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ALTERNATE ENDINGS, ACTIVIST RISINGS Visual AIDS Day With(OUT) Art 2018

A Doula’s Guide to ALTERNATE ENDINGS, ACTIVIST RISINGS was created by the What Would An HIV Doula Do? (WWHIVDD) collective and students from the Fall 2018 class, “Life During Memorialization: History and the Ongoing Epidemic of HIV/AIDS in the USA” at The New School: Annalisa Dick, Brad Walrond, El Roy Red, E G Condon, Emily Colucci, Justin Yockel , Katherine Cheairs, Ollin ROdriguez Lopez, Rupert McCranor, Sur Rodney (Sur), Tamara Oyola Santiago, and Theordore (ted) Kerr.

Text by Theodore (ted) Kerr Designed by LPS Edited by Visual AIDS

Day With(out) Art 2018 logo design adn Cover illustration by Nelson Santos

Day With(out) Art 2018 public programming and resource guide is supported by a Humanities New York Action Grant.

Visual AIDS’ Day With(out) Art programming is also funded in part by general operating and programming grants from Alphawood Foundation, The Lambent Foundation Fund of Tides Foundation, The Shelley and Donald Rubin Foundation, Marta Heflin Foundation, the New York City Department of Cultural Affairs in partnership with the City Council, and individual donors.

ALTERNATE ENDINGS, ACTIVIST RISINGS

Visual AIDS presents ALTERNATE ENDINGS, ACTIVIST RISINGS to mark the 29th aniversary of the Day With(out) Art. On World’s AIDS Day December 1, 1989, the first Day With(out) Art was created by the Visual AISD as a national day of mourning in response to the AIDS crisis. ALTERNATE ENDINGS, ACTIVIST RISINGS highlights the impact of art in AIDS activism and advocacy today by commissioned short videos from six inspiring community organizations and collectives--ACT UP NY, Positive Women’s Network - USA, Sero Project, The SPOT, Tacoma Action Collective, and VOCAL-NY. The program represents a wide range or organizational strategies, from direct action to grassroots service providers to nationwide movement building, while considering the role of creative practices in activist responses to the ongoing AIDS crisis. ALTERNATE ENDINGS, ACTIVIST RISINGS seeks to reflect the urgencies of today’s HIV/AIDS epidemic by pointing to pressing political concerns. In their commissioned videos, organizations address political concerns. In their commissioned videos, organizations address intersecting issues anti-Black violence, HIV criminalization, homelessness, and the disproportionate effects of HIV on marginalized AIDS activism, ALTERNATE ENDINGS, ACTIVIST RISINGS foregrounds contemporary engagements between activists, artists, and cultural workers on the front lines.

Visual AIDS commissioned the What Would An HIV Doula Do? collective to develop this resource guide as a supplement to Day With(out) Art 2018.

View and share these videos online starting December 3: http://visualAIDS.org/projects/detail/alternate-endings-activist-rising

A Doula’s Guide To ALTERNATE ENDINGS, ACTIVIST RISINGS

What Would An HIV Doula Do? is a collective of artists, activists, AIDS service employees, chaplains, doulas, and others living with and/or impacted by HIV who understand that community engagement needs to be more visible and better supported in order to maintain and build on gains made over 40 years of AIDS activism. Historically, a doula is someone who provides holistic service to a person during childbirth. Increasingly, doulas have also been used for end of life care, abortions and in considering gender. In thinking about what would an HIV doula do, we have come to understand a doula as someone who holds space and provides support in times of transitions that start long before someone takes a tes, and continues long after someone might start HIV treatment, regardless of their HIV status. Since we began two years ago, we have been using public meetings, writing workshops, art making and social media to bring meetings, writing workshops, art making and social media to bring people together to take action and discuss the epidemic. It was a great honor when Visual AIDS asked us if we would create the ALTERNATE ENDINGS, ACTIVIST RISINGS resource guide to support the videos made by grassroots AIDS activist collectives and groups. For us, these organizations represent the truth that just as no one contracts HIV alone, no one should have to deal with HIV alone either. We need community to support us in our well-being, fears, successes, and expression. To make the guide, we gathered over two nights in small groups. We watched, journaled and discussed together. Among the first things, to be said was how happy we were to see people on screen who are too rarely shown talking about HIV, including youth, black women, people from the South, and people actually living either HIV. With that in mind, we were also aware of who was not on screen, what issues were not discussed, and the limits of any project to fully represent the breadth of the ongoing epidemic. Watching the videos was a reminder that before there was a medical, governmental, or even artistic response to the AIDS crisis, there was a community activist response. It was people living with illness, their loved ones, and related and concerned communities who were the first to serve as end-of-life doulas, caretakers, Peter educators, advocates and witnesses. Similarly, the project is also an echo of early AIDS video activists from DIVA TV, Women AIDS Video Enterprise (WAVE), Gay Men’s Health Crisis (GMHC) and Bebashi, who picked up cameras to document their work as a form of media activism, resource sharing, and community building. Watching all the works together, we appreciate that while each video stood strong on its own, it was helpful to consider the works in conversation with each other, and across time and various AIDS activist histories. As we considered the type of guide we wanted to share, we knew we wanted to make something that opened up the experience of viewing, facilitating the kind of conversation we were able to have. To do that, we knew that our guide would have to do more than just share information; it would have to provide a process. In the end, we hope we have made a doula tool, a resource that holds space for communities of viewers transitioning from what they thought they knew coming into screening, to having more information, and from individual reactions to group discussion. As you watch, we hope you will be inspired to ask yourself and others: What can we do to reduce the harm of HIV, and end AIDS crisis tomorrow?

