisual material and information on new publications on theatre. This paper also illustrated the Web site future objectives: a digital museum dedicated to Pulcinella, an archive of Neapolitan songs for the theater and an inventory of the theater on ItalianAmerican emigration.
Trends, Advantages and Challenges of Digitalization in the Fashion Industry B. Kahn – E. A. Hughes, Farmingdale and EAHughes & Co Inc. In this presentation the speakers provided examples and case studies as to how the digital Renaissance is transforming all facets of the fashion industry today – whether one speaks of the work of the fashion designer; of the leadership, management, marketing and finance in the industry itself; or the experience of the consumer/customer. Trends, advantages and challenges were examined. The speakers concluded by offering some lessons for the next generation of students who aspire to careers in the fashion industry.
A Virtual Italian Community? Italianness and Transnational Identities in the Digital Age S. Luconi, University of Padova Since cultural anthropologists Nina Glick Schiller, Linda Basch and Cristina Blanc-Szanton edited in 1992 their most influential “Toward a Transnational Perspective on Migration: Race, Class, Ethnicity, and Nationalism Reconsidered”, transnationalism has become a key analytical category in the study of the migrants’ experience and of their sense of identity. Broadly speaking, this concept refers to a special condition expatriates live, by being in two societies at the same time, their native and their adoptive one. Therefore, far form being ripped from their homeland, migrants maintain a strong link with their countries of origin by creating a transcultural space outside the national boundaries. However, the notion of transnationalism has become so popular as a kind of globalization from below that has been gradually applied to other immigrant groups across time and space. Against such a backdrop, this paper addressed the case of Italians abroad at the turn of the 21st century. It concluded that the digital age has facilitated the elaboration of a transnational identity among Italians scattered outside their native country because by using e-mails, Skype, Italy-related Web sites, and other digital resources such contemporary migrants have been able to forge a global virtual community along the lines of their common national origin.
The role of Web technologies in learning, teaching and training professionally L2 Italian D. Troncarelli – M. La Grassa, Centro FAST – Università per Stranieri di Siena Web technologies have modified the way we learn languages by expanding the range of teaching resources, by offering new learning opportunities and training opportunities for teachers, and by allowing to respond effectively to the growing request for a flexible and delocated training coming from a society that is free from boundaries and globalized and in which people learn languages throughout their life. This speech explained the experience gained in the last five years by the FAST Centre of the Università di Siena in the teaching of the Italian language using the backup of technologies and in the training of instructors working in Italy and abroad.
Writing and University: Academic writing course for exchange foreign students E. Jafrancesco, University of Florence This lecture looked at the use of information and communication technologies in university education by analyzing the results of a CFER online academic writing course level B1-B2 (Council of Europe 2001/2002) carried out at the Linguistics Centre of the University of Florence using a Moodle learning platform. The course is mainly addressed to foreign university exchange students who take part to programs of international mobility, especially European students (cfr. LLP/Erasmus). The course is part of a body of actions by CLA, promoting the use of TICs for teaching languages, in order to improve the quality of the teaching and learning processes, also employing the use of innovative didactic practices. This lecture started by describing the profile of the audience of SL Italian at university language centers, the linguistic-communicative needs of this specific typology of students. The lecture also focused on the online writing course that was created and tested, and it underlines positive and negative aspects of the use of TIC in teaching/learning languages and, in particular, in developing writing skills.
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Avatar’s Fashion – Role-playing Games and Virtual Fashion: Who judges by the cover? S. Piccolo Paci, FUA The “look” era judges the world by impressions, appearances and a superficial look. The digital world is often a master of illusions. The Web is full of countless Web sites where you can interact with images, even with one’s own, and play virtual games with an “avatar”. These “virtual simulacra” are much inspired by traditional imagery and by the imagery influenced by manga cartoons, the fantasy genre, science fiction and many other “icons” of the Postmodern world. This year the Qrtribe capsule collection S/S 2011 project allows people to share files, videos and network profiles simply by framing a T-shirt with a cell phone. This lecture used a questionnaire addressed to a group of players who both play “live” and online – to examine whether virtual identities set up in online and offline games correspond to any socio-cultural identity that is dissimilar to the one in the real world, and whether the concept of privacy has a role in this process. B L E N D I N G | FA L L 2 0 1 1 – 9
Is that why you decided that students should be involved this year? Absolutely.
Professor Mignone:
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Accomplished & Still Accomplishing By: Emily Shan After introducing myself to Professor Mario B. Mignone Thursday night at the Digital Renaissance Conference Aperitivo, he offered a lot of advice when he heard that I was interested in pursuing a degree and career in teaching. While he is a Distinguished Service Professor, he was very humble and easy to speak with. On Friday after the student panel, I spoke with him again to learn more about his experiences. At the age of 20, being the oldest of eight children, he left his home country of Italy with his mother to move to America. Without many options for jobs because of his lack of English and work experience, he accepted a job working at a factory soon after his arrival. On top of working 56 hours a week, he was also going to school. Professor Mignone had to overcome many obstacles to get to where he is today, but he never shied away from the challenge. After earning his Ph.D., he found a job at Stony Brook University in New York as an Associate Professor and has continued to grow with the university. Over the years Professor Mignone has accomplished various achievements, including founding and directing the Center for Italian Studies. He has led thousands of students on trips abroad
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with the hope that they’ll become involved and broaden their own horizons with the experience. Unfortunately for Mignone as a student in college, he wasn’t able to participate in these outof the classroom experiences because of his professional commitments.from participating. However, he continues to advocate and encourage students to explore and challenge themselves as much as they can. Let’s begin with the reason why you are here today. I am here, as you can see, with this program at Florence University of the Arts, three years ago. We came to visit students. But I thought that if we organized a conference between Stony Brook and FUA, the two institutions would put some energy together and offer the students here, and also the faculties of the two institutions, an opportunity to present their research and scholarly findings. After all, it’s a forum – a forum to present new ideas. I certainly believe in the use of conferences because it is a lively forum; it doesn’t have to be seen in a negative way. The idea is to throw out ideas and to get reactions. Usually undergraduate students rarely participate in these kinds of forums.
Why do you believe that it’s important for students to be involved? In a way, I was handicapped when I graduated, because I missed that portion (being on campus), which is extremely important. The learning process should not take place exclusively in the classroom. Students must understand that – the university offers much more than that. There are many lectures and conferences on campus, but students see those things as something distant. Well, in my course of Modern Italy, I require them to go to an event on campus for extra credit; I do not accept any other organization. It has to be a cultural event on campus. It could be a film screening, a lecture, a show – any cultural event. Students must understand that the experience of their four years in college is much more than just going to class and reading a book or an article. We have an expression in Italian, sgobbone (hunchback), used to describe the student who just sits and reads. The sgobbone does not have much respect in Italian culture. What do you think is the most important aspect for students who study abroad? If they come over here, and they make their main objective to do work in class and do the readings, then they missed the purpose of being abroad. The idea is that is just a small part of the experience. When you go out, many times your mindset is challenged. You’re here to learn how to react to the challenge – not with reject, but with an analytical mind. Ask, “Why do these people do this?” Is that how you felt when you first went to America? Yes. There were certain things I just could not understand that were so critical. I questioned a lot of things. One of the things that bothered me a lot was the fire escapes in the front of the buildings. Once I understood the problem of fire in America, I understood why, but I could not understand why it had to be in the front of the building, which ruined the aesthetic of the building. But you are challenged when you go out, and you need to respond to that challenge. Would you say that your family influenced you in any way in choosing what you wanted to do? My father and my mother certainly
could not tell me what to do because they did not have much of an education. But we are a family of eight children: three became doctors, one a dentist, two became university professors, and two became teachers. My parents did not have an education, but they made sure that their children received the highest level of education. They did not tell me what field to go into, but they set the environment. What kind of environment did they set? Home for us provided a sense of security. I know that when I was going home, I was going back to an environment where I found nourishment, security, and stability. And that is a lot. There are certain things you cannot buy with money. My mother especially, was there the whole
time. She gave us support because we had to overcome a lot of obstacles. My mother had a lot of faith, so I think in her case, that was her biggest strength. Is there anyone else who has given you that kind of support? Well, let me tell you. I was at the Golden Key National Honor Society as the keynote speaker. I introduced myself and then told the students that I was able to achieve all those things. But, I was only able to do it because of my family, especially my wife of 43 years; especially during the first few years of our marriage. I was focused on my profession, but my wife tolerated me and focused on our children. Would you say that family is something important to you?
Reporting from the Conference Student Panel
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Professor Mignone has certainly accomplished much throughout the years. Even so, he continues to provide insight and guidance to his students and even his children, pushing them to challenge themselves and to see things from in a different light. By doing so, he is constantly accomplishing his personal goal of encouraging others to experience different things in life. l
Photo by: Alessandro Schneider
By Lindsay La Marca
Every year Stony Brook University and Florence University of the Arts host a conference that draws professors and scholars from all over the world. This year the conference coordinators, Francesca Bocci from Florence University of the Arts and Antonio Morena from Stony Brook University, included a student panel in the conference program. This was a great idea because scholars and other conference participants were able to get a taste of students’ thoughts on the conference topic. This year’s theme, the Digital Renaissance in the Humanities, allowed students to reflect on how technology is shaping students’ experiences in the classroom. Participants in the student panel included Emily Shan, junior from Stony Brook University; Eddy Almonte, senior from Hunter College; Brendan
Absolutely. In my book when we talk about success in our lives, professional success is important, but I also include family. I did what I did professionally, but I also did not miss sight of what should be number one. Yes, I like to take care of my students, pay attention to them, provide all assistance and guidance they need, but also for my children.
