#csac series

[fashionbooksmilano]

Emilio Federico Schuberth

Moda e media ai tempi della dolce vita

Dorothea Burato

Electa, Milano 2023,128 pagine, 17,2x24cm, ISBN 9788892824317

euro 24,00

email if you want to buy : booksinprogressmilano@yahoo.it

Il volume è l’esito di una approfondita ricerca sulla figura dello stilista di origini napoletane attivo a Roma a partire dagli anni Quaranta. Emilio Federico Schuberth si impone sul territorio nazionale e internazionale grazie soprattutto al sapiente uso di strategie di promozione del suo marchio attraverso il medium cinematografico e quello televisivo. Nel panorama della moda italiana, che si afferma a partire dal dopoguerra, Schuberth rappresenta una voce fuori dagli schemi: il suo atelier è stato una tappa obbligata per le dive del cinema, le soubrette del varietà e le donne più eleganti del jet set internazionale. Schuberth veste le più grandi dive del cinema, come Gina Lollobrigida, Sophia Loren, Martine Carol, Valentina Cortese, Alida Valli, Anna Magnani, Bette Davis e Gloria Swanson, sia dentro che fuori dallo schermo, recita in alcuni film e partecipa a trasmissioni televisive di grande popolarità come Carosello, Il Musichiere e La via del successo. Nel volume la storia dello stilista-star viene raccontata attraverso quattro macro-sezioni: la prima è dedicata alla biografia del sarto, fino ad oggi poco indagata; la seconda alla ricognizione del proficuo rapporto che Schuberth ha instaurato con il mondo del cinema in venti anni di attività, dalla partecipazione come attore in alcuni film, alla promozione del proprio marchio grazie alle più famose dive del cinema; la terza si focalizza sul lavoro di Schuberth come stilista al servizio del grande schermo; la quarta sezione è dedicata alle esperienze nell’ambito radiotelevisivo e all’uso strategico che lo stilista fa del neonato medium televisivo promuovendo le sue creazioni anche al pubblico di massa. Chiude il volume l’analisi del filmato promozionale Vedette 444, brillante analogia tra la creazione di moda e l’industria meccanica cui prende parte anche Schuberth. Il materiale dell’archivio CSAC, nello specifico i figurini del Fondo Schuberth e le fotografie del Fondo Publifoto Roma, si è rivelato uno strumento di studio fondamentale per la ricostruzione dell’attività del sarto in oltre due decenni di attività e ha fornito un ricco repertorio di immagini e documenti per il libro. Ne è testimonianza l’album dei figurini di moda, in chiusura del libro, con una selezione di materiale particolarmente rappresentativo della vivacità e varietà che ha caratterizzato l’attività dell’atelier di Schuberth nei decenni centrali del Novecento. Il volume è il quarto di una serie di pubblicazioni e iniziative in collaborazione tra la casa editrice Electa e CSAC – Centro Studi e Archivio della Comunicazione dell’Università di Parma. Lo studio, e il prezioso lavoro di riordino e catalogazione di cui questa pubblicazione offre testimonianza, ha dato a CSAC l’opportunità di catalogare e digitalizzare tutti i bozzetti e le fotografie del sarto in modo da rendere fruibile il patrimonio del fondo all’esterno.

02/11/23

[knick-nudiex]

Intervention is an American documentary series that premiered on March 6, 2005, on A&E. It follows one or two participants, who are dependent on or addicted to drugs and/or alcohol. They are documented in anticipation of an intervention meeting by family or friends. During the intervention meeting, loved ones give the addict an ultimatum: go to an inpatient drug rehabilitation program immediately, or else risk losing contact, income, or other privileges. The show follows up on the recovery progress for future episodes or for web shorts.[citation needed]

On May 24, 2013, A&E announced it had concluded the series, with remaining episodes to begin airing in June 2013. The final episode in the lineup aired on July 18, 2013, and concluded with reflections from past addicts and thanks from the producers to the interventionists, family members, treatment centers, and addicts. On August 5, 2014, however, LMN announced the revival of the series with a new season premiering in 2015.[2]

A&E revealed the return of the show on January 13, 2015, and aired both a special behind-the-scenes episode showing the filming process and updates from former addicts. Season 25 premiered on April 22, 2024.

Overview The show follows one or two participants who have either substance dependence or addiction, and occasionally, eating disorders. It is a documentary of their addiction, including graphic substance abuse and its effect upon their lives, until a surprise intervention event is conducted with a professional interventionist. It is intercut with interviews with relatives and friends. In the intervention, the addict is given an ultimatum: either undergo a 90-day, fully covered treatment plan at a rehabilitation facility or risk losing contact, income or privileges from their relatives and friends.[citation needed]

In situations where the individuals in the addict's close circle have become codependent or otherwise traumatized by the addict's behavior, the interventionist usually recommends that the entire family seek counseling to enable them to move on. Medical detoxification is available when drug withdrawal is dangerous.[citation needed]

Interventionists The role of the Interventionist on the show is to persuade the addict to consent to the treatment being offered. If the patient agrees to recovery, some of the Interventionists will accompany the addict to the treatment facility or provide a nurse. They will advise each addict on which center they are assigned to base on their addiction, which is typically in a different state than where they reside. Many Interventionists have appeared on the show since its start in 2005.

Ken Seeley is an Interventionist, certified in CCMI-M, CIP, CTP, CADC, CAS. He is a recovering addict himself devoting his life to helping others and has his own recovery treatment facility in Palm Springs, CA. Seeley has made many appearances on the show since 2005. Jeff VanVonderen is a Certified Intervention Professional, also gives motivational speeches across the country, and has been highlighted in several publications. VanVonderen has appeared on several episodes of the show starting in 2005. Candy Finnigan is an Interventionist, Certified Master Addiction Counselor III. and Board Registered Interventionist II. and received several certificates in drug addiction. Finnigan is a recovering addict herself and has written a book called "When Enough is Enough" about how others can offer support for someone with an addiction.