There are WWHIVDD chapters in New York City and St. Louis. For more info: HIVDOULA.work

Vocal-NY

Vocal-NY.org

Started in 1999, VOCAL (Voices Of Community Activists & Leaders) is a grassroots membership organization based in New York State that builds power among low-income people affected by HIV/AIDS, hepatitis C, the drug war, homelessness, and mass incarceration in order to create healthy and just communities. In the film, we see activist footage of VOCAL demonstrations from the New York State Capital to New York City streets. using direct action, music, humor, statistics, memorialization and what they describes as “political theater,” we see VOCAL activating a multitude of creative tactics to reduce the harm of HIV and end AIDS epidemic in the state. VOCAL’s tactics remind us that there is still a place for direct action, although the system might have us believing otherwise.

Questions

Why is housing important for people living with HIV? What does stable housing and access to care make possible for someone who is living with illness?

Jawanza James Williams from VOCAL-NY suggests that one of the major lessons from AIDS activism history is the power of people putting their bodies on the line. How does VOCaL continue working in that tradition? Have you put your body on the line? If so, what did that look like? How did it feel? What were some of the results?

Go Further

● Housing is not just a New York State issue. To find out more about the US Federal Housing Assistance program, search online for Housing Opportunities for Persons With AIDS (HOPWA), the only federal program dedicated to addressing the housing needs of people living with HIV and AIDS as well as their families. ● Along with housing, VOCAL is also focused on the ongoing impacts of the opioid crisis and the war on drugs. Are you interested in learning more about this worldwide issue? Look online for the Open Society Foundation publication: The War on Drugs and HIV/AIDS: How the Criminalization of Drug Use Fuels the Global Pandemic. Also, visit vocal-nyc.org and check out their Drug Policy page to see what they are fighting for and the successes they have had, including successfully campaigning to legalize medical marijuana in New York.

Act Up NY ACTUPNY.com

Since 1987, ACT UP NY has held weekly Monday meetings, most often at the LGBT Community Center. Their early demonstrations, media campaigns, and direct actions promoted an intersectional understanding of HIV and AIDS as an issue of race, class and gender as well as a medical matter; they were also successful in getting drugs into bodies by lowering drug prices and changing the process for drug trials. They transformed mourning into public action with political funerals and their influential protects against the National Institute of Health, Centers for Disease Control, Catholic Church, and US government harnessed the collective rage and despair of the first decades of the AIDS crisis. In 2018, an arm of the collective organized #HIVPreventionDay in conjunction with the Prep4All, calling on Gilead Sciences to release their patent for Truvada, a drug that has the ability to reduce HIV transmission by 99%. In this video, the ACT UP Graphics and Visual Tactics Working Group pairs audio from planning meetings with seven sites in New York while sharing values and s tragedies the collective uses to build power. While much cultural production has been made about the history of ACT UP, this video is one of the few projects ACTUO has made about its own work in recent years.

QUESTIONS

While ACTUP has history of putting bodies, faces, and reputations on the line through cultural production, direct action activism, and meetings with government officials, this video uses anonymity as a tactic to reduce ego from the work. Why do you think they chose to represent themselves in this way? What are the pros and cons of working anonymously?

