CORSAGNA(Substitutes: G. Pellegrini, Baroncini, Ga. Pellegrini, Martini, Eramnazi). Coach: Piercecchi. CAPANNORI: Angeli, Pardini, Rolla (41' st Garofalo), Mattioli (40' pt Giuntoli), Fanani, Giusfredi (15' st Paganelli), Menconi (48' st Ezzaki), Martinucci, Pistoresi, Del Ry (27' st Zuncheddu), Haoudi. (Subs: Gramajo, Ramku, Orlandini, Menchini). Coach: Paoli. Referee: Marongiu of Livorno. Network: 5' pt Ricci. PIETRASANTA - The Corsagna wins the First category play-off group "A" beating the Capannori, thanks to the network of Ricci and, next Sunday, they will face Jolo in the regional phase, which beat Folgor Calenzano. In the second half, the game is always played at an excellent pace. This time, however, it is Battistoni who, in the 35th minute, misses a penalty. In the end the result does not change and the Corsagna, after the second place in the championship, can celebrate; while at Capannori, who played a great match, remains disappointed at not being able to get back into the game. Next Sunday for the black and greens there will be the Nice, on neutral ground: another important challenge to continue the dream. Senza categoriaAn open air museum: the Park of Villa Reale A few kilometers outside Lucca renowned for its beauty: The Villa Reale of Marlia and its immense park I decide to visit the Villa for the first time with Gianni We pass through Lucca and leave the city’s imposing walls behind us and after about 10 minutes by car we turn into a tree-lined avenue which leads directly to the villa gates the foundations of the Villa date back to the Middle Ages thanks to Napoleon’s sister in the 1800s At present the Villa itself is closed due to restoration work and shall open to the public in 2020 You should allow at least an hour and half for the visit in order to fully appreciate all there is to see because every step you take will lead you to an area which is completely different from the previous one You can be accompanied by a guide or visit the park on your own We begin our tour with the olfactory itinerary It was introduced on 1st March 2018 and winds along the Camellia Walkway This itinerary was the brainchild of Elisa Bonaparte (Napoleon’s sister) who planted throughout the gardens many different species among which silver wattles wisterias and camellias from all over the world The result is an olfactory map which can be followed through the senses of smell and that puts you directly in contact with history A small stream accompanies us along the first part while we admire the buds of different species of camellia japonica The stream water comes from the Fraga river The position of the lake affords a magnificent view: in the distance flanked by the Villa del Vescovo (Bishop’s Villa) and the garden The Villa del Vescovo is also undergoing restructuring work and will be the main residence of the new owners The design of the lake was entrusted to the architect Jacques Greber who enhanced the design with a teardrop island created by a divergence in the canal that flows into the lake We continue past the Villa del Vescovo and behind the building we discover a clay tennis court where over the years grass has grown and brings to mind past times Among the bushes we can see a swimming pool in need of restoring but still charming with its brightly coloured dressing rooms was conceived for the glamorous and illustrious guests that stayed here among which Salvador Dalì and even if the pool is empty and abandoned you can still feel the charismatic and enticing atmosphere of its past We return to the main path and we find ourselves in front of the grotto dedicated to the god Pan The temperature drops considerably inside the grotto and if you are lucky you can see the water features that flow from the faces of the sculptures the scenery changes and we enter the Spanish Garden: it is an environment of sophisticated beauty where you can lose yourself in the thousands of colours and scents of the flowers during the summer months This garden was designed in a Hispanic-Moorish style by the landscape architect Jacques Greber in 1924 where the Bishop celebrated the religious services and then we find ourselves in a fantastic garden full of lemon trees: over two hundred citrus plants surround the fish pond and flower beds and fill the air with their enticing perfume In the past they had to be watered one by one by hand for which the gardener is undoubtedly grateful Our visit continues: we reach a natural theatre designed so that the surrounding plants create the ideal shape of the wings and curtain while the stage is a raised lawn with three terracotta statues representing the masks of the Commedia dell’Arte Italiana: Pulcinella Give yourself a minute take in the breathtaking view of the villa from this perspective Continuing along the path we reach a large building which used to house the servants Today it used for exhibitions and contains a scale model of the villa and