Musa, senior from SUNY-Cortland; Lindsay La Marca, senior from Stony Brook University; and Tara Plastock, senior from Stony Brook University. Because the panel consisted of students from different scholastic backgrounds, we were able to collaborate effectively and offer unique opinions in order to create a well-rounded, thoughtful presentation. “It was a good experience to see how education has changed throughout the years and how it differs from place to place,” said Emily Shan, student panel participant. Other students expressed surprise at the speed of the digital revolution and how quickly it is affecting society. “I was surprised at how everyone in the conference was seriously engaged in the topic of digital humanities,” said Eddy Almonte, another student panel
participant. “It made me realize how this is a growing trend of our modern age.” The student panel presented an explanation of its interpretation of the digital renaissance as well as a brief summary about some of the universities who are energetic about the digital revolution era. We also discussed how professors and scholars at Florence University of the Arts are interpreting the digital renaissance. Finally, we compared the reaction to the digital renaissance in Florence and New York City and the unique opportunity in Florence to digitally preserve their arts. Dr. William E. Arens, dean of International Academic Programs at Stony Brook University, shared his thoughts on the conference: “This conference is great because it brings me up to date on new technologies.” l
Archiving Medici History By Ashley Wheeler The reading room of the Archivio di Stato di Firenze emanates a strong vibe of history and knowledge thanks to the cutting-edge research being conducted today through the Medici Archive Project (MAP). Currently, a small group of researchers and developers are working to transcribe, contextualize and examine more than four million letters from the Medici Granducal Archive Collection. The information gained from this process will then be entered into a new Digital Interactive Platform, which is slated to open in 2012. These letters represent only a small portion of the centuries of history housed in the archive. Documents chosen to be placed on the database are indicative of aristocratic culture in Tuscany from 1537 to 1743. They chronicle changes in the arts, advancements in science and medicine, and the political, economic and military conditions of the time. The Medici family was an integral part of European history and was considered “the nexus of an information network that stretched across Europe and beyond,” said Lisa Kaborycha, Director of Academic Affairs for MAP. As a result of the Medici’s influence and contributions, the Medici Granducal correspondence commonly includes reference to major historical events such as the English Reformation, the Thirty Years War and the mobilization of the Spanish Armada. Countless letters from prominent figures such as Queen Elizabeth I, Michelangelo Buonarroti, the Holy Roman Emperor Charles V and Galileo Galilei are also housed in the archives. These letters 1 2 - B L E N D I N G | FA L L 2 0 1 1
discuss a wide variety of topics including politics, gift-giving, art and medicine. “Researchers enter material into the database according to strict criteria based on 41 topic categories,” Kaborycha said. “Some fascinating documents do not fit in any of these categories, and we always find a way to get the juicy stuff into the database.” One such atypical tale began with a letter describing the execution of a prisoner. The researcher in charge of deciphering this document noticed the letter’s in-depth description of the
The Medici Granducal correspondence commonly includes reference to major historical events such as the English Reformation, the Thirty Years War and the mobilization of the Spanish Armada.
person sentenced to death, which emphasized the person’s red hair and beard. The researcher then turned the page of the manuscript only to find a clump of red hair from the prisoner himself sent by the letter’s author to the Medici, physical proof of his description. Another story concerns Caravaggio’s favorite prostitute, Fillide Melandroni, who was the subject for the artist’s famous painting, Portrait of a Courtesan, destroyed in WWII. As stated in one of the letters, Melandroni was forcibly removed from Rome at the
request of Pietro Strozzi’s father who was infuriated by his son’s desire to marry her. The research being done through MAP has also altered history that has been accepted for nearly half a millennium. A prime example is the 1548 assassination of Lorenzino de’Medici in Venice at the hands of two hit men. It has been widely accepted that Cosimo I de’Medici hired the two men. After reviewing hundreds of pieces of correspondence, researcher Stefano Dall’Aglio finally pieced together the mystery and discovered the true culprit to be Charles V of Hapsburg, the most powerful European man at the time. The MAP is not only providing further insight into the past but is literally changing history – and this is merely the beginning. These accounts offer one-of-kind insight into the early modern period and everyday life from the 16th to 18th centuries. As of now only a tenth of the documents stored at the Archivio di Stato have been examined, but the researchers at the Archivio di Stato are on the verge of revolutionizing the archival process with the introduction of its Digital Interactive Platform. This type of platform is the first of its kind and will allow researchers (also known as Distant Fellows) all around the world to decipher, transcribe and contextualize archives based on the digital images of each document. This will also permit researchers to interact through Community Forums based on social networking software. Kaborycha describes the current process: “Scholars work in the reading room at the Archives in isolation from one another and in total silence. There are few opportunities for sharing discoveries, discussing ramifications of their findings or soliciting advice on the reading of a difficult passage.” The Digital Interactive Platform will transform all of this and streamline the process of entering documents using digital technology. Just as the Medici family was a nexus of innovation and advancement for their times, Kaborycha hopes MAP will “create a consortium to connect with people and databases across the world.” l
Digital Interaction at the Galileo Museum By Megan Standbrook While the artifacts within the Museo Galileo are ancient and unchanging, the museum is updating itself to become more accessible to its audience. The exhibits, which wind-up several different levels and are separated by style of scientific instruments, lend themselves to being a little dense to the average viewer. They are nonetheless beautiful. As in the times of Galileo there is not a distinct chasm between science and art. The museum is using advances in technology (very much echoing the artifacts it houses) to make the methods of use of Galileo’s various instruments more widely understood. Near each section of the exhibit is a plasma television screen that offers clear animations of the ways that the various tools were used, paired with explanations in both English and Italian. The animations go beyond the typical poster board paragraphs. Where before a telescope may have seemed simple and easily passed over, now it unveils itself to the viewer as the incredible mechanism that it really is. The screens also
give the museum an interactive feel, involving guests in the exhibits and integrating the entire experience of the visit. The videos within the walls themselves are not the only way that Museo Galileo is making itself more accessible to its audiences. Their Web site (www.museogalileo. it) also boasts a newly added virtual museum. Viewers may find pictures of each floor of the museum including a panoramic scene with a guided description, as well as downloadable videos and audio clips. The online museum is another way for guest to experience and absorb the wonders within the walls of the institution. The advances that Museo Galileo is making are duly fit for the nature of the exhibitions they house. The interactive aspects not only make the displays more easily understood, but also create a more lasting effect on the viewer. The contributions Galileo made to modern science still resonate with us today, and now the beauty and complexity of his inventions may also resound within those who bear witness to it. l
A Personal Florentine Renaissance
How Florence has changed my daily routine. Getting around: Back home, I walk through the city instead of taking the L, Chicago’s elevated train service. I prefer walking as opposed to driving, and Florence is very pedestrianfriendly. Walking everywhere means I can eat a lot of pasta, pizza and gelato and drink wine without gaining a pound. Food: Every day I go to the fresh-food market instead of a grocery store. I enjoy a cappuccino with a pastry while standing at the coffee shop’s counter instead of sitting down to drink a large iced chai tea latte
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By Becca Pilolla
from Starbucks. I love my cappuccino-atthe-bar routine. Plus it’s much easier to say, “Vorrei un cappuccino” as opposed to “I’ll have a venti iced chai tea latte”. Fashion: As a fashionista, living in Florence is a dream come true. I get to dress in my favorite European-style outfits and I fit right in. No one wears sweat pants on the streets unless they’re in the middle of a run. Wearing heels while trying to navigate the cobblestone streets only makes me feel super chic, and the weather is perfect for just about every outfit.
Tech-Savvy Travel By Casey Gallagher Imagine you’re roaming the streets of a new country. You are trying to read the street signs but nothing seems to make sense. The pocket translation dictionary you thought would save your life is proving useless. With new advancements in technology, there is something that might make you feel like a local speaking the native language: a Smartphone app that is easy to use and that won’t take up extra space in your luggage. It will help you talk to the locals, restaurant owners, people working in the shops and anyone else you want to communicate with. The feeling of being lost in a new country will disappear and you will feel more comfortable venturing out into this new place. Some of these apps are free, while the cost of others can vary based on the app’s producers. The highest rated free app is MSNBC’s World Nomads. With 23 different languages, this app provides basic phrases for travelers’ needs as well as a helpful pronunciation feature so you can hear how a native would say it. For $1 you can purchase Coolgorilla Talking Phrasebooks. Although this app only provides translations for eight languages, it provides 10 times more phrases per language than World Nomads. When traveling, a language app will help you communicate with foreigners. All you have to do is speak into your phone and it will display your words translated onto your screen and offer an audio translation. This app makes speaking to new people easier than it has ever been. It allows you to break through the barrier of language differences and immerse yourself in the culture in a more authentic way. This will also help those traveling for business; it could help people communicate when trying to execute a business deal internationally. This app opens a whole new world for those who are dealing with international affairs. If you are planning on traveling for leisure, business or school, the language app is definitely a worthwhile investment if you have a Smartphone. Not only will it help you speak and communicate with the locals, but it will also help you learn how to speak the language so that maybe one day you won’t need to use the tool. l
Photography as Painting: The Digital Art of David Weiss By Lucia Giardino When the theme was announced for the 2011 Stony Brook annual conference, I immediately thought about the infinite possibilities for an art historian to talk about. Digital art is everywhere despite Mousse magazine’s claim that nothing has really changed in the art world since we entered the Internet era. The pervasiveness of digital expression is so evident that even my aging, technologically illiterate parents are aware of the controversy between film and digital photography. Claudio Marra, a photographer and critic, expanded on the definition of photography as a readymade given by Rosalind Krauss. Marra wrote that if it is true that film photography is a readymade, then