ACT UP created #HIVPreventionDay, a day of action to raise awareness about HIV prevention and pharmaceutical patents. What are differences between activism that centers people living with HIV versus prevention for people who are HIV negative? How can they be seen as separate strategies? How can they be seen as interconnected and related strategies? Go Further

● In the Fall of 2018, ACT UP held demonstrations at an exhibition of artist David Wojnarowicz’s work at The Whitney Museum of American Art, reminding Museum-goers that “AIDS IS NOT HISTORY” while Aruguing that the museum was contextualizing HIV as an historical issue. After the demonstrations, the Whitney changed wall text within the exhibition to acknowledge the ongoing epidemic and David Wojnarowicz’s in ACT UP, Search Whitney,ACT UP and David Wojnarowicz for further details. ● Briefly mentioned in the film, the IAC stands for the International AIDS Conference, which takes place every two years. It is slated to be hosted in San Francisco and Oakland 2020. Many activists think this is a bad idea, citing travel bans and the increasing violence directed towards sex workers, trans women and other people marginalized by the United States. For more Information, search #AIDS2020ForAll. ● For Day With(out) Art 2012, Visual AIDS presented the film United in Anger, a documentary about the history of ACT UP directed by Jim Hubbard. Search for it online, and check out the Tumblr Visual AIDS made: Wisdom in Being United In Anger. Positive Women’s Network - USA PWN-USA.org Positive Woman’s Network - USA (PWN) is a national membership body of women living with HIV and allies that exists to strengthen the strategic power of all women - trans inclusive - living with HIV in the United States. Founded in 2008 by 28 diverse women leaders living with HIV, PWN-USA develops a leadership pipeline and policy agenda that applies the lens of gender to the domestic HIV epidemic grounded in social justice and human rights. Every day, PWN-USA inspires, informs and mobilizes women living with HIV to advocate for changes that improve lives and uphold rights. In this video, viewers are invited in as women create masks at the 2018 Positive Women’s Network summit in Florida and screenprint bags at the home of a PWN member in Colorado, providing us a view into the intimate places of mutual care they have created together across the nation. Throughout the film, the power of community is discussed as a source of strategic strength. As PWN members Kimberly Wilson suggests, “the more casual the environment, the more willing people are to say more,” and as a result, the more her community is able to lend a hand.

QUESTIONS

The film begins with activist and PWN member Barb Cardell explaining that, “In the early days when we didn’t have anything but our anger, when we didn’t have medication, we didn’t have an HIV test, we had art.” Decades later, now with medication and HIV tests, Barb and her peers are still making art. Why do you think they continue to create?

PWN organizing director Waheedah Shabazz-El makes a distinction between a support group and advocacy. What do you think differences are between the two?

GO FURTHER

● Until 1993, the US Centers for Disease Control’svdefinition of AIDS did not include opportunistic infections that impacted women, a systemic failure that meant that living with HIV were being denied possible life saving treatment and state support provided to men with AIDS. To learn more about the role that women like Katrina Haslip, Terry McGovern, and others played in making this change, look for the film NOTHING WITHOUT US: The Women Who Will End AIDS and search YouTube for Women of ACT UP NY History. ● Decades into the epidemic, women continue to have to fight to be counted and considered. Medical trails constantly are conducted involving only cisgender men. To read more about this inequality, visit AIDSMaps.com and look up Roger Pebody’s article, Women Underrepresented In HIV Clinical Trials.

The Spot fb.me/jmmfc4m/ The SPOT (Safe Place Over Time) is dedicated to providing services and opportunities to wellness, empowerment, and leadership to young men in Jackson, Mississippi. In her 2017 New York Times Magazine article “America’s Hidden H.I.V. Epidemic,” Linda Villarosa highlighted the ongoing urgency of the HIV epidemic in the American South, particularly in Jackson, where 40 percent of gay and bisexual men are living with HIV-the nation’s highest rate. In this film we spend time with Cedric, Jermerious, and Regi, who were all highlighted in Villarosa’s article, and are invited into a tight-knit community of people using expression, gender play, dance, and other tools to save each other’s lives. The impact of creativity, along with treatment and other forms of care, are vital. As Regi says at The SPOT on camera, “dancing is a healing art.”