Sylvia Parsons, Interventionist, certified in MS, LCAS, CSAC, QSAP, QMHP with a Master of Science Addiction Counseling. She is a professional therapist with her own counseling facility. Parsons is a recovering addict herself and has been sober from 2006 to the present.[9] Michael Gonzales is an Interventionist and certified CIP, CTP, Cpi., Full Member of AIS. He has dedicated his life to helping families and addicts on healing from addiction. In the past, Gonzales has spent time in jail and recovered from addiction. Heather Hayes is another Interventionist certified in M.Ed., LPC, CIP and a Master's Level, Licensed Counselor. She has been featured on other broadcast networks, public speaking engagements around the world and has written several documents about addiction. Hayes helped many addicts on the 2018 broadcast of the show.

James "Jim" Reidy is an Interventionist who has spent over a decade of his life battling his own addiction. He has devoted his life to helping others in their recovery for addiction, traveling to many states, and working with their support system.[12] Leticia Murphy is in Interventionist, certified in M.A., LMFT, LCADC. She has her own business in Las Vegas, Nevada where she sees clients for various mental health issues. Donna Chavous is an Interventionist, who chose this path after being addicted for many years and seeing others die from it. She started helping addicts on the show in 2010. Vance Johnson is an Interventionist and Recovery Ambassador on the show as well as the states. He is a former athlete and addict that has recovered and is helping others in their healing journey. Celebrity subjects Most episodes feature average people, with a few entertainment professionals. Vanessa Marquez, a supporting actress on the first three seasons of ER, appeared in season 1, episode 2 due to a compulsive shopping disorder. Travis Meeks, lead singer of the Alternative rock band Days of the New, appeared in season 1, episode 5, focusing on his methamphetamine addiction. Antwahn Nance, a 6'10" former NBA power forward for the Los Angeles Clippers, was featured in season 2, episode 8, as he ended up homeless due to his crack cocaine addiction. Chuckie Negron, the son of Three Dog Night vocalist Chuck Negron, was featured in season 2, episode 10, with heroin addiction. Tressa Thompson, a women's shot put champion, was featured in season 4, episode 7, as her Olympic dreams were ended by her methamphetamine drug abuse. Aaron Brink, a porn star and once moderately successful mixed martial arts (MMA) fighter, featured in season 6, episode 8, lost both of his careers due to his methamphetamine addiction. Rocky Lockridge, a two-time Super Featherweight boxing champion, was featured in season 7, episode 13, due to his homelessness and drug addiction. He later died, in 2019, due to complications after suffering a stroke. Linda Li, an actress who played a Taresian woman in the Star Trek: Voyager episode "Favorite Son" as well as appearing as an extra in TV shows and movies, was featured in season 7, episode 1, where she battles an addiction to Actiq, a transmucosal Fentanyl lozenge on a stick or "perc-a-pop". David Sax Jr., the son of former Major League Baseball player Dave Sax and nephew of former Major League Baseball player Steve Sax, was shown in season 14, episode 12, battling an addiction to methamphetamine and alcohol. Amber Rose, a model, musician, and social media phenomenon, is featured in season 24, episode 6. She travels back to South Philadelphia, to help her childhood best friend Tina. Tina, is heavily addicted to fentanyl and crack cocaine.

[cellard0ors]

Fic: Reeds In The Water (2/?)

Rating: Explicit

Fandom: Gravity Falls

Pairing(s): Ford Pines/Preston Northwest (Fordwest), Stanley Pines/Ford Pines (Stancest), Stanley Pines/Preston Northwest (Prestan), Stanley Pines/Ford Pines/Preston Northwest (Prestanwich)

Warning: Language, Sex, First Time, supernatural elements

Summary: Set within the Coffee Stains and Cigarettes AU,  Preston and Ford go on an adventure, aka, the sexual awakening of Preston Northwest.

Notes: I really hate this stories summary description, but honestly could not think of anything better…at least right now. Don’t be surprised if I update/change it.

Preview:

“Now don’t get mad…” Ford starts and Preston arches one perfectly shaped eyebrow at him, “Why would I be mad?”

He asks it in the way that indicates he’s never once been cross with Ford. Which is laughable. Ford knows better. While it’s true that, despite their past, wherein Ford was the target of Preston’s bullying, the two of them have gotten along companionably, they have had their disagreements. Nothing to the level Preston has had with Stanley, but they’ve certainly gotten under one another’s skin.

It’s rare these days, but it’s happened, and Ford feels like it might happen now as he winces, “Well, I mean, in order to-to make this work, I…well, I kind of had to contact your boss…”

“Bruce?” Preston lets slip, then corrects himself with a short cough, “I-I mean, Mr. Kincaid?”

AO3 Link

[personal-reporter]

CAROSELLO. Pubblicità e Televisione 1957 – 1977. In Mostra alla Fondazione Magnani-Rocca