the estate Michela tells us about the secret underground passage that connects the servant building to the villa an imposing fountain situated behind the Villa: here the colours of the vegetation and the gushing of the water combine to create a rare and beautiful natural spectacle We conclude our tour in front of the Villa From the entrance we have a view over the whole park with Montepisano in the background We thank Michela for her truly wonderful tour she really managed to convey all the charm of this incredible place Via Fraga Alta, 2 55014 Marlia, Capannori (LU) Tel: +39 0583 30108 www.villarealedimarlia.it For more information: www.villarealedimarlia.it/ Cumulative camellia ticket valid in March including visit to Villa Reale Park in Marlia + to Pieve and Sant’Andrea di Compitoadmission to the Exhibition of Ancient Camellias of Lucca and visit to the camellia grove in the camellia village: 19/12 – 03/02: Closed for maintenance and restoration work 01/03 – 05/11: Opening hours daily from 10 a.m 06/11– 17/12: Weekends and holidays only from 10 a.m On 2,3,8,9,10,16 and 17 December Christmas opening from 10:00 to 21:00 Discover all the events of 2023 Contact us at +39 366 6949330or +39 050 7846847 MARCH 30 – On the international day of the Zero Waste objective Italy at the UN has shed the light on Capannori the first certified ‘zero waste’ European city committed to adopt good practices that have become worldwide spread models The Municipality located in the province of Lucca has obtained the European certification in compliance with the Zero Waste Cities standard of Mission Zero Academy (Miza) and the support of the non-profit organization Zero Waste Italy earning the accreditation of 4 stars out of 5 the best result ever achieved by any certified municipality This important achievement shows that Capannori has not only been in line with European objectives but has been able to successfully involve the local community to facilitate the transition to zero waste already in 2021 the percentage of separate collection had reached 86.50% (the regional average is 62.12%); 4,100 tonnes of recycled paper contributed to save about 12,000 trees; 5,100 tonnes of kitchen waste turned into compost; 2,000 tonnes of collected glass converted into 4 million new wine bottles For the future, the municipal administration has set out to follow on the zero waste road with the adoption of a ‘Municipal Action Plan for circular economy by 2030’ Among the main points of the document we recall the increase to at least 95% of the share of municipal solid waste separately collected; a further reduction in the amount of waste per capita; the optimization of door-to-door collection of municipal waste including the introduction of new services such as the collection of textile materials Italy is committed to advancing the Zero Waste goal at a national and global level and “at the top of the EU rankings for the recycling of all municipal and special waste,” said Deputy Permanent Representative to the UN Gianluca Greco recalling also the work of the International Cooperation East Africa and North Africa through interventions that improve waste collection and strengthen the capacities of the local administrations Contattaci: redazione@onuitalia.com © 2024 ONUITALIA | Credits the go-to solution for getting rid of waste was to burn it This is still the case in many EU countries But that idea is now being challenged by an anti-incineration which arose in the 1990s in the small Tuscan town of Capannori led protests against a planned incinerator in the vicinity Residents gathered at town hall meetings to talk of alternative ways to deal with waste Ercolini brought a trash bag with him and showed how the content could be used again regional authorities scrapped plans for the plant Then the mayor of Capannori put me in charge of changing the collection system,\" Ercoloni told EUobserver Zero waste is about more than simple recycling \"It is an ethical and ecological principle but above all it's a culture and a way of engaging communities and spreading information fixing and lengthening the life of an object Recycling only comes in when all other options have been exhausted,\" Ercoloni said Capannori became the first place in Europe to adopt a zero-waste goal It has since managed to reduce waste by 40 percent and recycles some 82 percent of the rest The zero-waste concept was invented by a British scientist Ercolini suggested that the garbage crisis in Naples helped binmen stopped collecting rubbish in Italy's third largest city All the nearby dumps had filled up after years of mismanagement by the local mafia Some people set fire to bins and toxic smoke spread over the city \"The catastrophe meant people were open to radical solutions,\" Ercolini said embraced zero waste as an alternative that was good for the environment created 60 well-paid jobs in recycling and door-to-door collection (the average