digital photography, with its infinite means of manipulation, must be akin to painting. According to Krauss, the explosion of film photography in the early 20th century has mirrored the development of the artistic movements of the time. Photography’s ability to capture an object and render its likeness on film is analogous to Marcel Duchamp’s readymade concept, which made its first shocking appearance in the form of a urinal proposed as a work of art titled Fountain. Marra sustains that Krauss’ belief needs to be tweaked when considering digital photography due to the particular role of this medium, which has considerably expanded the possibility of expression in Photo by: David Weiss (DIVA Chair)
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photographic language. Digital photography, according to Marra, should be compared to painting instead of Duchamp’s readymades. While film photography requires an object and accurately renders the object, digital photography can heavily involve manipulation and thus create from pure imagination. Thus digital photography can be likened to a renewed possibility to create alternative worlds. This infinite widening of perspectives reminds me of the Renaissance and how its laws of perspective revolutionized representation in Western Art. I invite all of you to visit the overtly real exhibition S-portraits dedicated to images of boxers, in particular Leonard Bundu, captured by David Andre Weiss, DIVA Department Chair. Weiss provides a heightened sense of present-ness in the portraits and actions like no film photography that I recall has been able to accomplish. He uses flash, selective aperture and exposure to obtain painting-inspired effects that recall pre-modern times. Yet his images are processed on a computer and brought to life by a highquality printer. What comes out of Weiss’ long, genuine photographic labors are energetic and sincere, appealing and sensual images that any Renaissance creator would have dreamed of obtaining. The exhibition S-portraits: Leonard Bundu by David Andre Weiss, was featured at F_AIR (Florence Artist in Residence, via San Gallo 45 red) until Nov. 13. It was also on view for one day at the the Sala d’Arme in Palazzo Vecchio – Florence’s historic seat of government and present-day city hall – where a national boxing event brought together young athletes from the three historical Italian capitals: Turin, Florence and Rome. It was an incredible experience to see such a noble sport accompanied by such an intense photographic project. l
The Digital Archives of the Ufficio Ricerche By Alex and Becky Chipkin The Ufficio Ricerche has been working since 2006 to digitally archive works of art from the museum collections of the Polo Museale Fiorentino (for example the Inventario 1890, Palatina, Sculture, Gemme, etc...). At the same site, upstairs, there are the archives of the Ufficio Catalogo that retains documentations of artworks from the areas of Florence, Prato and Pistoia: the Ufficio Catalogo started to digitize its documentation in the ‘80s. Also, near the Ufficio Ricerche, there is the Archivio Storico that preserves documentation concerning the artworks of the Polo Museale since 1738. The archives are extensive: they span more than four rooms and fill floor-to-ceiling bookshelves; catalogues are divided by year and are handwritten. A process of digitization has been started for these books that are available online. The staff members we met with – Simona Pasquinucci, head of the Archivio Storico; Maria Sframeli, director of Museo degli Argenti, Ufficio Ricerche and Ufficio Catalogo; and Maria Beatrice Bacci from Parallelo – were more than willing to show their impressive archives: old registers for artwork including registration numbers for each work and their individual history. While standing in these rooms, one can’t help but to be faced with the reality that these precious documents have been 1 5 - B L E N D I N G | FA L L 2 0 1 1
disintegrating and falling apart for centuries. Parallelo and the Ufficio Ricerche have been working extensively to digitize these precious texts. The digitization includes photographically documenting each page of the book regarding the Inventories and then entering the information into the computer in order to add to their digital archive Web site called Polo Museale Fiorentino. This includes, among other things, the consultation of the documentation represented by the Archivio Storico, the Ufficio
Photo by: Alex and Becky Chipkin (Palazzi students)
Catalogo and the Inventories preserved in the Ufficio Ricerche mentioned above. The Web site is open for public and home use; it offers original scanned documents, photographs of the work, a linked bibliography and criticism for most works and a formal analysis. One can also find the bibliography of a book in which a specific piece from the collections of the Polo Museale
was mentioned. The records are much safer from the wear and tear when online; the information is better organized and will help the staff of the Polo Museale more easily access their extensive database. In addition to the digitization of the Polo Museale’s documents, Parallelo helped to make an iPhone application for museum visitors. It includes opening hours, ticket prices, a map of the gallery spaces and reproductions of famed works of art. This application is said to help viewers prepare for their visit to the Uffizi Gallery. It is clear that this digitization is occurring not as a means of modernization but as a means of preservation. The Web site is only in Italian, therefore it would be difficult for scholars and art enthusiasts from the rest of Europe or the United States to do research. Although photos are provided, they are low-quality and no solid visual information can be derived. The photos serve more as documentation rather than an informational source. When Maria Beatrice Bacci was asked about the motivation for digitally archiving the documents, her response was that they decided to digitize because the books and documents were becoming too fragile to handle. Modernization seems to be a mere by-product of conservation. Florence and its museums have a long way to go. The “renaissanceness” of Florence has been being preserved since the time of the Medici rule and this has not negatively served Florence. Things have to change, sometimes out of necessity (as with these digital archives). And the modernized by-product can lead to positive changes such as the accessibility of information and deeper knowledge. Eventually, when all of the works are digitized, the Polo Museale may dedicate their time to making the Web site more accessible to the public. The project is just in its early stages; ideas are still coming into fruition and this new online tool has time and space to evolve. l
Spazio Pelodrilli
Via Manin, 43 Treviso spaziopelodrilli.blogspot.com spaziopelodrilli@gmail.com
Notes from the Venice Biennale:
Spazio Pelodrilli, Changing Artwork by Giovanni Bove
There is a rule in the world of art galleries, museums, artistic spaces and foundations: A work of art is a finished object, done, completed, “closed.” Above all: do not handle it, do not touch it! In Italy this is the rule – artwork is to be observed. You can only imagine the artist (or the author, as you wish to define him/her), the creator. You can only hypothesize a conversation with the artist in order to understand why a work of art was created in one way as opposed to another. Thus, it seems impossible to see art being born, changing, evolving, interacting. However, in the last two months, a new scenario in the Italian art scene has sprouted like a creative mushroom. This new space is fascinating and surreal like its name, with a spirit that is as willing as the young artists animating it. Spazio Photo by: Giovanni Bove
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Pelodrilli, based in Treviso, is located only 30 km from Venice where artistic spaces have been abounding for years. Created by young individuals such as Giovanna Ortica (coordinator), her brother, Giacomo Ortica (administrator), Nicoletta Aveni (art director) and other art lovers, Spazio Pelodrilli features a profile that is incomparable with other spaces sought out by art lovers and tourists to Treviso or Venice. First of all, it is not an art gallery. It is a place dedicated to art, open to young artists and creative figures and above all, to the creative production involved in artwork. As Giovanna Ortica states, “What we want to communicate to viewers is what you see is not just a product, but above all, a project!” The premise of this space is how the creative process of a piece of artwork can be investigated by highlighting an art project along with its elaboration: art as a process and not as a product. As I noted at Spazio Pelodrilli during the opening party, it is possible to witness the creation of an artwork and to propose ideas to the artists-at-work. Thus the spectator “develops” the process of creation and interacts with the artists. Spazio Pelodrilli seems to be a workroom where words and facts, design and handicraft prove to be fundamental aspects to make this concept function. Of course, there are works that are not so easily modifiable such as installations, photography exhibitions, multimedia productions, etc..., but all the same viewer interaction is always encouraged. The space runs on a tight schedule, yet the “creative
VISUAL ARTS creators” are always delighted by such input! It is very interesting to observe how the meaning and value attributed to artwork can change through a spontaneous, simple interaction between artists and viewers. An object is not only a work of art, but also a playing field for transformation, a space dedicated to several creative forces (those of artists and of viewers) that may result constructive or destructive but both able to generate a new storage of meaning. Consequently, art creation is considered as a competence to be used on two levels: the first level is focused on the stimulation of the viewer that can be defined as the “artistic level”, artifaction; the second one is the artist’s level, where the pragmatic sense is shown. Interactivity in the process of creation is the first distinguishing feature of Spazio Pelodrilli. After all, this space doesn’t expect more than a love for coming into contact with art. Furthermore, it seems to be a very important mission behind the birth of Spazio Pelodrilli: to attract us to art not only to be astonished, fascinated or to admire its communicative power, but above all for the public to convey and communicate with artworks, to experience them, to participate in their development. Spazio Pelodrilli invites us to the transformation of an art: it is for this very reason that we can greet with enthusiasm a new installation (which could be less easy to modify as mentioned above) or to participate in the making of art presented in different materials such as metal, ceramic, leather. And finally, there is the possibility of taking the artwork home at the right price for the artist’s creation and for our own active contribution to the process of creation. Spazio Pelodrilli allows viewers to share their ideas with other people and with the artist by getting their personality closer to the artwork and stimulating them to learn only by observing. l Giovanni Bove is an expert of Semiotics and Communication. The “Semiotics in the Visual Arts” course will be offered at FUA in the future.
PERFORMING ARTS
Dance Breaks Loose at FUA An Interview with FUA faculty member Francesca Gea You are teaching at FUA this semester. Can you share some comments on the development of the dance program at FUA? The first semester has gone very well regarding dance academics. The students have been very open to discovering new styles and learn about Italian and European choreographers. They have faced new challenges regarding their understanding of choreographic language and have willfully put aside what was taught to them previously to experiment on new concepts. The students will be performing at the Semester Farewell Party, this will be a great chance for them to end this season in their lives and hopefully let it be a new start in their careers. I believe this department can develop itself and embrace other departments to represent Italian culture. Tell us about your background and dance training. My professional training started in Milan 4 years ago at the Accademia Pier Lombardo for the first year, then I moved to Florence to study at the Florence Dance Center for a professional course with Pietro Pireddu. In November 2010 I started cooperating with his company Maktub Noir as an apprentice and finally joined the company. I have been very fortunate regarding my dance studies because I have always come close to professionals that focus on quality of expression and researching true movement by discarding what is “plastique� and unnecessary for a performer. This type of work leads you to a personal growth where you have to deal with 1 7 - B L E N D I N G | FA L L 2 0 1 1
Photo courtesy of Francesca Gea
yourself and your relationship to others in order for the audience to understand, experience and live the moment with you. There will always be a deep reason for moving the way we do and a close study of the movement.