Alla Fondazione Magnani-Rocca si apre un nuovo capitolo nell’indagine della storia della Pubblicità in Italia. La #mostra “Carosello. Pubblicità e Televisione 1957-1977” – allestita alla Villa dei Capolavori, sede della Fondazione a Mamiano di Traversetolo presso #parma dal 7 settembre all’8 dicembre 2019, a cura di Dario Cimorelli e Stefano Roffi – segue infatti dopo due anni la prima esposizione dedicata alla storia della pubblicità dal 1890 al 1957. Fu l’occasione per ripercorrere la nascita e l’evoluzione della comunicazione pubblicitaria e in particolare del manifesto, permettendo al visitatore di comprenderne la genesi, dai primi schizzi ai bozzetti, fino al manifesto stampato. Se in quella prima tappa della storia della pubblicità fu possibile ammirare le creazioni di cartellonisti come Leonetto Cappiello, Sepo, Marcello Dudovich o Plinio Codognato. Questa nuova occasione espositiva permette di continuare a seguire l’evoluzione della storia della #grafica pubblicitaria e del manifesto con grandi designer come Armando Testa, Erberto Carboni, Raymond Savignac, Giancarlo Iliprandi, Pino Tovaglia, affiancandola a un nuovo media – la televisione – che con Carosello mosse i primi passi nel mondo della pubblicità. Il visitatore quindi troverà tantissimi, celebri manifesti di quel periodo, affiancati ai bozzetti e agli schizzi, e insieme avrà la possibilità, grazie a una serie di schermi distribuiti nelle sale espositive, di ripercorre l’unicità e l’innovazione degli inserti pubblicitari di Carosello, vincolati al tempo a rigide regole di novità e lunghezza. Si scoprirà così l’universo dei personaggi animati che sono nati con la televisione, come La Linea di Osvaldo Cavandoli, Re Artù di Marco Biassoni, Calimero di Pagot o Angelino di Paul Campani, fino alla moltitudine di personaggi nati dalla matita di Gino Gavioli. Bozzetti, schizzi, rodovetri, storyboard sono gli elementi a complemento della serie di cartoni animati presentati in #mostra. A cui si aggiungono gli inserti pubblicitari in cui sono protagonisti i più importanti cantanti dell’epoca da Mina (Barilla) a Frank Sinatra, da Patty Pravo a Ornella Vanoni e Gianni Morandi o grandi attori come Totò, Alberto Sordi, Virna Lisi, Vittorio Gassman e grandi registi come Luciano Emmer, Mauro Bolognini, Ettore Scola, i fratelli Taviani, oltre a personaggi tv popolarissimi come Mike Bongiorno, Pippo Baudo, Raffella Carrà, Sandra Mondaini e Raimondo Vianello. La cultura di massa – Una selezione dei più importanti oggetti promozionali dell’epoca come l’ippopotamo Pippo, o i gonfiabili di Camillo il Coccodrillo, della Mucca Carolina, di Susanna tutta Panna completano la presentazione della pubblicità dei primi trenta anni della seconda metà del Novecento. Carosello, infatti, ebbe successo anche perché creò e impose i suoi caratteristici personaggi. Umberto Eco all’epoca sosteneva, nel saggio Ciò che non sappiamo della pubblicità televisiva, che si trattava di personaggi ambigui ed esili, di personaggi cioè che, a differenza degli eroi e dei personaggi mitologici tradizionali, non erano «portatori di un’idea» e avevano perso «la nozione di ciò che dovevano simboleggiare». Eppure, forse proprio grazie a questa loro apparente debolezza comunicativa, tali personaggi hanno saputo integrarsi efficacemente con la cultura di massa della società italiana. Hanno saputo cioè diventare vere e proprie “icone”, esseri senza profondità, spesso, come ha sottolineato lo stesso Eco, anche indipendentemente dai prodotti da cui erano nati. La fiabesca rivoluzione dei consumi – La pubblicità di quel periodo – dal 1957 al 1977, non solo televisiva – introdusse una vera e propria rivoluzione nel patrimonio culturale e visivo di tutti. Carosello era trasmesso in bianco e nero, ma per gli italiani era ricco di colori. Aveva infatti i colori del consumo, i colori di un nuovo mondo di beni luccicanti che si presentavano per la prima volta sulla scena sociale: lavatrici, frigoriferi, automobili, alimenti in scatola, etc. Carosello non era semplicemente pubblicità, ma un paesaggio fiabesco dove regnavano la felicità e il benessere, un paesaggio estremamente affascinante per una popolazione come quella italiana che proveniva da un lungo periodo di disagi e povertà. Un paesaggio onirico che esercitava un effetto particolare nei piccoli paesi, nelle campagne e nelle regioni più arretrate, dove rendeva legittimo l’abbandono di quell’etica della rinuncia che apparteneva alla vecchia cultura contadina, in favore dell’opulenza della città e dei suoi beni di consumo. Carosello, dunque, ha insegnato a vivere la modernità del mondo dell’industria, ha insegnato cioè che esistevano dei nuovi beni senza i quali non ci si poteva sentire parte a pieno diritto del nuovo modello sociale urbano, industriale e moderno. E ha insegnato anche come tali beni andavano impiegati e collocati all’interno del modo di vita di ciascuno. Seppure vincolato dalle rigide norme imposte dalla Rai puritana dell’epoca, ha comunque potuto mostrare le gratificazioni e le diverse fonti di piacere che erano contenute nei nuovi beni di consumo. Forse non è un caso che a Carosello lavorassero insieme i migliori creativi e le migliori intelligenze del teatro e del cinema italiano dell’epoca. Le collaborazioni – L’esposizione, fra gli altri contributi, si avvale della collaborazione col prestito di un importante numero di bozzetti originali e manifesti di Carboni, Iliprandi, Testa, Tovaglia del Centro Studi e Archivio della Comunicazione (CSAC) dell’Università di #parma, e di manifesti d’epoca del Museo nazionale Collezione Salce di Treviso e della Collezione Alessandro Bellenda – Galleria L’IMAGE, Alassio (SV), della Fondazione Luigi Micheletti di Brescia, di archivi aziendali e di importanti collezioni private. Per tutta la parte filmica si avvale del contributo dell’Archivio Generale Audiovisivo della Pubblicità Italiana e del personale apporto del suo Fondatore e Direttore, lo storico della pubblicità Emmanuel Grossi. L’Archivio Storico Barilla, da ora disponibile online sul sito www.archiviostoricobarilla.com con oltre 35.000 documenti consultabili, ha messo a disposizione alcuni spettacolari caroselli con Mina (1967) con gli abiti disegnati da Piero Gherardi, costumista di Fellini, rari “rodovetri” utilizzati per le animazioni dei caroselli con Re Artù e i cavalieri della tavola rotonda, per il Gran Pavesi disegnati da Marco Biassoni e alcune storie di Topo Gigio, testimonial per i Pavesini fra il 1963 e il 1975. La #mostra e il catalogo – La #mostra – a cura di Dario Cimorelli, cultore di storia della pubblicità, e Stefano Roffi, direttore scientifico della Fondazione, come il precedente capitolo dedicato alla pubblicità del periodo 1890-1957 – è accompagnata da un catalogo edito da Silvana Editoriale, dove, oltre ai saggi dei curatori e alla riproduzione di tutte le opere esposte, vengono ripubblicati testi fondamentali di Omar Calabrese su Carosello e su Armando Testa, a cui vengono affiancati nuovi testi di Emmanuel Grossi su cinema, musica e animazione in rapporto a Carosello, Roberto Lacarbonara sull’attività di Pino Pascali in ambito pubblicitario, Stefano Bulgarelli sulla Scuola modenese di Carosello. CAROSELLO. Pubblicità e Televisione 1957-1977 Fondazione Magnani-Rocca, via Fondazione Magnani-Rocca 4, Mamiano di Traversetolo (Parma). Dal 7 settembre all’8 dicembre 2019. Aperto anche tutti i festivi. Orario: dal martedì al venerdì continuato 10-18 (la biglietteria chiude alle 17) – sabato, domenica e festivi continuato 10-19 (la biglietteria chiude alle 18). Aperto anche 1° novembre e 8 dicembre. Lunedì chiuso. Ingresso: € 12,00 valido anche per le raccolte permanenti – € 10,00 per gruppi di almeno venti persone – € 5,00 per le scuole. Informazioni e prenotazioni gruppi: tel. 0521 848327 / 848148 info@magnanirocca.it www.magnanirocca.it Il sabato ore 16.00 e la domenica e festivi ore 11.30, 15.30, 16.30, visita alla #mostra con guida specializzata; è possibile prenotare via mail a segreteria@magnanirocca.it , oppure presentarsi all’ingresso del museo fino a esaurimento posti; costo € 17,00 (ingresso e guida). Presentando il biglietto d’ingresso della Fondazione è possibile visitare lo Csac a prezzo scontato www.csacparma.it. Mostra e Catalogo (Silvana Editoriale) a cura di Dario Cimorelli e Stefano Roffi, saggi in catalogo di Omar Calabrese, Stefano Bulgarelli, Dario Cimorelli, Emmanuel Grossi, Roberto Lacarbonara, Stefano Roffi. Ufficio Stampa: Studio ESSECI, Stefania Bertelli gestione1@studioesseci.net tel. 049 663499 La #mostra è realizzata grazie al contributo di: FONDAZIONE CARIPARMA, CRÉDIT AGRICOLE ITALIA. Media partner: Gazzetta di #parma. Con la collaborazione di: AXA XL Art & Lifestyle, parte di AXA XL, divisione di AXA, e di Aon Angeli Cornici, Cavazzoni Associati, Fattorie Canossa, Società per la Mobilità e il Trasporto Pubblico. www.magnanirocca.it Read the full article