number of people working in an incinerator is 62) The town saves €2 million a year from sales of recycled materials We can extract precious metals from old electronics and other garbage,\" Ercolini said More than 350 municipalities in seven EU countries have already vowed to reduce their garbage to zero \"All may not reach that goal but at least they are working in that direction,\" Ercoloni said People in Treviso generate on average 53 kilograms of non-recyclable waste per inhabitant a year Slovenia's Ljubljana became the first EU capital to adopt a zero-waste goal So what stops the movement from spreading throughout Europe The European Commission last year laid out plans for an industrial revolution The circular economy package aimed to reform the EU economic model from a \"take The EU executive wants to set the EU target for recycling municipal waste at 65 percent Commission vice-president Frans Timmermans Frans Timmermans told journalists at the time : \"We could have also said: 100 percent But what would that have meant in the real world We've set a target which we think is very ambitious from the Confederation of European Waste-to-Energy Plants (CEWEP) explained to this publication why some waste was not recyclable or contain substances of high concern which aren't allowed to be recycled\" Some materials lose quality after each additional life cycle can be recycled up to seven times,\" she said which \"despite all efforts\" cannot be prevented or recycled should be used to produce electricity and heat It can replace fossil fuel and help countries to meet renewable energy targets \"Energy from waste is considered about 50 percent renewable,\" Stengler said Another reason that helped make waste-to-energy incinerators popular in countries such as Sweden is the cheap cost of energy from waste even if plants require considerable initial investment But one Swedish official told EUobserver that the government is worried that the country has built more incinerators than can be fed Sweden has for years had to import trash from other countries That recourse could come under pressure as the average EU citizen's trash heap gets smaller every year and recycling rates increase The Commission's sharpening of the ecodesign directive which aims to re-design products so that they fit better into the circular economy will also help to eliminate some waste that cannot be recycled \"We have to be careful with capacity planning and take into account waste prevention and recycling efforts Sweden was a \"specific case\"; there is no overcapacity in Europe as a whole Stengler added that the lack of reliable statistics was a big issue in capacity discussions \"Eurostat figures are based on definitions and calculations which diverge between countries,\" she said referring to the EU Commission's in-house bureau There were no reliable figures for commercial and industrial waste that is rejected by recycling facilities insisted there was no such thing as non-preventable waste He recently convinced Capannori's local paper mill to look for ways to transform non-recyclable pulp into plastics \"Not many things stand between us and a world without trash,\" he said \"We need to change the way we think about waste This story was originally published in EUobserver's 2016 Regions & Cities Magazine Click here to read previous editions of our Regions & Cities magazine Residents gathered at town hall meetings to talk of alternative ways to deal ...To read this story log in or subscribeEnjoy access to all articles and 25 years of archives Become a member for as low as €1,75 per week “Mutation,” wrote Francesca Alfano Miglietti in the preface to Mutant Identities From Fold to Plague: Beings of Contemporary Contaminations “is the anarchic dimension that does not recognize the linearity of a species evolution The choice of identity subtracted from sex identifies a new transdisciplinary constellation of artistic research united by an idea of the body in metamorphosis a territory of exchange between natural and artificial “In this scenario,” the author continues “the body seems to have become one of the most important sites of the mutation taking place a body mutated to the point of loss of memory of an archetype both scientific and anthropological-cultural a body as an ideal battleground between nature and culture a body that presents more and more analogies with the body-social in which it develops and mutates [...] The art of the mutation universe unfolds outside the constraints of cultural training outside the serialized leveling of cultural industries outside the regulations of official artistic communication It is an art that acts the nomadic distribution of information floating in deterritorialized semiotic planes it is an art that moves from messages to devices.” What at the turn of the 1990s seemed to be manifesting itself from many quarters as a new linguistic ubiquity on the verge of exploding