Questions

In the film we see young men at The SPOT holding blue mirrors. Known as the “Man in the Mirror” excercise, it is an opportunity for people to really see themselves. What could be the impacts of doing this excessive with your community?

Regi shares his term “hoe-ography,” reclaiming what is traditionally a negative term to encourage people to improve their relationship to their bodies. In a sense, Reginis in conversation with Michael Vallen and Richard Berkowitz who laid out the framework for safer sex and advocated for mutual affection as a form of AIDS care in their 1983 publication How to Have Sex in an Epidemic. How can you continue this tradition of sex positivity to reduce the harm of HIV?

The film begins with a shot of a building in Jackson. For the rest of the film we are inside The SPOT. What does this tell you about the need for safe space and the importance of community privacy? What does your community need to thrive and express? Go Further ● Suggested viewing: Wilhelmina’s War, about HIV’s impact on family in southern United States, and Endgame, a broader look at HIV within Black communities around the US, including parts of the American South. Both are on PBS.org and are powerful to watch j. A group or with a class, clips are available online. Another related video to look up is Ellen Spiri & Cheryl Dunye’s DiAna’s Hair Ego REMIX, commissioned by Visual AIDS in 2017. ● People can connect to their bodies at The SPOT. In his book, Anti-Black Racism and the AIDS Epidwmic, Adam Geary urges us to see how it is not what we do with our bodies that most often determines our health but the limits of what we can do with and for our bodies as imposed by the state. For more information, look for Adam Geary’s interview titled “Anti-Black racism has been central to the structuring HIV vulnerability in the US and globally” on the Visual AIDS website. Tacoma Action Collective StopErasingBlackPeople.com

Founded in 2015, the Tacoma Action Collective is a partnership of Black community organizations working in grassroots action and education. In this video, members of the collective make conversations between anti-Black racism, Black Lives Matter, cultural production, HIV/AIDSnand self care through an exploration of their process as artists, activists, writers and community healers. Tacoma Action Collective responds to interconnected structural violence with the demand #StopErasingBlackPeople. In their video, awe see their 2015 die-in protest intervening against the Lack of Black artists in the exhibjtijnspmAtt AIDS America at the Tacoma RT Museum, their work at the 2016 international AIDS Conference in South Africa, and examples of street art being made.

QUESTIONS

Protesters have “I Am Sandra Bland” sign in the film, referring to the activists from Illinois who was killed in 2015 while unjustly held by police. TAC works “to eliminate systematic oppression and structural violence.” For you, what is the connection between police violence and HIV/AIDS? How do you see HIV as being related to systems and structures of oppression?

In its initial iteration, Art AIDS America only included five Black artists km a toaster of over 100 artist, despite the fact that HIV disaproportionately why is it I,Portland to hold museums and cultural institutions responsible for how they represent cultural histories? GO FURTHER ● From the Tuskegee syphilis experiment, to the dehumanizing experiments of Dr. J. Marion Sims, to the exploitation of Henrietta Lacks, there is a documented history of medical violence and bias against Black people. This creates mistrust, and makes the efforts of doctors, nurses and others doing culturally competent care that much more worthy of attention. Learn more: search the underlined word above and consider a book club with Harriet A. Washington’s Medical Apartheid and Killing the Black Body by Dorthy Roberts. ● Decolonize The Place is a collective calling for, among other things the reparations of African and indigenous objects, a commitment from museums to have increased diversity of curatorial staff and leadership, and occupied indegous land acknowledgement. Learn more about their work at decoloizethisplace.org ● We would be a lesser world were it not for organizations like the Black Panthers, the literary collective Other Countries, The Philadelphia based liberations MOVE, “Where We At?” Black Women Artists, Inc, and The Counter Narrative Project. Why are these groups seldom taught and rarely canonized? Add to this list and peer educate. Sero Project SeroProject.com Sero Project is a US-based network of people living HIV (PLHIV) and allies fighting for freedom from stigma and injustice. The name Sero Project refers to “serostatus,” which is another way to say HIV status. Sero is particularly focused on ending the inappropriate use of use’s HIV status in criminal and potential or perceived HIV exposure. The criminal justice system considers HIV a deadly weapon, and in many states exposing someone to HIV is a crime, regardless of condom use, viral loaf, or actual risk of transmission. For people living with HIV, a contentious relationship, a personal misunderstanding, or even a minor infraction of the law can lead to prison sentences of over thirty years, sensationalized media coverage, and registration as a sex offender. With the Positive Women’s Network-USA, Sero Project produced the biennial HIV is Not a Crime training academy to support advocates mobilizing at the grassroots level for HIV criminalization reform. The 2018 conference included a showcase of visual art and poetry made by advocates working against HIV criminalization. In this film, four of the featured artists are interviewed, discussing creativity and the impact of criminalization on their life chances and spirit.