[skyglow]

Light pollution is widely recognised as being a major threat to seabirds and nocturnal migrant species. This report examines its effect on seabirds and other fauna firstly in an international context and then at the local Maltese level. Using the LIFE project site of Rdum tal-Madonna (Special Protection Area - SPA / candidate Special Area of Conservation cSAC) as a case study, a methodology was devised to assess light pollution affecting seabird colonies in Malta. The principal areas affecting the protected area through light pollution were located and assessed and then a series of fieldwork visits were made to each location to assess the source and severity of the pollution. Data on the locations of shearwater groundings due to light pollution was also collated and analysed. The report then considered in detail which actions needed to be undertaken for each location to reduce light pollution levels. Recommendations were made which can also be extrapolated to help to reduce light pollution at all other seabird colonies around Malta. 

[maximilianhizo-blog]

five

July  23-27

THIS WEEK WAS ALSO A BIT HECTIC BECAUSE THERE IS GOING TO BE ANOTHER SEMINAR NEXT WEEK. THE SEMINAR IS TITLED TRENDS IN TOXICITY AND LABORATORY ANIMAL HANDLING WORKSHOP TO BE HELD ON JULY 26-27, 2018. AND AGAIN, I WAS TASKED TO CREATE THE MINUTES FOR THIS SEMINAR. I HATE BEING GIVEN THIS JOB LOL BUT IT’S NOT LIKE I CAN SAY NO? WE HAD A PRETTY TIRING WEEK - I MEAN MONTH SINCE WE WERE HANDLING LOTS OF SEMINARS. THIS TIME, I WAS TASKED TO DO THE PHOTO DOCUMENTATION. ONE OF THE SPEAKERS IN THIS SEMINAR WAS PROF. JAZZLYN T. IMPERIAL, THE CSAC COORDINATOR OF THE COLLEGE OF SCIENCE. THIS WAS A TWO-DAY EVENT AND IN THE SECOND DAY, THEY CONDUCTED A SERIES OF HANDS ON ACTIVITIES ON LAB RATS. POOR RATS.

-M

[beckythorp]

Why are English Chalk Streams Important?

We’ve looked at where chalk streams come from and their characteristics. Now it’s time to consider why English chalk streams are important.

The ecological significance of England’s chalk rivers is internationally recognised. England has the largest number of chalk rivers of any European country, with a cumulative length of nearly four thousand kilometres. The cultural and economic value of such rivers is also high; water abstraction, irrigation, fisheries management, energy provision and navigation are just some of the demands placed upon chalk rivers both historically and today. Consequently, the conservation of chalk rivers is a key concern for land managers, with ten chalk river Sites of Special Scientific Interest (SSSI’s) and four candidate Special Areas of Conservation (cSAC’s) across England.

Ecological diversity within chalk rivers is accommodated by habitat diversity, which in healthy waterways is facilitated by (relict) side channels, clean gravel-pebble substrates, wetland meadows, Ranunculus beds, shading, woody debris structures, gravel runs, glides, pools and riffles. Habitat diversity is especially important for those species that have different habitat optima during different stages of their life-cycle. For example, juvenile Atlantic salmon are thought to prefer shallow riffles because it maximises the effectiveness of their sit-and-wait feeding strategy. However, when migrating upstream to spawn, adult salmon will opt to travel through deep pools so as to avoid predation and exposure to sunlight; deep pool preference is also seen in adult trout. Consequently, ecosystems in which either habitat component is absent will be sub-optimal for Atlantic salmon.

It is not only salmon species that rely upon the variations in flow dynamics that occur within chalk streams to create their preferred life-stage habitat. A study of aquatic insect larvae from the Ardéche River in south-eastern France revealed that habitat suitability varied significantly between six different species. Suitability of a particular hydraulic habitat was also found to change through time, with species accommodating different environments during different growth stages.

The diversity of habitats available within chalk rivers and riparian areas is such that this life-cycle specific habitat selection can occur longitudinally (e.g. salmon species spawning upstream but residing in marine environments when adult), vertically (e.g. mayfly larvae inhabiting an aquatic habitat but living predominately in the air as adults), horizontally (e.g. lapwing chicks nesting in the riparian zone but foraging at surface waters when adult), and temporally (e.g. brown trout occupying surface turbulent habitats during the day but moving to pool habitats at night. Indeed many species will change habitat through more than one dimension during their lifetime.