was an art active in the manner of a virus a cultural body) capable of modifying and altering its functioning and Matthew Barney are some neuralgic authors of this line of research that despite its sometimes dystopian aesthetics harbored a secret faith in the positive value of connection as the propulsive agent of an anthropological revolution on the verge of subverting every sphere of life Much of what those authors had imagined in hallucinatory and resounding form (neural networks organs kept alive artificially outside the body genetic decoding) has now become reality at the outcome of an increasingly capillary and invisible process of contamination between technology human beings and nature.Although the relationship between these three spheres is at the center of the research of several contemporary artists few are those who have taken up the legacy (more relevant than ever) of those reflections in all their visionary mythopoetic complexity their sculptures refer to a hybrid and phantasmal posthuman presence through the sampling of industrial elements and the use of materials evocative of a biological sensuality but their production does not take the form of a grand foundational narrative capable of proposing a hypothesis of the future potentially inscribed in a real body hyperbolic creators of worlds in power comparable in scope to those of the aforementioned authors shift the reflection to a virtual corporeality innervated with existentialism which almost completely disregards the tangible reality of the body sublimated in the dematerialized dimension of the network a young artist working between performance whose career on the global scene is exceptional on several levels especially with reference to the national scene can already boast of recognition normally precluded to her Italian peers her creative story being studded with mentions at prestigious awards and exhibitions in authoritative venues abroad as well such as the Centre d’Art Contemporain in Geneva the 60th Venice Art Biennale curated by Adriano Pedrosa where his work Cyber-Teratology Operation (2024) was selected for funding from among the projects of more than 150 young emerging artists under 30 from 37 countries who applied in the second edition of the Biennale College Arte (2023/24) call for proposals which was included out of competition in the exhibition Stranieri Ovunque - Foreigners Everywhere was emblematic of the artist’s ability to construct hybrid and integrated worlds from the technological manipulations of a trans body(trans-species transhuman) that with its autarkic transformation challenges the normativity of patriarchal bipolitics and medical-scientific control in that work as in the artist’s entire oeuvre is scientific and medical experimentation centered on practices such as robotic surgery and transcorporeality designed to reshape the understanding of the term “human” in a futurist key that compels the viewer to reflect on his or her present condition Agnes Questionmark’s practice has already reached such a level of maturity and coherence that it is unparalleled in the national context where these issues are still little addressed and never with such an informed and articulate approach Of the line of research identified in the opening the anxieties and the ability to think big without worrying about the “right size” and without trying to stick to that rarefied and conceptual aesthetic that usually distinguishes artistic production focused on the post-human As the first-person protagonist of her sculptural and video installations she began to elaborate her own speculative fabula from her fluid and metamorphic identity as a transgender subject Her work draws from the same polymorphic aesthetic realm as Matthew Barney an artist to whom she has often been juxtaposed like the most extreme performers of the glorious period of Body Art on a real and profound manipulation of the body which in her case is the starting point and not a spectacular performative climax The need to consider herself scientifically and medically in order to be able to make autonomous choices in her individual process of transition and to escape the forcings of the Italian health care system has led her to traverse in depth a plurality of territories normally removed from the official information system testing its implications first on her skin and then in her work a limitation to the circulation of her work is the difficulty of finding a suitable exhibition context (given also the ambitiousness of the realization of her projects) and an audience willing to reflect on such disturbing themes as those she deals with it constitutes an unmissable opportunity to get in touch with her poetics the solo exhibition Nexaris Suite curated by Angel Moya Garcia at the Tenuta dello Scompiglio di Vorno (Capannori a precious and visionary incubator of contemporary artistic research directed by director and artist Cecilia