I have been very fortunate regarding my dance studies because I have always come close to professionals that focus on quality of expression... What projects are you currently involved in outside of the institution? We have just come back from a wonderful experience in Frankfurt for the cultural days at Mousonturm Theatre where the company was chosen to represent Italian modern dance. I took part in the Shen Wei Dance Arts Educational Project that gave me a chance to grow,
equipped me with a new approach to my technique and developed my perception of movement in order to improve my understanding. We performed the choreography at Fabbrica Europa Festival in Florence. How can dance express the city of Florence? I am from Milan and the change has been radical in the dance world. Florence has an interesting position regarding contemporary and modern dance. I have found that most of the dancers in this city have traveled the world and I am encouraged to learn they have come back to enrich the dance scene. Performing in other locations with a company based in Florence has been very encouraging because I have learnt how much the work we produced is similar to northern European cultures and how much there still is to do for this city. It is good to know that we are the start of a new choreographic approach and that the city is welcoming foreign cultures and teachings to enrich its knowledge. l B L E N D I N G | FA L L 2 0 1 1 – 1 7
Fashion Fit for Florence By Laura Aloise Photo by: Richard Bryant & Gucci
The Gucci Museum
Lights Up the City of Florence By Laura Aloise After dark in Piazza della Signoria, the dazzling light show displayed on the wall of the Gucci museum draws the attention of passers-by to both the new museum and café, but also to the brand’s rich fashion history and its iconic style. It begins with a butterfly fluttering from window to window, lighting up each one that it passes with the Flora pattern, originally designed especially for Princess Grace Kelly of Monaco in the 1960s. The windows then light up and transform from the Flora pattern to the traditional Guccissima print, one of Gucci’s most recognizable designs. While the light show is mesmerizing, the museum itself does not disappoint as the main attraction. It features many wonderful, historic pieces, from the sport collection items such as equestrian and fishing equipment, to the red carpet gowns that were created for celebrities like Hilary Swank and Kate Beckinsale. Many of the pieces in the exhibits are being loaned to the museum temporarily by their owners. The use of interactive and digital media by the museum curators is a reflection of the timelessness of the brand and its staying power. As fashion and technology evolve, so does the Gucci Group. Gucci supports numerous talented contemporary artists such as Bill Viola, whose video art is featured in Amore e Morte, a visual arts exhibition showcased on the second floor of the museum. Fire Woman features a
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deafening crackle of flames around a mysterious cloaked figure while Tristan’s Ascension shows an overwhelming gushing of water from a massive waterfall. Both pieces are intoxicating to listen to and to watch. Gucci has also been a supporter of many Italian actresses and filmmakers. A room in the museum is dedicated to several films for which Gucci managed the costume design. Digital media is again utilized for this exhibit. Clips from each movie are played for visitors who wish to sit down and enjoy the lovely garments that Gucci created for the characters in the films. If the new museum is any indication of the direction in which the brand is headed, it will surely continue to be a glamorous, alluring and well-respected fashion house. The charmingly elegant Gucci café and bookstore are directly next to the museum and should not be overlooked. Beautiful fashion books line the shelves in the bookstore as well as inexpensive Gucci tote bags, pencil cases and other accessories bearing the classic Guccissima print. The café has a large floor-to-ceiling window, which is perfect for people-watching while enjoying an espresso. This experience is not to be missed; visiting the Gucci complex is an important way to learn more about the Florentine fashion history and to appreciate the enormously successful style empire that was created here. l
Florence and high fashion go hand in hand; the city is home to a number of high-end brands such as Gucci, Roberto Cavalli and Salvatore Ferragamo. Additionally, scattered around the city you will find an abundance of shops carrying luxurious clothing and accessories created by some of the world’s most talented designers. In Piazza della Repubblica, you’ll find La Rinascente, a department store that sells beautifully crafted scarves, handbags, housewares, clothing and shoes. Patrizia Pepe on Via Strozzi is another chic store with stylish dresses, silk tops and smart high-heeled pumps. One of the very best and most wellknown boutiques in Florence is Luisa Via Roma. Located on Via Roma between Piazza della Repubblica and the Duomo, Luisa is a high-end store carrying gorgeous shoes, handbags and ready-to-wear items from designers like Balmain, Jimmy Choo, Hervé Léger and Michael Kors. Although prices are high, it is worth the splurge to have an original piece of wearable art from this store. High-end items can jazz up a simple, casual outfit. For instance, pairing a pair of python Michael Kors flats with skinny jeans and a jersey tee can pull your outfit together to make it look more interesting and fashionable. Luisa has become an iconic store and an authority in the fashion world. The store has a blog, a strong presence at fashion week and a discount store in Piazza d’Azeglio. The discount store offers last season’s items at great prices and is also worth a visit. If you are searching for high-end fashion, you’ll find it in Florence. Simply take a walk around the cobblestone streets and you will discover many unique stores carrying excellent brands that are both recognizable and new to many. l
Tamara
Fashion Dares For the Winter Season
Tamara (22 from Poland) is showcasing many of the Dares, including genius color blocking, knee-high sock with heels and a beautifully bowed collar.
Blog: www.macademiangirl.blogspot.com
Winter 2011/ Spring 2012 By Megan Looney
Bright colored corduroy slacks Boyfriend jeans with heels or wedges Harem pants Mullet skirt – short in the front, long in the back Bright tights (think ruby red, yellow or emerald green) Animal print leggings paired with a skirt and boots Heels – just try ‘em, I believe in you Denim with denim, just make sure the washes are slightly different A short skirt with mid-thigh socks and booties Ankle socks with heels Color blocking: three pieces in three different colors (Try something fun, like red, pink and yellow) Fur vest on top of a leather jacket Double dare: pair with sheer black tights and shorts Add a collar Wear a fun hat! Bonus points if it’s a top hat Mix and match casual with dressy (i.e. collared shirt with skinny tie and a canvas or leather jacket) Say good-bye to the skinny jean and hello to the flared jean Hair turban Poncho or cape Circular-rimmed shades Rock a bow tie Does your jacket have a nice lining? Wear it inside out and upside down Wear a tuxedo-tailed T-shirt backward
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WE DARE
Sites to see for inspiration: www.polyvore.com – www.lookbook.nu
YOU!
Think you did a good job with one or more of these challenges? Send in a photo of your entire look and it might get printed in the newsletter! Submit your daring look to: grace.joh@palazziflorence.com
Vini Vini (21 from Brazil) combines dressy and casual by wearing belted shorts with a button up, collared shirt, a fun patterned tie and lace-up boots. Blog: www.viniuehara.com.br
Jennifer
Jennifer (16 from USA) plays up a very do-able look by adding bright yellow tights to an oversized sweater. The fingerless gloves, knit hat and black socks tie the look together. Blog: www.artinourblood.blogspot.com
Petra
Petra (14 from Sweden) is rocking the “mullet skirt” perfectly. I love how she paired it with chunky heels, a loose fitting top with a pop of warm color in the scarf.
Blog: www.photoblogbypetra.blogg.se/
3 Il Pizzaiuolo
Address: Via de’ Macci, 113 Category: Italian I have eaten a lot of great pizza in my life, but Il Pizzaiuolo’s is in my top five. I ordered the stracchino and speck pizza for only eight euro and could not have been happier with my choice. The Naples-style crust was doughy and soft. I easily polished off my pizza, although I needed ample time to digest it afterwards. I spied some goodlooking seafood and pasta dishes as we were leaving, but I would come back again just for the pizza. There is a two euro coperto, but at least they serve free tap water! Every table was filled by 8 p.m., so make a reservation or come early. 4 Trattoria Le Mossacce
Foodie
Photo by: Carey Wong (Palazzi student)
Flash
By Carey Wong ? The Secret Bakery
Address: Ask the locals Category: Bakery If you find yourself having late night or early morning cravings, make it a mission to find one of the several hidden bakery spots in town. Word on the street is that you can rely on your nose to lead you to the source of the mouthwatering scent of fresh baked goods. If your olfactory senses aren’t up to challenge, I recommend following the groups of people wandering around the area until you run into a local that can point you in the right direction. One, for example, nearby Santa Croce, is usually marked by a mass of people huddled around an unmarked door with a “quiet” sign posted on the glowing glass. Your prize will be dirt cheap, delicious croissants, pizzas, sfoglie and a 2 0 - B L E N D I N G | FA L L 2 0 1 1
variety of other sugary treats fresh from the oven. We each had a warm croissant that oozed melted chocolate all over our hands and made the adventure totally worth it. 2 Pizzeria Dante Address: Piazza Nazario Sauro, 12r Category: Italian Pizzeria Dante, also known as Dante’s, is the perfect place for a large, private dinner with friends. Located near the Arno River in the West Oltrarno neighborhood, Dante’s has a local feel while still catering to students. If you are a student, there is no coperto. Their large menu has a variety of pastas, meats and pizzas. They even have Hawaiian pizza. Try the farfalline speck with scamorza cheese and cream. I highly recommend making Dante’s your spot for celebrations.
Address: Via del Proconsolo, 55 Category: Italian You have probably walked by this restaurant a million times without realizing it. Behind the unassuming front counter there is a bustling restaurant churning out authentic Tuscan specialties to a local crowd. Before the restaurant opens at 7 p.m., a line forms outside. Once inside the tables are
Photo by: Carey Wong (Palazzi student)
packed together tightly and food starts to stream out of the kitchen. I followed Italian tradition and ordered a main course, a side dish and a dessert. Although each plate is inexpensive, the bill might add up if you want to order several courses. I ordered tortellini with Bolognese sauce, beans with garlic and tomato
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7 2 ? and finished with a crème caramel dessert. I appreciated the simple, authentic Tuscan experience, but somehow I was left feeling like I missed something. This would be a great place to try the bistecca alla fiorentina I have heard so much about – it’s 3.60 euro for 100 grams – although the lasagne also looked tempting. 5 Bakery in Borgo Pinti
Address: Borgo Pinti, 16r Category: Bakery After passing bar after bar filled with pre-made panini stuffed with an underwhelming amount of fillings, this forno is refreshing. During lunch the unmarked bakery is filled with locals getting their fill of fresh breads, panini and miniature salty pizzas with different toppings. For only three euro you can get a generously stuffed panino tondo. Warning: there is no menu and you’ll need to order in Italian, which can be intimidating. Fret not - you can start by copying my order of turkey, lettuce, cheese and tomatoes. At this forno, my simple panino was one of the best I have eaten in Florence. 2 1 - B L E N D I N G | FA L L 2 0 1 1
6 Derb
Address: Via Faenza, 21r Category: Moroccan Craving a relaxing evening, we found this small, blue-tinted restaurant and hookah bar where we sampled delicious teas. Somewhere between a bar and an art store, Derb is a cute space for lounging, eating and admiring the Moroccan art adorning the walls. You can take a seat on the floor or opt for a spot on a raised couch covered with pillows and blankets. The lunch and dinner menus are Moroccan inspired.
in half and doused in sweet syrup, which you scoop out with a spoon. Follow it with a refreshing shot of champagne before you start sipping your drink. Be sure to try the Casey: a lip-smacking strawberry and lemon martini. A basket of scrumptious chips comes free at your table. I dare you not to finish them. l
7 Slowly Cafè
Address: Via Porta Rossa, 63 Category: Nightlife Looking for an alternative to the swarms of people in crowded local joints? Slowly offers a more toned down evening, making it easier to chat with friends and appreciate their specialty cocktail that are better crafted than most. My go-to choice is the passion fruit martini served with a gooseberry on the glass. A far cry from your standard martini, this one is served with a passion fruit that is sliced
Photo by: Carey Wong (Palazzi student)
Carey Wong is a Yelp! contributor who is sharing her personal take on the Florentine food scene.