I haven’t touched too much on the economic or cultural importance of chalk streams, which isn’t to say they’re not economically or culturually important; I just prefer the ecological stuff! A decent book to read to understand these ideas further is Mark Everard’s Water Meadows. It doesn’t deal with chalk streams explicitly, but it’s a great read to learn a bit about our landscape history.

In the next blog post in this series we’ll discuss the numerous threats to English chalk stream sustainability.

https://room1077.wordpress.com/2012/07/26/why-are-english-chalk-streams-important/

[francescacorno-blog1]

Comincio a scrivere su Artwort mentre sono ancora a Londra,nel maggio del 2016. Mi occupo soprattutto di serie e progetti fotografici e di interviste. // I started writing on Artwort while I was in London, back in May, 2016. My works are focused on photographic series and project and I often interview artists. 

La bellezza che resta - DVNE di Lux Eterna

La costruzione di un disegno pulito - Intervista a Alessandro Cominelli

30′ Creative Break Live - Intervista a Francesco Marri

(S)guardo negli spazi intimi - Intervista a Germana Stella

Gli specchi che non riflettono di Leonardo Magrelli

Le linee parallele di Half and Half Project - Intervista a Luca Pagliara

The Land Between Us / Ning Kai/Sabrina Scarpa

La distorsione dell’armonia / Ewa Doroszenko

Le tinte forti di Francesco Zorzi

Fotografie di poche parole: Angela Sairaf

Restituire la realtà: la fotografia di Elsa Leydier

Archè di Mirko Baricchi - Prima del tempo e delle cose

And Now the Good News / LAC

Esplorazioni dell'archivio. Fotografie della via Emilia / CSAC

[fashionbooksmilano]

Emilio Federico Schuberth

Moda e media ai tempi della dolce vita

Dorothea Burato

Electa, Milano 2023, 128 pagine, 17x24cm, ISBN 97888284317

euro 24,00

Il volume è l’esito di una approfondita ricerca sulla figura dello stilista di origini napoletane attivo a Roma a partire dagli anni Quaranta. Emilio Federico Schuberth si impone sul territorio nazionale e internazionale grazie soprattutto al sapiente uso di strategie di promozione del suo marchio attraverso il medium cinematografico e quello televisivo. Nel panorama della moda italiana, che si afferma a partire dal dopoguerra, Schuberth rappresenta una voce fuori dagli schemi: il suo atelier è stato una tappa obbligata per le dive del cinema, le soubrette del varietà e le donne più eleganti del jet set internazionale. Schuberth veste le più grandi dive del cinema, come Gina Lollobrigida, Sophia Loren, Martine Carol, Valentina Cortese, Alida Valli, Anna Magnani, Bette Davis e Gloria Swanson, sia dentro che fuori dallo schermo, recita in alcuni film e partecipa a trasmissioni televisive di grande popolarità come Carosello, Il Musichiere e La via del successo. Nel volume la storia dello stilista-star viene raccontata attraverso quattro macro-sezioni: la prima è dedicata alla biografia del sarto, fino ad oggi poco indagata; la seconda alla ricognizione del proficuo rapporto che Schuberth ha instaurato con il mondo del cinema in venti anni di attività, dalla partecipazione come attore in alcuni film, alla promozione del proprio marchio grazie alle più famose dive del cinema; la terza si focalizza sul lavoro di Schuberth come stilista al servizio del grande schermo; la quarta sezione è dedicata alle esperienze nell’ambito radiotelevisivo e all’uso strategico che lo stilista fa del neonato medium televisivo promuovendo le sue creazioni anche al pubblico di massa. Chiude il volume l’analisi del filmato promozionale Vedette 444, brillante analogia tra la creazione di moda e l’industria meccanica cui prende parte anche Schuberth. La ricerca, che incrocia materiale d’archivio con documenti audiovisivi e testimonianze di diversa origine, porta alla luce una figura imprescindibile per la conoscenza dello sviluppo del settore della moda che dal dopoguerra in avanti ha fatto la fortuna del Paese. Il materiale dell’archivio CSAC, nello specifico i figurini del Fondo Schuberth e le fotografie del Fondo Publifoto Roma, si è rivelato uno strumento di studio fondamentale per la ricostruzione dell’attività del sarto in oltre due decenni di attività e ha fornito un ricco repertorio di immagini e documenti per il libro. Ne è testimonianza l’album dei figurini di moda, in chiusura del libro, con una selezione di materiale particolarmente rappresentativo della vivacità e varietà che ha caratterizzato l’attività dell’atelier di Schuberth nei decenni centrali del Novecento. Lo studio, e dunque questa pubblicazione su Emilio Federico Schuberth, rappresentano quello che è il senso profondo di CSAC, ovvero la relazione imprescindibile fra le diverse forme d’arte, in cui si inserisce a pieno titolo anche la moda oltre che il cinema, e la comunicazione. Una visione inclusiva che abbraccia diversi saperi per fotografare il presente e il nostro passato recente. Il volume è il quarto di una serie di pubblicazioni e iniziative in collaborazione tra la casa editrice Electa e CSAC – Centro Studi e Archivio della Comunicazione dell’Università di Parma. Lo studio, e il prezioso lavoro di riordino e catalogazione di cui questa pubblicazione offre testimonianza, ha dato a CSAC l’opportunità di catalogare e digitalizzare tutti i bozzetti e le fotografie del sarto in modo da rendere fruibile il patrimonio del fondo all’esterno.

25/01/24

[cellard0ors]

Anonymous prompt request: Fordwest with “let me go”

Maybe not as good as the first time I wrote it (*side-eyes shitty tumblr app on android), but still pleased overall. Another excuse to be horny on main. Warnings for light bondage, language, and public (kinda/not really) sexiness…

“Let me go,” Preston murmurs unconvincingly against Ford’s lips.