Bertoni in the pleasant hills just outside Lucca where the farm of the same name and the cultural association are based Entering the underground room dedicated to temporary exhibitions the visitor finds himself catapulted into an ambiguous automated surgical room recreated by three room-sized video screens in which a mysterious operation is being performed by two pseudo-medical figures (one is Agnes herself) on a vaguely anthropomorphic biological entity with a slight chronological displacement that increases the estrangement to three different perspectives of the operation in which suggestions of the most advanced diagnostic techniques such as magnetic resonance imaging and mobile X-ray scanning and an impeccable cinematic aesthetic winking at the science fiction genre are merged a hypnotic video installation that brings into play all the crucial components of the artist’s practice such as the fascination with alien species and scientific analysis the investigation of the limits of the human body and the aporias inherent in its translation into computer code the theme of health surveillance perceived as violence and a kind of cult of tentacularity risen to a theoretical approach and a tool of critique against the capitalist anthropocene If the convergence of footage generates not the omniscient and unified vision one would expect but the evaporating of consciousness into a multiplicity of sentient streams many and destabilizing are the questions and insights provoked by this fragmentation the fact that it is only through technology (in this case medical) that we are able to see and understand ourselves from within seems to attest taking to extremes the loss of the aura that Walter Benjamin spoke of in relation to art to a supervening lack of authenticity of the body in its technological reproduction an aspect that brings out the normative and vulnerable nature of the concept of humanity The one imagined by Agnes Questionmark is a multiple body a crucible of the fusion of flesh and technology an anarchic and deviant manifestation of a new aesthetic phenomenology capable of redesigning the idea of subjectivity in symbiosis with that of mutation and of reinventing political structures on the basis of new technological relations of biopower In the images by which the viewer is surrounded in the installation converge the gaze of a hypothetical observer inside the surgical laboratory detailed footage of the patient’s organs and internal tissues (beautiful excerpts of soft abstract video art) and the blurred vision of that same subject who in the state of semi-consciousness induced by anesthesia peers down at her curator-carnages the order of things is subverted and from a gash in the body lying on the operating table an unexpected pink tentacle escapes along with an unspecified liquid an event that wreaks havoc in the operating room and instigates by some unknown subliminal input the surgeon and her assistant to strangle each other The theme of the gaze and the semantics of the sprawling being return in Nexaris (2024) silicone and iron that we find in the second part of the exhibition from whose roughly human cocoon-like body tender in addition to the aforementioned biological impressions from that of the eponymous multimodalimaging apparatus produced by Siemens and used in the medical field to monitor the entire clinical course of patients while minimizing invasiveness If relations of domination between patient and doctor are based on the primacy of the gaze that the latter acquires through technological prostheses what happens when the object of the intervention is precisely if the self and the device can become one through a symbiotic relationship how are our concepts of life and identity consequently transformed in light of the latest scientific discoveries The answer between the lines is to try to work out new systems of multi-species coexistence to allow complexity to exist in the wake of reflections nurtured by reading Michel Foucault If the artist seems to embrace the theories ofHarawayan intersectionalism which sees the contamination of technology genres and nature as the only mutation capable of enabling our future survival in her artistic imagination such fusion is embodied in thehybridization between the octopus and the human being This graft in his research appears beginning with the long-duration performance (84 hours over the course of 23 consecutive days: eight hours a day) titled Transgenesis and carried out in 2021 coinciding with the start of his hormone therapy inside an abandoned sports center in London staging himself as a hybrid creature inside a monumental sculpture in the guise of an octopus suspended over an empty swimming pool the artist exposed his imperceptible (but real) ongoing transformation staging it as a grandiose artistic and metaphorical transformation water is for her the ideal amniotic habitat of an existence with fluidized