Wine Harvest Diary Podere Poggio Scalette
Photo by: Megan Looney (Palazzi student)
By Jennifer Gross We arrived early Monday morning at Poggio Scalette, a vineyard nestled in the hills of Greve in Chianti. We were greeted by Jurij Fiore and his wife who showed us around their beautiful property. The vineyard sits below the property and includes more than 30 acres of vineyards, 25 acres of olive groves, 25 acres of crops, 12 acres of woods and eight acres of uncultivated land. The vineyards mainly face southwest and are ideal for growing high quality grapes. The name Podere Poggio Scalette comes from the hills that it surrounds. When looking down at the vineyard you can see a generous slope, which looks like stairs that slowly beckon you towards the town. Most of the grapes grown here are Sangiovese, the famed Tuscan varietal. On one of the large terraces sit 70-year-old vines that yield the famous Sangiovese. These vines are considered extremely important as they are clones of the rare Sangiovese di Lamole. Monday was more of an introduction to the farm as we had very little to do as far as labor. We walked around and oriented 2 2 - B L E N D I N G | FA L L 2 0 1 1
ourselves with the vineyard and the town. We went down to Greve in Chianti to buy some food. This was a lovely experience as the village is small and quaint. Here you can see the jewels of many peoples’ trade whether it be meat, artisanal goods or wine. It was amazing to see all of these handmade goods. We went to a tasting room and bought a tasting card to try some of the local Chianti wines. I tried four different wines that ranged from bad to good quality. We also tried different types of olive oil, which were all excellent as well. After our small day excursion we returned to the vineyard for dinner. On Tuesday we got up early to start harvesting the grapes. This was my first harvest, and I was absolutely thrilled to be part of it. We started at one of the younger vineyards that was probably only eight years old. We worked with some Florentines who taught us which grapes to pull and which ones to leave on the vine. This was interesting as we gathered most all of the grapes, even ones that might have been a bit dry. We put the grapes into bins and filled them halfway before starting a new bin. We worked
in a line combing through every single vine making sure to get each grape. We used regular clippers to easily take the grape off of the stem. It was easy to tell these vines were younger because of the amount of grapes in a bunch; the grapes tended to be not as concentrated and there were fewer on the vines. We then went up to an older vineyard, and I could immediately notice a difference. The bundles of grapes were more concentrated and voluminous, and they also were bigger and heavier in weight. We worked from 8:00 a.m. to 12:00 p.m. and started again from 1:00 p.m to 5:00 p.m. The labor was intense and tiring. However, I enjoyed it. I loved being outside, breathing in the fresh air, working with my hands and looking at the beautiful view from the vineyard. The work was hard but rewarding at the end of the day when we finished and looked at the beautiful landscape. After the grapes were picked, the tractor come down to take all of the bins to the winery. This is the start of the wine-making process and fermentation. The grapes are put into a big mechanical machine
I loved being outside, breathing in the fresh air, working with my hands and looking at the beautiful view from the vineyard. that separates the stems from the grape clusters. The machine has a hand-like mechanism that pulls the stems away and that are then discarded. Some stems remain with the berries, but Jurij assured us that this was good for the structure of tannins in the wine. These grapes are then put into a large steel vat where they sit and the fermentation process begins. This process will take anywhere from 10 to 15 days and then the grapes are put into the press. The fermentation process is a reaction of the yeast and the sugars.
After the first fermentation has taken place, the grapes are then put into a mechanical pressing machine. This machine separates the must from the skin. The machine turns in a constant rotation and is pressed for about two hours. The result of this process is the juice and what is left are the skins of the grapes. The juice is then pumped back through to a large still vat where it will undergo further fermentation. This year was rather unusual as the grapes were excessively sweet
meaning that they were very hot in the tank. When there is too much sugar in the wine it means you run the risk of a very alcoholic wine. Therefore, Jurij had to control the temperature by using a cold pump to refresh the wine so it would not be too alcoholic. After the wine was pumped back into the vats, the fermentation began again. Jurij said that in December he and his father will check the vats for taste. At that point they will decide which wines will go in the barrels and which will remain in the steel vats. The
La Botte
Just how smart is this enoteca?
fermentation process is extremely delicate, and it was interesting to watch Jurij juggle all of the many challenges that arise during this stage. For instance one day there was an overabundance of grapes so we stopped picking early. The experience was amazing and is one of my favorite things that I’ve done so far in Italy. Being on the land and picking the grapes was a satisfying job. At the end of the day, I felt so accomplished because I had picked hundreds of grapes in the hot sun. l
restaurant area with a full menu and a small patio, a nice option for people watching by candlelight in the evenings. The one downside is that with increased technology come increased technical difficulties. During my visit, one of the machines wasn’t working, immediately eliminating
By Megan Looney La Botte is the product of a new smart bar trend popping up all over the world. This location has been in Florence for about a year, located right next to Piazza Santa Croce, and is the only bar of its kind in the city center. The driving force behind these bars is the enomatic machine. La Botte has a handful of these machines throughout their lounge, which all together hold more than 40 types of wine at a time. The machines decant the wines and pour a predetermined amount into your awaiting glass from a tiny spout. Clients buy a card at the cashier and re-charge as they please. The card is inserted into the dispensing machine and wine samples can be automatically debited. The average sample prices range from about one to six euro. With the 15 euro I put on my card, I was able to sample six different wines, from a fruity Friulano to an award-winning Chianti. An added bonus? 23 - B L E N D I N G | FA L L 2 0 1 1
The wine bar offers a delicious aperitivo-style food selection every night. The smörgåsbord this particular evening featured mouthwatering samples such as truffle sandwiches, a vegetable and cheese frittata, and olive oil-soaked bell peppers. The ambiance was sexy but casual. I like that the set-up of the enomatic machines encourage social interaction as people peruse the wines and wander around the cozy bar, sampling whatever catches their eye. If you’re not a wine connoisseur, the staff is more than happy to help make suggestions. La Botte is also currently featuring wines from the Decanter World Wine Awards. You can tell which wines these are due to their small bronze, silver or gold stickers on the neck of the wine bottle. The enoteca isn’t only for sampling. You can buy full glasses of wine from select machines and also from the bar. There is a separate
Photo by: Laura Aloise (Palazzi student)
about 10 wine selections and creating accounting blips on my card. Keep an eye on your card balance and let the staff know if you have any problems. They are happy to fix it as quickly as possible. l La Botte via San Giuseppe 18r 055 2476420 Hours: 10 a.m. to 1 a.m. Closed Sundays
Just a Chase By Tanai Milgram
This photograph was taken in Piazza Santa Maria Novella on Oct. 12, 2011. I wanted to capture the innocent pleasure of the boy chasing pigeons perching in the Piazza and the movement of the birds as they flew away. The photo highlights the youthful pursuit (to make a pigeon fly away) of a boy who chases pigeons for the simple pleasure of it, something many people lose the urge to do as they grow older and begin looking at the reasons and for the consequences of their actions.
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The Confrontation By Megan Costello
This photograph was taken at Parco delle Cascine in late September 2011. The park, which is located along the Arno River, is a community gem in Florence. Each day it’s animated with soccer games, children riding bicycles and the steady chatter of old friends. On this particularly warm day, I passed by three boys standing outside a public restroom. One was attempting to entertain his friends by practicing martial arts. What struck me most about this moment was the stark contrast between the boy’s unlimited enthusiasm and energy and his audience’s total indifference. 2 7 - B L E N D I N G | FA L L 2 0 1 1
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The Legionary By James Bae
Clank, clank, clank. His nail-studded boots sharply tap against the cobbled street. The legionary abruptly stops at the top of a staircase looking upon the pride and joy of Rome. The epitome of civilized warfare, a place where true courage is tested against the mettle of danger and fear. The Colosseum. Closing his eyes, he feels the dark clouds roiling across the sky. Lifting his head to the heavens, he feels the wind caressing his face, lightly sweeping across the plume of his helmet. He feels the raindrops lightly dancing across his closed eyelids, to his nose, and through his cragged lips. Inspired, the legionary takes off his helmet in respect and praises the god of war, Mars. A streak of light hits his breastplate, filled with the power of a higher being, the legionary feels strong. He feels omnipotent. 2 8 - B L E N D I N G | FA L L 2 0 1 1
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Digital Tourism: In the Palm of Your Hand
Photo by: Lululemon Athletica (cc-by)
By Courtney Bosquez As a result of increased Internet usage across the world, digital tourism is becoming a widely popular resource tool for travel destinations each year. Digital tourism is defined as “the use of digital technology, social media an interactive content for the promotion of international tourism”. Corporate and local businesses have recognized the importance and influence of the Internet. Before leaving the United States to study abroad, I did everything possible to be a part of the Florentine community. For weeks leading up to my departure, I lived vicariously through photos posted to Flickr and videos uploaded on Vimeo, searching even for just for a small glimpse of what was yet to come. Surprisingly, I found more than I could have ever imagined. Pre-departure Google Maps allowed me to walk the route from my apartment near Santo Spirito to the campus of Florence University of the Arts (FUA) in a matter of minutes. More recently, when celebrating my 21st birthday, Fodor’s Dining Guide provided an excellent suggestion of a restaurant 3 0 - B L E N D I N G | FA L L 2 0 1 1
within a good price range, a great environment and delicious food. In order for any business to compete and attract visitors seeking assistance in planning holidays, vacations or extended stays, capitalizing on digital media is essential. FUA Social Media professor Christie Barakat believes that “when it comes down to making the decision to book online, a positive review is almost as influential as a price or [a] special offer… customer review sites are essential to consumers in the travel planning process.” Smartphone applications Gowalla and Foursquare fit the criteria for convenience by allowing users to ‘check-in’ and search for suggestions from other users for places to dine, eat and sleep. City Trex, an interactive global positioning system, also doubles as a GPS that offers guided tours past historical landmarks and popular tourist sites. The program was designed with the traveler in mind, allowing for a tailored at-your-own pace walking tour with a personal audio guide, all in the palm of your hand.