“Hrm, I think not,” Ford returns in a soft purr as he kisses Preston again, his tongue plunging deeply into the other man’s mouth. The sweater normally knotted about Preston’s shoulders is currently being used to keep Preston’s arms bound back behind his office chair.

At first, Ford had been worried Preston wouldn’t be into this idea, as well as worried that the position might be too restrictive or painful. But once assured that everything was perfectly fine and suitable, he’d begun to have real fun, crawling upon Preston’s lap, his legs spread on either side of him. His hands cup each side of his face, fingertips trailing through his dark hair, mussing it, even as the pads of his thumbs play along his cheekbones.

Preston, for his part, answers Ford’s questing tongue with his own, a muted moan escaping him as heat flushes throughout every vein in his body. He’s supposed to be working. This is his job. He’s in his office. But with the knowledge that the door is locked and Ford is on him, practically riding him, well…

And as if to punctuate that fact, Ford grinds his hips down, moving in a lurid display that accentuates the feeling of his plush ass against Preston’s rapidly growing erection. Another sound, this one a heartier groan, escapes Preston mid-kiss and his arms strain against his bonds. Suddenly he feels Ford smiling against his mouth and, with the thought that two can play this game, Preston cants his hips upwards. Hard.

The mimic of the sexual act catches Ford off guard and he whimpers, his grip in Preston’s hair tightening, and now it’s Preston’s turn to smile. He draws back enough to huff against his mouth, “Thought you were with your brother today…”

“He’s working,” Ford returns softly, their lips still touching, his eyes glazed with lust, “Thought you knew…”

“Mmm, and you couldn’t do this with him, I take it?”

“Hard to do in front of a bunch of contractors…”

“I see.”

“…besides, wanna do this with you.”

Preston’s heart flutters at the declaration, “Really?”

Ford nods and they haven’t really ever stopped kissing, working the words in between, “Love you too, remember?”

“I do,” he returns passionately, breathlessly, their lips parting enough so that he can nose his way over to the left side of Ford’s neck, licking and sucking there, making Ford’s head knock back, a sound of pure pleasure escaping him at the action, “But I like hearing you say it. Seeing you demonstrate it…”

Ford’s hips move again, rising and falling in their own display, another recreation and Christ, Preston’s pants are growing tight. He suddenly hates his khakis more than he’s ever hated anything. He draws away from Ford’s neck, falling back against his chair and his palms are sweating, wrists fighting against what holds them back.

Again, Ford can feel the struggle, and again he seems beyond pleased. Chuckling darkly as he croons, “Problem?”

“Wretch,” Preston returns smartly and breathes in through his nose, “You are making me into a stereotype, dear. I’ve never thought of myself as the Christian Grey type, yet here I am.”

“You’re nothing like him. He’s a lousy character. Obsessive, controlling-”

“Not hearing much different, to be honest.”

“Oh, you’re different,” Ford promises and he really hasn’t stopped moving, undulating against Preston, and he’s panting now and Preston whines his name because if this keeps up…

What is it with the Pines twins and getting him worked up at his location of employment? First there was the heated affair with Stanley in this building’s elevator and now Stanford here in his office. Soon no place will be safe. Everywhere he goes will be a reminder of what he has waiting at home for him. Two brothers who love nothing more than to bring him to the pinnacle of ecstasy.

There’s softer things too, of course. Love, companionship, a sense of family. Nice, simple things that make his life stable and worth living. Things that are not entangled in hormones and primal carnality. But, to be fair, it seems to be that that they bring to his work. Not lunch dates and friendly visits, no, it’s this.

He’s not certain what it is about his work that makes the Pines brothers so…amorous, but apparently it’s an infliction neither can fight. Not that he has much room to talk. He does allow these things to happen. His heaving breathing has joined alongside Ford’s and his forehead is coated in a fine sheen of sweat as he starts answering Ford’s actions with his own, thrusting upwards and god, yes, he feels rather…rather close…

The phone rings.

The shrill sound of it makes Preston freeze, blood going cold. Ford stops as well, but while he has a look of momentary alarm, it drops, becoming something…truly wicked. Coy even, as he kisses Preston deeply again before drawing back to say wetly against his mouth, “It’s just the phone…they can’t see us…”

“They can’t-?” Preston foolishly starts and then Ford, the absolute devil, bends back enough to click the speaker on. The phone comes to life, a voice ringing out, “Mr. Northwest?”

The wide eyed look Preston shoots Ford must be terribly comical, because Ford slaps both hands over his mouth to stifle his laughter, and he just looks so goddamned pleased with himself. He’s still on Preston’s lap. Preston’s hands are tied behind his back. Preston…Preston is aroused. His dick at full mast and a voice he doesn’t recognize is talking to him from his phone’s speaker!

“Mr. Northwest, are you there?”

The sheer audacity! The-the gall! The look Preston now gives Ford would whither most people. Ford? Ford just falls forward, burying his face into the right side of Preston’s neck and the smile Preston feels there, the smile right against his skin. The little minx! The scapegrace! The-!

“I think we may have a bad connection…”

“No,” Preston manages awkwardly, even though, honestly, he should just let the call die, he finds himself answering, “I’m-I’m here…”

“Oh! Good! Okay, well, this is Mark Barnett? From accounting? I just wanted to let you know those invoices are complete and headed your way via e-mail. You told us in the last meeting that you wanted to be notified the moment they were on their way, so”

“Ah, yes, yes, I-I remember…” Preston manages and he’s being licked. Ford is licking him. The silky point of Ford’s tongue trails along one corded side of Preston’s neck and rises to his earlobe. An earlobe that disappears into the hot cavern of Ford’s mouth. Teeth gently scrap the tender flesh as Preston sighs dreamily, “Th-thank you for-ahh-for getting-getting back to muh-me as-as I requested.”

The last word comes out extremely shaky and broken because now, not only is Ford sucking his earlobe, but he’s moving again. Jesus, the feel of him. He’s rubbing and pushing, shifting himself downwards, and Preston’s been inside Ford before. He knows what it’s like to be buried deep within him and even with their clothes separating them, this is too much, too much of a reminder.

Preston mouths ‘fuck’, the muscles in his throat twisting, wrists pulling so hard against the sweater he worries he’ll somehow tear the fabric and he wants this all to be over, to be different. He wants the bonds gone, he wants their clothes gone, he wants Ford face down on his desk and for his hands to be grabbing fistfuls of his curved, full hips as he empties himself in-!