limits where science seamlessly transitions into art and vice versa Will it be possible to construct a new representation of the human being with these premises This is the question to which all the magnificent creatures she brings to life tend: it is not yet given to find out but it is worth traversing in its full extent the visual universe in which she is sought in order to enjoy her sumptuous aesthetics veined with tender cynicism The aspect that makes Agnes’s work a singularity in the panorama of Italian artists is her ability to design big with maniacal attention to detail completing large-scale projects that are difficult to realize and place without contaminating their instances with commercial value is his use of the body with the same visceral willingness as Body Art to treat it as an artistic object and vehicle of meaning but with an augmented and lustfully artificial aesthetic register from which it is intriguing to be enchanted You don't have permission to access the page you requested What is this page?The website you are visiting is protected.For security reasons this page cannot be displayed "It's a shame about the 1-0 goal conceded with a deflection two minutes from the end of the match – explains mister Coli – I want to thank all the boys for the wonderful season. I had a fantastic group, of serious and generous boys, to whom goes my enormous heartfelt thanks". In Capezzano, the long-term absentees Toma and Tancredi. The wildcard Luca Barsotti returns, who was missing in the recent period due to commitments in training with the Italian beach soccer national team. Mister Coli should go with the "standard module" 4-3-3 and also the initial interpreters should be the usual ones of the last matches. CAPANNORI: Angeli, Pardini, Giuntoli (18' st Rolla), Mattioli, Fanani, Giusfredi (41' st Zuncheddu), Manconi, Martinucci, Pistoresi (47' st Ezzaki), Del Ry (45' st Paganelli), Haoudi (45' st Garofalo). (Subs: Gramajo, Ramku, Zuncheddu, Orlandini, Menchini). Coach: Paoli. CAPEZZANO PIANORE: Bartaletti, Dalle Luche, Pardini, Barsotti, Sacchelli, Lampitelli, L. Pacini, M. Pacini, Gomes Correia, Marsili (21' st Del Frate), Domenici (21' st Usseglio Viretta). (Available: Lorenzoni, Luporini, Lorieri, Sannino, Cerri, Checchi, Baldi). All.: Coli. Goals: 42' st Pistoresi, 44' st Martinucci. CAPANNORI - Capannori reaches Corsagna in the play-off final, thanks to the victory against Capezzano Pianore. The home team starts off well and tries to unlock the match with Pistoresi, but Bartaletti saves. Capezzano responds with a great right-footed shot by Marsili that Angeli manages to intercept. According to the curators of the exhibition (Ilaria Boncompagni the angel is one of the works around which it is possible to reconstruct Leonardo’s sculptural activity whether one wants to attribute it to him or consider it the work of an artist close to him.The angel whose restoration was financed with funds from the Leo Lev Center at 131 cm in height is the largest of the sculptures variously assigned to Leonardo da Vinci To acquaint visitors with the original colors the exhibition will also display a life-size copy of the angel made by the Opificio delle Pietre Dure using materials and techniques of the time There will also be multimedia contributions dedicated to the sculpture and its recovery The exhibition also marks the inauguration of the Leo Lev Center an exhibition space that opened in the former Bellio-Baronti-Pezzatini villa in the historic center of Vinci (in fact a section of the exhibition is dedicated to the same venue) The building has recently been restored and the square has undergone a new rearrangement: the decorative flooring is inspired by the Sala delle Asse in the Castello Sforzesco and the scenic fountain was conceived together with Carlo Pedretti from a design by Leonardo Accompanying the exhibition is a catalog published by Polistampa (152 pages which not only analyzes the work from a historical and iconographic point of view but also documents the careful restoration work that was accompanied by diagnostic investigations and the study of the execution technique The exhibition opens daily: Monday through Friday from 10 a.m Sign In Subscribe Now Dialogue and debate are integral to a free society and we welcome and encourage you to share your views on the issues of the day. 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(+39) 0583 442213 info@turismo.lucca.it Infopoint Porta ElisaFormer Customs Barracks at Porta Elisatemporarily closed Bus Check pointParking Palatucci - Viale Carlo del Prete temporarily closedcheckpointbus@metrosrl.it VIVILUCCAEVENTS TURISMO.LUCCA LUCCATURISMO © 2022 Città di Lucca - Via Santa Giustina 6 - Palazzo Orsetti 55100 Lucca LU - CF: 00378210462  The winners will then play the regional finals, with concrete possibilities of moving up a category; but that's another story. Kick-off for everyone, tomorrow, at 16:XNUMX p.m.