A 2011 Pew Research Center national survey of 2,277 adults concluded that 83 percent owned a cell phone. Of those, 47 percent were Smartphone users, thus providing a motive for digital tourism to continue targeting demographics of all shapes and sizes. Ranging from social media, applications and interactive digital content, Barakat said that “mobile technology has taken communication to a never before seen level of reach and ease.” Although the heart and soul of Florence has and always will be culture and conviviality, technology provides visitors more opportunities to see the city each year. Creating an online presence in our current digital age is an essential strategy that will guarantee travelers a means of simple planning for future holidays and vacations around the world. Buon Viaggio! l Statistic survey: http://www.pewinternet.org/ Reports/2011/Smartphones.aspx City Trex: http://citytrex.com/index.php Interview: Christie Barakat, Florence University of the Arts
Connected Writing and Understanding By Kylie Hiemstra I’m a sentimental person and very attached to my family and friends back home. Before coming to Italy, I was nervous about moving halfway across the world and being truly on my own for three and a half months. I was also very excited to be surrounded by a language and culture that I have been in love with since I was five. However, when I boarded my plane from Washington, D.C., my anxiety overpowered my excitement. The first week was filled with inevitable homesickness, and it often caught me off guard. I missed the protection, the security and the familiarity of home. Now more than a month into this cultural roller-coaster I feel more comfortable and at-ease in my new home. There are still moments when I feel pangs of homesickness and miss friends and family back in the United States. While I was searching for information about homesickness on the Internet, I stumbled across The Quote Garden, www.quotegarden. com. I love reading quotes because they’re funny, creative, thoughtprovoking and inspiring pieces of wisdom. Reading these quotes about home made me feel better because they helped me see how Florence has become a new kind of home, one that is different but that fits many of the qualities of the “home” that I was missing in the United States. In particular I liked a quote from Christian Morgenstern: “Home is not where you live but where they understand you.” Even though Florence may not have my best friends or my closest family, it has become a place where I feel 3 1 - B L E N D I N G | FA L L 2 0 1 1
understood not only by my new friends but also by the culture itself. I feel a sense of belonging because I am immersing myself in this new culture. My Italian friends, teachers, shopkeepers, waiters and the Italian culture all seem to understand me. That makes this city my home. My sense that this culture understands me is supplemented by the fact that I have had to face the understanding of myself and the Italian culture since coming to Florence. The language in particular has challenged me. I have always wanted to speak Italian fluently and am waiting for things to click so that I can start rambling in Italian instead of English. But they just haven’t. I have tried to be patient with myself and the Italians with whom I’m communicating. Cross-cultural understanding is difficult when they speak fast and I respond in broken Italian. The language barrier frustrates me even more when I try to speak uninhibited. I say the few words I can remember and Italians respond in English. Initially I was offended. I thought that they were dismissing my attempts to speak their language and that they had decided that English would be easier for everyone. I am learning that usually they respond in English because they also want to practice their language skills and not because they are trying to belittle me. In his list of tips for overcoming language barriers, Rick Steves says that “self-consciousness kills communication”. I want to be able to speak the language and communicate effectively with locals, but I know
I have to be patient in order to understand both the language and the culture. I realize that speaking with Italians is a different experience not only because of the language but also because of the way they communicate. Now with a little more than a month left in my study abroad experience, I still find myself getting frustrated when I try to speak Italian, but I’m quick to remember that it doesn’t matter if I say a sentence perfectly. What matters is that I try and Italians appreciate my efforts to communicate in their language. My Italian conversation exchange partner has helped me enormously. She knows how badly I want to be able to communicate and is very patient with me. Having an Italian friend to practice with has made me less embarrassed and more comfortable when I speak. At the moment, my favorite phrases in this beautiful language are “andiamo” and “sono entusiasta” because they so accurately express my attitude toward the language and the culture. My conversation skills and my confidence level are slowly improving, which helps enhance my cultural evolution as I continue to search for my place in this foreign city. The lesson for me is realizing the importance of understanding yourself, your culture(s) and how you are seen and understood. My homesickness made me realize what exactly I was missing from my home and gave me the courage to find that sense of belonging and the feeling of being understood in my new home in Florence. The language barriers have helped me see that I have to understand both the language and the culture before things will start clicking. I have to be patient because it takes time to learn the differences and similarities with my own culture. Ultimately it’s important to think about why I feel the way I do and how I am going to get what I want out of this experience. Understanding, it seems, is the main component of cultural growth, sensitivity, awareness and learning. Understand? l
BLS
Blending Literary Supplement
Introduction Blending magazine presents its first-ever In our index-linked, wired and wireless, literary supplement featuring the short stories radioactive, spun-dry and moisturized world, of FUA students. Creative Writing I worry that the Imagination is instructor Baret Magarian slowly but surely being pushed introduces the ideas and notions into the wings and marginalized. “In our index-linked, examined with his class in order Thus I always try to get my wired and wireless, to develop these fine examples of students to stack the shelves of radioactive, spun-dry creative fiction. their minds with that precious, and moisturized ever rarer commodity, try and world, I worry that the I’ve been teaching creative get them to battle with the world Imagination is slowly writing for many years at FUA, by saying no to conformity, but surely being pushed and at times it’s been more uniformity, fear, and by refusing into the wings and of a learning experience for to be cloned and replicated. marginalized.” myself than for my students. Writing is an act of defiance that It’s a slippery subject to teach confirms one’s humanity. We tell because I know that ultimately stories to children so that they my judgement of good writing is entwined can more readily sleep, and we tell stories to with my own tastes and preoccupations. And adults so that they can more easily awaken. The somehow I have to be objective about what is two pieces that are printed below represent notoriously subjective and personal. Having a testament to the talent and creativity of my said that, I have been repeatedly impressed by writing students this semester, and I am proud the way a talented student can open my eyes, to be able to introduce them. redraw the borders of my literary expectations and make me see Baret Magarian FUA Creative Writing Instructor the world in a newer and more interesting light.
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Il Mare
counter for hers. He watched her point her little finger up to the ceiling as she tipped the cup towards her mouth. She finished the coffee in two sips then smacked her lips together before daintily wiping her mouth with a cloth napkin. By Brianna Bond She turned to face the kitchen table. He was tracing the rim of the coffee cup with his finger. He looked up and they held is arthritic knees cracked as he slowly lowered himself the space between them with a long, pregnant pause. Of course down onto the red clay tiles, which had been baking in they would evacuate, but in that moment in their kitchen time the mid-morning Mediterranean sun for several hours. The froze and they imagined crawling into bed forming perfect siltiles scalded the skin that hung loosely across his back and houettes of each other’s bodies the way they had done a thoushoulders. He regarded the sharp burning pain with indiffersand times before. ence much like a boxer resigns himself to a life of contusions Their small fishing village sat on the Strait of Messina and and broken bones. was exposed to a particularly hot subduction zone. It was esHis fingers followed the tears in his jeans. His left leg had timated that the area would be struck by an earthquake once gotten caught on a wayward cypress branch as the wall of salty every hundred years. As a fisherman whose life was inextricawater uprooted him from his home and thrust him into the bly linked with the sea, he didn’t trust scientists’ attempts to ocean. In that moment he pictured his legs snapping in half quantify nature’s inherently unpredictable, erratic behavior. like the two ends of a wishbone. He wasn’t caught on the tree He lost his father during the last earthquake. He was thirbranch for more than a couple of seconds but was certain at teen. They never recovered the body. least ten minutes had passed before his jeans finally ripped. His family held a brief ceremony in his father’s boat a couHe tried to moisten his right hand with his tongue but it ple kilometers off the coast. His oldest brother tossed their felt like sand paper scraping across his palm. He slid his dehyfather’s wedding ring into the water while his mother recited drated body down to the nearest edge of the roof, careful not to Psalm 23 rolling her rosary beads through touch the other scorching terra cotta tiles. her thin frail fingers. He followed the gold He dipped both hands into the lukewarm ring with his eyes as it sank into darkness, salt water and ran them over his wild tangle “As a fisherman whose acutely aware of nature’s tendency to repeat of white hair and unruly beard. Looking into itself. the crystal blue water he imagined a fellow life was inextricably His father’s death left him standing at fisherman stumbling on his floating corpse, linked with the sea, he the precipice of manhood without a mentor face-down, disintegrating into the salt wadidn’t trust scientists’ to show him where to step. During the first ter. attempts to quantify few years after his father’s death, the sea He returned to his spot on the roof to lie was his only source of comfort. At night he down. He folded his hands together neatly, nature’s inherently often snuck out of his mother’s house and carefully interlacing his calloused fingers unpredictable, erratic tip-toed to the shoreline where they kept the before placing them on his stomach, which behavior. ” boat tied. He would lie down on the floor had started to cave in after three days withamongst scattered fishing nets and bloody out food. rags and sob uncontrollably, gripping the He gazed at the cumulus clouds. The sides of the boat desperate for guidance undeep-seeded hunger that permeated his til the gentle rock of the tide lulled him into a dull fitful sleep. body brought on hallucinations as the clouds took on animisNo one understood his obsession with the sea, and he never tic qualities. He watched them morph into seahorses with legs felt the need to explain it. He was born from a family of fisherand humpback whales riding bicycles as he waited for a resolumen who bled salt water. It was his sustenance and his livelition. hood, and he knew one day he’d follow his father’s footsteps, Four days ago he sat under the same roof with his wife, surrendering himself to it. Giulia, and their son, Nino. They were gathered around their Two days after his twentieth birthday he met Giulia, a prikitchen table waiting in vain for news. Long after Giulia and mary school teacher five years his senior with wide hips, full Nino went to bed, he fell asleep at the table while the broadbreasts and a toothy smile that stretched across her face. It was caster’s rushed, staccato voice repeated the same warning a warm spring afternoon. He was on his way back from fishing about dangerous weather patterns off the coast of the Ionian when he bumped into her at the café near his mother’s house, Sea. Nino woke him up several hours later. knocking a tall stack of books out of her arms. As they bent “Dad, it’s time,” he said. “We have to go.” down to collect the books, they knocked heads and he smiled The sun hadn’t broken through the clouds. Giulia was in the sheepishly. After a three-week courtship, they were marrie d. kitchen making the espresso and wrapping some small sandEager to start a family, he and Giulia quickly fell into a rouwiches in cheese cloth. The news feed at the bottom of their tine. They made love every afternoon after he returned from television screen had changed from yellow to red and was urgfishing. He would find a cup of strong espresso waiting for him ing immediate evacuation. on the kitchen table, which he would drink standing up before “We’re leaving in ten minutes,” he said before turning back moving to their bedroom where she lay waiting. toward his room to look for his lucky fishing hook. Within five years Giulia had given birth to five girls. He The percolator whistled and bubbled. Giulia found two cups loved his girls obsessively, and yet after each of their arrivals and poured the caffè. He rubbed his eyes and wiped away the his desperation for a son grew stronger and more intense until drool that had crusted in the corner of his mouth. it consumed him. He went to church every morning and prayed “Good morning,” she said as she handed him the coffee, on the steps before heading to his fishing boat. He asked the kissing him softly on the forehead before turning back to the