“Are you alright, sir?”

Preston knows he sounds strangled even as, thankfully, Ford pauses, as if curious to hear what will happen next, “Pardon?”

“You sound…strange…”

“Do-uh-do I?”

“Yes. Sort of…throaty…”

While it’s a relief Ford is no longer trying to bring him to the brink, it’s just as vexing to know that Ford’s body is now shaking, trembling, from glee. Preston swallows a lot of air before returning primly, “Yes, I, ah, I’m afraid I might be coming down with something.”

“I’m sorry to hear that, Mr. Northwest! I hope you get better soon.”

“Yes, thank you and thank you again for your hard work. Goodbye.” He doesn’t need to look at Ford for his lover to take the hint, the last word spoken with such steely authority that Ford obeys, bending back to click the speaker off and conclude the call.

Laughter ripples out of Stanford even as Preston’s voice rises, “You absolute monster!”

If anything this just makes Ford laugh harder, his arms wrapping around himself, and it’s amazing he hasn’t fallen back to roll around on the floor. He’s close to hysterical at what just transpired and Preston glares at him, “Just wait until we get home!”

Ford wipes away some tears, “Ahahaha-ha-ha-ho-home?”

Preston makes a sound of assent, “When I tell your brother…”

“Oh? You’re not going to get your own revenge?”

“I will,” Preston promises, “But your brother? He’s the master of this sort of thing, is he not? And with my help? Why…just imagine…”

Ford gulps and it’s clear that he hadn’t given that thought. His two lovers…plotting against him…

He tries a contrite look, but currently it doesn’t sit well with him at all, “C’mon, Pres, I was just playing around…”

“And so shall I,” he intones ominously, “And so shall he…”

“Pres…”

“And so,” Preston edges up and sneaks in a kiss, “Shall we…”

[cellard0ors]

Fic: Grounds and Dust, Chapter 5

Rating: Explicit

Fandom: Gravity Falls

Pairing(s): Stanley Pines/Ford Pines (Stancest), Stanley Pines/Preston Northwest (Prestan), Ford Pines/Preston Northwest (Fordwest), Stanley Pines/Ford Pines/Preston Northwest (Prestanwich)

Warning: Angst, Sibling Incest, Explicit Language, Past Child Abuse, Polyamory, Self-Harm, Blood, Violence, Choking, Attempted Murder, Demonic Possession, Demons

Summary: Set within the Coffee Stains and Cigarettes AU, we take a peek into the far flung future - wherein Stan brings back a portal-lost Ford…only to discover he’s even more lost than he ever feared.

Notes: FINALLY finished this chapter. It’s been collecting dust in my drafts for a bit as I did those prompts and other things. Just needed to be closed out and I finally did that this past week! Now to address the three hundred other things I need to do...

Preview:

Dipper Pines has never considered himself a light sleeper, but even a deep one would be awoken by the sound of…well, someone falling all over themselves in the dark. A mixture of thumpings, thuddings, and a sharp, hissed curse that slices right through his slumbering state, having him bolting upright with an alarmed cry and okay, yes, the cry is a lot higher in pitch than he would like.

But again, there’s someone in the room! Someone who is not him, nor Mabel, and the cry must have been even louder (and embarrassingly shriller) than even he thought, because he hears the sound of heavy footsteps beating up the stairs, the attic bedroom door bursting open to flood the room with golden light.

Grunkle Stan looks breathless and just as alarmed as Dipper feels, “Hey-! Kid! What-!”

Dipper has his blanket pulled up to his chin, his eyes wide with fright as he gestures over to where the sounds came from. Grunkle Stan clicks on the room’s lights and both he and Dipper bear witness to the sight of a very undignified Mr. Northwest, crumpled up on the floor, practically hanging upside down from the tiny triangle window.

Grunkle Stan rolls his eyes.

Hard.

Dipper has a very different reaction, voice colored with confusion, “Mister…Northwest?”

AO3 Link

[cellard0ors]

Fic: Reeds In The Water (1/?)

Rating: Explicit

Fandom: Gravity Falls

Pairing(s): Ford Pines/Preston Northwest (Fordwest), Stanley Pines/Ford Pines (Stancest), Stanley Pines/Preston Northwest (Prestan), Stanley Pines/Ford Pines/Preston Northwest (Prestanwich)

Warning: Language, Sex, First Time, supernatural elements

Summary: Set within the Coffee Stains and Cigarettes AU,  Preston and Ford go on an adventure, aka, the sexual awakening of Preston Northwest.

Notes: I really hate this stories summary description, but honestly could not think of anything better...at least right now. Don’t be surprised if I update/change it.

Preview:

“And you’re sure you’re completely packed?”

“I dunno. I mean, I probably wasn’t the first three hundred times ya asked me, so you might as well go ahead and go for three hundred and one. Maybe even two!”

“Stanley…” Ford’s voice comes out stern and long suffering, yet Preston can’t help chuckling at it, even as he turns the page of his newspaper. He’s caught between reading an article about the new overpass going up near the 405 and knowing for a fact that Stanley is going to be a big part of that. Hence the packing. He fidgets slightly where he sits, thinking of how Stanley will be gone on this job for well over a week.

An entire week…

True, it’s nothing like when he left for months back before…well, everything. Everything that happened, everything that changed. But still, the last time Stanley Pines was away from his brother for a lengthy period, it did not go over well. Ford was a wreck without his twin and while Preston had been there to offer his support and friendship, it…it hadn’t been enough.

…so, facing this now, knowing what came before…

AO3 Link

[cellard0ors]

Fic: Grounds and Dust, Chapter 4

Rating: Explicit

Fandom: Gravity Falls

Pairing(s): Stanley Pines/Ford Pines (Stancest), Stanley Pines/Preston Northwest (Prestan), Ford Pines/Preston Northwest (Fordwest), Stanley Pines/Ford Pines/Preston Northwest (Prestanwich)

Warning: Angst, Sibling Incest, Explicit Language, Past Child Abuse, Polyamory, Self-Harm, Blood, Violence, Choking, Attempted Murder, Demonic Possession, Demons

Summary: Set within the Coffee Stains and Cigarettes AU, we take a peek into the far flung future - wherein Stan brings back a portal-lost Ford...only to discover he's even more lost than he ever feared.