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get it. You follow Nino and I’ll catch up.” priest what he was doing wrong and was told to pray. He quickly kissed her forehead before turning to descend “Pray while you’re gutting fish,” the priest said. “Pray while the stairs. you’re wiping the sweat from your brow. Pray while you’re reHe found her ring on the kitchen counter next to the unlieving yourself. Pray in your sleep.” washed espresso cups. He placed it in his pocket and started “But I do pray, Father,” he protested. “I pray so hard I have for the door when the floor started to shake. chronic pain in my shoulders from pressing my hands togethA faint rumbling quickly turned into a thunderous roar as if er so tightly.” a freight train was less than a kilometer away from bulldozing “Pray more and one day God will answer,” the priest said bethrough his house. fore turning on his heels and walking back toward the rectory. In a moment the living room was inundated. He choked on His friends had other suggestions. salt water as the sea swept him away. “Try it with her on top,” said Nino, his best friend and career The tiles on the roof emanated heat. He was fading in and bachelor with commitment phobia and a penchant for prostitutes. out of consciousness. With each inhale his chest rattled like As soon as he returned home that day, he began fumbling an old car trying to start. Looking out into the vast abyss of feverishly through old boxes. blue, he tried to croak for help, his throat dry and scratchy. The “What are you looking for?” Giulia asked as she exited their silence of the sea enveloped him. bedroom, confused by the disruption in their daily afternoon His eyes started to close, and he saw himself on the fishing ritual. He didn’t answer as he rifled through living room cabiboat with his father. Knife in one hand and his first catch in the nets throwing odd scraps of paper into the air. His daughter, other, he waited for his father’s instructions. The fish thrashed Sofia, stood in the middle of the room with her arms open spinaround, violently fighting against fate. ning in circles and laughing as scrap paper rained down from Lift the dorsal fin to wedge the knife at an angle. Slice down the ceiling. When he finally found his father’s rosary, he raised with one swift motion. Do not hesitate. He had watched his father it to the air in triumph as if it were a trophy. do it a thousand times before. For some reason it wasn’t translatThat afternoon Giulia rode him three times in a row. The ing to his hands that struggled to control the whole time he rolled the rosary around in thrashing fish and his trembling body. the fingers and repeated the Lord’s Prayer. He wedged the knife in its place and Less than ten months later, his first and “Of course they closed his eyes before pushing down as only son was born, proof that God really did would evacuate, but in hard as he could. He jumped when he heard exist. That month he gave a quarter of his the loud thump of the fish’s head crashing earnings to his friend, Nino, and honored that moment in their onto the floor of the boat. His father reached him by giving his prized son the same name. kitchen time froze and down and tossed the head into the ocean beHe took his son with him everywhere. Bethey imagined crawling fore nodding at him to continue. He slipped fore Nino graduated to eating solid foods, he would rip him away from Giulia’s breast, into bed forming perfect the knife into the anus and hesitated. The fish excreted onto his shirt. If it could have throw him over his shoulder and head out silhouettes of each squealed it would have. Deterred, he looked to the fishing boat. When Nino got hungry other’s bodies...” to his father. and cried for Giulia’s breast, he gave him “Keep going,” his father said gently as fresh fish bones to suck on. he placed his leathery hand over the young He taught Nino how to load bait onto a boy’s, covering it completely. hook and how to lay the nets out to dry so Together they guided the knife along the fish’s belly, which that they weren’t knotted and crusted with salt. He taught Nino passed easily. His father’s hand made a slurping sound as he how to tell time from the sun and how to mold his feet to the scooped out the fish’s insides and tossed them into the sea for slick rocks that covered the shoreline so he didn’t slip when it some other creature to consume. rained. All the things that his father had taught him and that He turned his gaze back to stare directly into the Nino would one day teach his own son. mid-morning sun. He smiled at his father face’s staring at him He and Giulia started to climb the stairs hand-in-hand. They through the clouds giving him the same knowing nod. walked past the church where they were married. They passed With great effort, he rolled over twice. Time suspended as familiar storefronts: the pharmacy where he picked up his arhis body hit the tepid saltwater. He floated just under the surthritis medication, the gelateria where they took their kids for face momentarily before exhaling through his nose toward the ice cream on Sunday evenings and the fruit stand where Giulia ocean floor. bought baby clementines and artichokes with their long stalks A large mackerel leapt out of the surface of the water. intact. Gills glistening in the sun, it rounded its spine with impresGiulia stopped suddenly in the middle of the stairs and sive athleticism and formed its mouth into a perfectly symdropped his hand to rub her naked ring finger. “Oh no, my metrical O shape ready to catch whatever it came across in ring!” she said, tears forming in her eyes. “Don’t worry,” he said, rubbing her back. “I’ll go back and mid-air. l
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The House By Samuel Cho
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e had to hurry, because he knew the neighbors would call the police soon. Randall’s breaths came out heavy and labored, like a dog panting in arid desert heat, as he tiptoed carefully onto the pristine porch. His legs were shaking violently. Suddenly, he began hiccuping involuntarily- something that had not happened since he got into his first car accident. As he hesitated before putting his hand on the massive bronze door handle, Randall felt something powerful. But it wasn’t fear. Fear, Randall thought, is not the right word to describe how he felt. Fear was something that merely startled one’s heart and increased one’s blood pressure when a friend jumped out from behind a dark corner. Fear was something that lurked in the bottom of a prepubescent teen’s mind, biting his nails and rocking back and forth while mother frantically ransacks the bedroom for the alcohol stash that trembles under his bed. This was not fear that he felt. This was a different type of feeling. This was a special type of feeling. People who have had knives held to their throats know this feeling. People who jump out of planes and pull their parachute cord to find nothing happening know this feeling. It’s the feeling of imminent death- of being buried alive and feeling the dry earth gorge into your nostrils until one cannot breath. Terror. He grasped the door knob. He had to know what was inside. Curiosity overcame his terror; indeed his terror only fueled his curiosity. What is it that makes me so terrified? He took a breath (thinking to himself in an absurd moment that could be his last breath). He prayed the door would be locked. Then maybe he would have an excuse to walk away. He turned the doorknob. It wasn’t locked. It swung aside soundlessly. He stepped inside. The house itself did not look menacing. It was a simple twostory house erected during colonial times with elegant furnishings worthy of a revolutionary general. It had a grand porch, white-washed to the color of angels, which shined even in the nighttime. Fat, auburn squirrels scampered around the residency’s isolated yet massive property that stretched for miles along the landscape. The neighbors were few and far, but close enough to be seen in the distance. Bees buzzed happily while the sun illuminated the vast wheat fields and the country birds crooned sweetly into the lazy, midsummer afternoons. Any outsider brought to the house would look and say, “Yes sir, yes sir. What a fine looking residence this is.” And indeed, everything seemed to be in order. Rather it was the family of five who had been brutally murdered inside that gave the house its psychotic aura. Randall wondered about how animals had sex. What positions did they take during intercourse? Was there pleasure in it? Or was it a mindless repetition of instinct that also helped grizzly bears hibernate and birds fly south for the winter? Randall didn’t know, but he would find out. He always did. Randall always wondered about a lot of things. If Randall was a cat, and if curiosity killed the cat, then logically his family would have held Randall’s funeral a thousand times over. At least. His mother would always say, “That boy... he
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lives in his own world. Until he has a question. Then he’s in your business until he finds out what he needs.” And indeed Randall was in his own world. He carried on like a pious monk or a celibate nun — oblivious to the world around him and more concerned with a heaviness inside him, an internal suffering. His father would bluntly remark, “He’s just a sissy. Boys should be outside playing baseball, not asking questions all the time or reading books.” And indeed he loved to read books — one can imagine him in the town library, running his scrawny fingers over the rich mahogany bookshelves. The craftsmanship and the feeling of smooth, petrified wood pleased him immensely. There he sat, among the wizened old men who had perfected the art of falling asleep silently on the stiff walnut chairs. He talked to no one; instead he adjusted his thick, wire-rimmed glasses, and slid open his favorite mystery. And how he loved those mystery novels! They were safe. They were his friends. The sentences and words enveloped him into a world that was most curious; indeed mystery novels are called such because of, well, the MYSTERY. His curiosity would burn with a passion while he kept guessing, kept wondering, who killed so-and-so and why Mr. Something did this and that and etc ... The best part was that his curiosity would always be satiated. It was his drug of choice. His curiosity would be titillated to stressfully damaging levels (imagine the peak of a roller-coaster), and then be refreshingly quenched, like immersing one’s dirty, tired feet after a long hike into a wonderfully steaming bath. Bliss. The Sherlock in every book would find the truth, would find the culprit. Randall thought he understood those Sherlocks. He thought he understood those detectives who pursued the truth through life-threatening situations and supernatural occurrences. Because they were like him. They too (at least in Randall’s mind) had that animalistic desire for the truth — regardless of their own safety or well-being. They, too, would not rest until they had resolved whatever made them uneasy, whatever made them curious, whatever made them feel. Because they, and he, would go insane if they didn’t find out what was really going on. Randall had no idea why he was like this, but he knew, he knew with every fiber and protein in his grey, grey brain: The truth is the most important From a very young age Randall exhibited this kind of unnatural curio state of mind. At first it started off with the usual curiosities of children. Why is the sky blue? Why is the grass green? Why do Mr. Bailey and mother always go into the bedroom when father is out? Why does mother squeal so much during that time? Why are manholes circular and why are some people fat? He was full of questions. Now that he was older, now that he was seventeen, he asked more serious questions. But sometimes the world was not forthcoming with answers. No one wanted to tell him how the cousin of the mayor avoided jail after drunkenly killing a pedestrian with his automobile. No one wanted to tell him why Aunt Helen had needle marks near her elbow. No one wanted to tell him how babies were made. And certainly, certainly, no one wanted to tell him about the House. He resolved to find out for himself. extra, extra, read all about it! special edition of the richbury times! headline news: oct. 17, 1973 — family of five brutally savaged and murdered. lone survivor is four-year-old son. Yesterday night at 3:30 a.m., a man by the name of Philip