Notes: Gonna dedicate this to @merlonks who wanted to see some Fordwest. Prepare to get wreeeeeecked.

Preview:

“Honestly, that-that man…” Preston grumbles as he hovers around the doctor working on Ford’s hand. It’d taken some time and trickery to lure Ford out of the basement. And Mabel. Once Stan spoke with her about what she fed him, it became clear that apparently cookies were the key to getting him to come out of hiding. It was possible some other kind of food would have worked, that perhaps the man was simply hungry, but regardless that’s what they used to get him up and out of the darkness.

Well, what Mabel used. While Stan had been able to comfort his wounded brother for a time, eventually he’d been shoved aside (his words) and Ford retreated back into the shadows. Stan hadn’t wanted to manhandle his already skittish, injured twin out of hiding, so he’d turned to his niece.

AO3

[cellard0ors]

if you are still taking prompts : “take it back” with stan/Preston would be nice :)! you are great by the way, love your stuff ^-^

(Thanks so much for the sweet compliment! So, so sorry this prompt promoted angst in me... unless you like angst, in which case, drink up!)

"He... he's gone," Preston breathes. Stan hears him breath. Hears it audibly, hollowly, because his own breath is gone. The air has been sucked from his lungs, the life from his veins, the soul from his body as he stares at the portal.

The portal...

Once a whirlwind mass of violent colors, now nothing. Blank, grey slate wall lies behind it. Useless. Lifeless. Benign. Before...when exploding with light, it had had Ford. Had held him, cradled him close...sucked him in, whisked him away...

"He's gone," Preston dumbly repeats and Stan is on his knees in front of the now dead portal, hearing dimly Preston's repeated, mournful mumbles of 'No' and 'Ford' and the sounds of button bashing, handles clicking, and deep, vicious cursing.

"... can't be! This-this has to work..."

Stan blinks, rises, an undead sentinel.

"He's gone, he's gone. Why isn't this fucking thing-!"

Stan is on his feet, staring still at the portal as his fingers...curl. Fists form, hard and firm. Short, blunt nails biting into his palms, drawing blood, shaking and shaking and shaking...

"...have to-! Need to-! He's...gone."

"Take it back."

The voice is alien.

Stan doesn't recognize it. He doesn't know it. He can't even believe it came from him, but it did. His raw throat still vibrating with the sound of it, the formation of the scorching, hissing words, the demand...

"Take it back," the foreign voice that is Stanley's repeats as he turns and Preston looks at him, his expression the definition of distinguished anguish.

Life slowly floods back in, painful and agonizing, starting in his legs that move. Heavy weights that pump and pull and drag him forward and, despite their heftiness, Stan's momentum is that of a freight train at full speed, thundering and terrifying, and Stan's eyes blur as he charges forward and grabs Preston.

He shakes him and shakes him and shakes him. When he speaks again his booming voice has taken on the edge of a mad hysteria, "Take it back, Northwest! TAKE IT BACK!"

"S-S-Stanley, I-I cuh-cuh-can't-" Preston's voice warbles, breaks. Partially because Stanley is violently accosting him and partially because...

"He's not gone! He's not! Take it back! Take it back! Take it back, you bastard!"

"... Stanley..."

"He was right there!" He bellows, pointing at the empty portal, pointing to the spot where he last saw Ford (last saw Ford) and that washes over him like needles raking over his flesh. Sparking, shocking hurt.

"He's not gone, he's not! So. You. TAKE. IT. BACK!" The last is a wild, whining wail of grief that, perhaps, in another situation, would embarrass Stan.

Embarrass him because of how hopeless it is. How desperate. How pleading and please, please, don't let this be real. Let it be a dream, a nightmare - one he'll wake up from soon.

...take it back...

He's not aware he's weeping openly until he falls again, Preston crumpling alongside him. Both of them buried beneath waves of loss, of despair.

He's gone.

[cellard0ors]

I read "let me go" and it was a pleasant surprise that sometimes Preston imagines himself as top. Especially with Ford😈. I hope that one day you will write about what happened that night. Because I think Ford will get what he deserves😏😏😏😏

I'd have to think about it. Right now I have no plans on it, but who knows? But yes, Ford would most definitely get what's coming to him 😉

[cellard0ors]

Hmm. Now I'm a little interested in Ford's feelings. How does their relationship work? I mean, for example, does Ford share his relationship with Preston and his relationship with Stan, or does he feel like it's one big relationship with just two people? And if they're in a poly, does that mean they're not jealous of each other? For example, if someone shows interest in Ford, will the boys be jealous? Or have they reached the point where there is no jealousy at all? ❤️

Okay, hopefully I'll be able to answer this in a clear way - some if it, honestly will probably be more well explained in what I'm currently writing - but I like to think each relationship is different from the other but works as one humogeonous unit.

Basically, Stan and Ford's relationship is innate. They're a we. They have always been together and loved one another but now they've just blossomed to the next level of that.

Preston and Ford's relationship is a meeting of minds. They like a lot of the same things, share a similar intelligence level (albeit Ford still smarter) and have a similar upbringing in regards to how their father's treated them.

Preston and Stan are adversarial but with a touching affection beneath. They have companionable moments and also have a few things in common but basically just like to provoke the other - it's good for them, because it encourages each of them to improve and grow better.

As a whole group, Ford is the brain, Stan the brawn, and Preston the beauty. Each shares their moment as the heart and each gets their fair share of attention from the others.

Sometimes Stan and Ford might break off and do their own thing or date or whatever and Preston will be fine with that. Same for what I'm working on currently - Preston and Ford are going to go on a solo adventure and Stan is fine with it - so, jealousy is not much of an issue.

That being said, if some rando hit on Ford, I doubt either Stan nor Preston would be happy about it. So, there would probably be some jealousy there - great example, if Bill hit on Ford?

Hoooo boooy - it'd be bad.

Anyway, hope this answers your questions. Poly is a varied from group to group. This just happens to be my view on this ship/how I'm writing it!