But this was impossible because he did not remember ever Wortch forcefully entered the Pillmar residence and proceeded being there. He ran his fingers through his hair frantically, on to execute everyone in the house. A 911 call was made. However, the verge of pulling every follicle out. His eyes became wild, due to the distance of the residence from the city, police arrived opened wide, wide, wide, as he suddenly realized, too late for four of the members of the family. Officers came in How did I know the layout of the house? time to save the youngest son, Jeremy, who was locked in the He usually observed things quite intensely when he entered attic. They were forced to fire upon Mr. Wortch as he showed a new place. But here, there was nothing to describe, nothing no sign of surrender. He died on the spot. Philip Wortch was to see — because he had been here before. He took a step. And a convicted felon with a history of drug abuse and schizophrethen another. And then another. He was walking up the stairs. nia. The details of the murder are omitted due to the gruesome He didn’t know why, but he knew that this was the answer, this nature of the crime. The sole survivor was debriefed by officers was the truth. For some reason he knew that this was the answer and medical personnel and rushed to the city orphanage. Our to why he stayed up late every night, thinking about how things condolences go out to Jeremy — may he find peace elsewhere; worked; thinking about how animals had sex — either with time or in a new place. In an official statement by the I’m in the attic. mayor ... He had been so lost in his thoughts that he did not realize Randall told his parents that he was going camping. What that he was in the attic, and how he knew it was the attic was bea fantastic lie that was. He had never shown any interest in yond him. He stood still, taking in the dusty smells, the antique the outdoors nor did he have any friends to go camping with. furniture piled up, boxes and boxes everywhere. He shone his He drove down that lonely stretch of country road until he flashlight around all of it. On the floor was a metal bar. The sight saw the house in the distance. Randall knew that the police of it made Randall’s jaw go slack, his mouth hanging open alwould come soon; a car’s headlights at night in the open fields most comically. He fell to the ground with a heavy thud, his eyes of the country was a bulls-eye. It could be seen from a mile open, but seeing a different time and a place as he remembered, away. Neighbors always called the police when they saw any remembered everything — kind of activity around the house. The house Mary, take Jeremy upstairs and barricade attracted an unsavory clientele — those men the door use this bar. and women of strange minds and stranger But there shouldn’t be anything to remember habits who are drawn to these sad places like “For some reason he knew because he was Randall. Randall Watkins, sevenmoths to a fire. that this was the answer teen years old. Randall Watkins with a mother and He stepped inside. He switched the flashto why he stayed up late father. Randall Watkins who loved to ask queslight on. He looked around. every night, thinking tions and read books, who had lived an uneventful “Shit.” This monosyllabic utterance so succinctly about how things worked; and quiet life, who liked sunsets and clean laundry. Randall Watkins who dreamt of being a — described everything he thought. Why was he thinking about how Open the door, open the door, I have a present here? What was he doing? animals had sex...” for you, it’s your dad’s head. I’m gonna freakin’ die. Randall was hurled into a flashback. He reAll the stories he heard about the house bemembered everything. He watched this scene came alive for an instant. His mind saw ghouls, as if it were a movie — goblins, spooks. Hide, Jeremy! Hide! Oh my God please — But he had to continue because he had to know, he had to The sound of a woman screaming, and then it was cut off know. abruptly. And now little Jeremy was screaming. Randall couldn’t What is it that makes me so terrified? stand the sound but then realized he was the one screaming. He He had to know why he dreamed about the house every night. was no longer watching the scene like a movie. Instead he beHe had to know why, whenever he went driving alone to clear his came the scene because — head, he ended up driving toward the house. He had to know I am Jeremy. why the house made him feel. And then he fainted. I remember being in a school bus, passing by this house. I reRandall returned to the house a month later with the entire member Todd whispered, “That’s the house where them people firefighter squadron behind him. After he fainted, Randall was died.” rushed to the hospital after the police were called to check on Awful dread. Tears just came out. I couldn’t hold it in, I the disturbance. He slept, slept for a week almost. And when he couldn’t hold anything in — my head lurched forward and I woke up, he knew what he had to do. threw up everything I had ever eaten. He wiped his eyes. It was cold now, the crisp Autumn air twistA step further in. He shined his flashlight on things at raned through every crevice of his jacket. It had been a hard month. dom. A teapot on the table. A clock on the wall. An odd feelBut what is a hard month in a hard life? He held the hose in his ing of familiarity crept up on him as Randall surveyed the hands, a specially outfitted hose that sprayed kerosene instead kitchen in which he stood. It was like seeing the face of an of water. He turned it on. He soaked the house, the house that old acquaintance — being able to vaguely recall meeting this robbed him of so much. The house where Jeremy died, but also person, yet being unable to remember exactly when or where where Randall was born. He lit the match. It was completely silent. you’ve met. Randall frowned, momentarily stopping his hyThe house flew up in flames instantly, the sound of wood cracking perventilating and trembling. He took a deep, deep breath. filled the air. In a matter of minutes it collapsed upon itself, beHe made his way through the kitchen, through the dining came a mere smoldering pile of debris on the ground. The smoke hall, to the living room and stared up the stairs. The house that was released, swirls and ribbons of grey and black danced dragged him, the house pulled him; Randall knew exactly where gently with the mid-autumn breeze. It was drifting, drifting into to go. Walking as if in a dream, walking numb, but then a realizathe pale orange sunrise — a phoenix, its nose pointed triumphanttion: like a bullet speeding into his mind. I’ve been here before. ly toward the sky. l
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Events Meet Fashion During Palazzi Farewell Party By Special Event Management Course Coordinated by Prof. Stefka Kovatcheva
Blending is created and produced in collaboration with the students and faculty of Palazzi Florence Association for International Education
This semester PALAZZI tasks its Events Management class with organizing, coordinating and executing a specific event for the end of the semester. This time the project included the planning and organization of the FAST fashion show at this semester’s Farewell Party. Many may not see how it is possible for 20 students from different backgrounds, experience and knowledge to collaborate for the planning of a fashion show. In the beginning of the semester, the announced challenge quickly transformed into curiosity and enthusiasm towards the real-life project. Encounters between the Event Management students and other classes involved in the event helped facilitate organization. For example, the fashion design students shared their mood boards and talked about their semester project: the creation of a unique bridal collection inspired by designs in nature and love. On the runway, two bridal gowns were featured, one traditional and one non-traditional, along with seven bridesmaids dresses, each inspired separately by swans, spiders, hearts, flowers and other aquatic animals. In addition to the bridal collection, there will be two dresses from the pattern-making class (inspired by Tomoko Nakamichi), four dresses from the drapery class, approximately 35 pieces of jewelry and five to six pairs of handmade shoes created by Palazzi students. The Event Management students were then divided into different groups of four students who planned each aspect of the event: budget and checklist creation, model search and coordination, press release, invitation proposal and event marketing. During the semester, students learned how to work as a team while respecting various project deadlines and how to think out of the box. Professor Stefka Kovatcheva took the best ideas from
Spring Music Activities Teaser: Music Like Never Before! By Thomas Brownlees Music Activity Coordinator for Student Services
Every musician experiences a life changing moment the majesty and power of real music, untainted and unspoiled, is witnessed. I vividly recall my moment: It was on a warm Sunday morning; I had the privilege of observing the Italian Juvenile Orchestra’s open rehearsals. Imagine a hundred kids streaming into the space like football fans at the stadium, each carrying large instruments on their little shoulders. Then picture the initial rowdiness intensifying into pure chaos as the youngsters start tuning their instruments, randomly screaming at each other and performing indiscriminate solos resembling popular tunes. At this point the cacophony is a smearing noise, a thousand layers of overlapping sounds. Then, the conductor arrives and makes the slighteach est wielding of his group baton. A surreal and silence swiftly helped to descends. put them The magic together into of music a single vision for the fashion show. The entire effort showcased the hard work of multiple student groups and created a great opportunity to celebrate the successful study abroad semester. In addition to the good-bye hugs, handshakes and swapping experiences from the recently concluded semester, guests enjoyed an Italian style buffet and beverages and entertainment featuring the Palazzi study body. During the event, the Event Management Students had the opportunity to work on-site, helping with the set-up, the coordination of the models and the accommodation of the guests. The farewell party took place on
begins, composed and elegant. I first felt astonishment at perceiving a harmony and perfection unconceivable just a few seconds before. Then I felt the pleasure of music played by no mechanical device but by hand. The pleasure of music rising before your eyes and directly speaking to your ears, not the distant music wafting towards the last rows of an enormous concert hall. Once you hear music like this, it’s likely that your vague and undefined interest for music becomes a lifetime passion. It is this inspiration that led me to plan with Student Services a calendar of music activities that will provide students with the unique opportunity to go behind-the-scenes in the music industry and to be involved in this art from the other side of the record. Students will be able to listen to the real sound of a classical instrument and to witness the fascinating process of creating and recording a song from the far side of the studio mixer. This is something quite extraordinary: to be able to see what is hidden from the eyes of the public, and to be for a moment a part of the music industry as professionals instead of consumers. The Spring Semester will offer an excellent chance to join the vivid Florentine musical scene. Take heed, leave the iPod at home and get ready to listen to music in a way you have never experienced before. Thursday, Dec. 15, 2011, from 8:30 pm to 10:30pm at Palazzo Pandolfini (Via San Gallo 74), which features high ceilings, historic frescoes and a beautiful garden. The party also featured in addition to the fashion show a contemporary dance performance (see the Performing Arts faculty profile for more details), a hip-hop dance group, as well as students from the music department.
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CONTEMPORARY DANCE GUCCI WINE HARVEST MUSEUM FASHION DARES OPENING photography GALILEO MUSEUM SMART DIGITAL WINE TOURISM digitally VENICE ARCHIVING BIENNALE HISTORY TECH TRAVELS
MIXING THE WISDOM OF THE PAST WITH THE EXCITEMENT OF THE FUTURE
in-depth coverage of the 2011 conference
introducing
BLS blending literary supplement