QUESTIONS

In the film we see Contonnia’s painting which depicts his three hearts impacted by stigma. If you were to make a similar painting, what would your three hearts represent?

Do you think the police and the criminal justice system can be effective tools for responding to the HIV/AIDS epidemic? How might they exacerbate health disparities and inequality in access to treatment and healthcare?

Thinking with others, what are the impacts of HIV criminalization on individuals and communities living with HIV? For people in prison? GO FURTHER ● Visual AIDS collaboration with Avram Finkelstein to create a broadside project to educate about HIV criminalization. Search online for You Care About HIV Criminialization (You Just Don’t Know It Yet) for more Facts about criminal and print your own copy. ● Over 30 states across the US have HIV-specific laws that criminalize people living with the virus, and states without specific laws have been living with HIV. Find out more about your state going online to The Center for HIV Law and Policy. ● In the past few years, more research on HIV criminalization and its history has been published. Consider a book club for: Punishising Disease: HIV and the Criminization of Sickness by Trevor Hoppe; Making Media Work For HIV Justice by Olivia G. Ford and Positive Women’s Network - USA, on behalf of HIV Justice Worldwide; and Cell Count, edited by Kyle Croft and Asher Mones for Visual AIDS. ● To listen to the impacts of HIV criminalization on people who hear been prosecuted, search Sero Project Videos. Share what you learn. Organize a group listening session. Glossary Below is additional information that could be helpful for watching ALTERNATE ENDINGS, ACTIVIST RISINGS.

What words, terms, and definitions would you add?

AIDS ACTIVIST VIDEO is a direct descendant of a rich and varied tradition of alternative cinema. The immediate impetus for AIDS activist video was the deadly, inadequate government response and the meager and antagonistic reporting of the mainstream media. Videomakers felt compelled to tell the real story of AIDS from the point of view of People With AIDS (PWAs), The tapes portrayed PWAs as neither victims nor pariahs, but as empowered activists taking charge of their health in both the political and medical arenas. This was not the whole story, but it served as a necessary counterpoint to the relentlessly negative depictions by the mainstream media. (source: Jim Hubbard)

ANTI-BLACKNESS can be understood through a quote a prompt from Ta-Nehisi Coates: “If there’s one thing missing in our country, it’s an acknowledgement of the broad humanity of Black folks. Racism-and anti-Black racism in par-is the belief that there’s something wrong with Black people.” Anti-Blackness encompasses systemic historical, cultural, political, and economic violence. (source: Aorta)

DECOLONIZATION is the active principle that attempts to identify, confront, call out and resist state violence, including Eurocentric dominance, white supremacy, racism, ethnic cleansing, genocide, slavery, land theft, imposed treaties, broken promises, relocation, forced assimilation, government manipulation, corporate control, psychic violence and all the associated forms of oppression that continue to impact indigenous people and people of color in the Americas. Decolonization attempts to undo the colonization of the individual, the community and the earth with protest, social justice activism, civil disobedience, education, cultural projects and legal battles. (source: Unsettling America, Decolonization in Theory & Practice)

DIRECT ACTION activism can be understood as having three fundamental principles:

Win concrete improvements in people’s lives;

Make people aware of their own power;

Alter the relations of power between people, the government, and other institutions by building strong permanent local, state and national organizations. (source: Bread & Roses Community Fund) GRASSROOTS organizing happen when people are drawn together by something that they have in common that has both personal and community consequences, and they grant desire without institutional support. (source: Janis Foster) The HUMANE IMMUNODEFICIENCY VIRUS (HIV) attacks the body’s immune system, specifically the CD4 cells (T cells), reducing their number, making the person more likely to get other infections or infection related cancers. If not treated, HIV can lead to AIDS (aqcuired immunodeficiency syndrome). People are diagnosed with AIDS with their CD4 cell count drops 200 cells per cubic millimeters or if they develop certain opportunistic illnesses. (source: Centers for Disease Control)

HIV CRIMINALIZATION refers to the use criminal law to penalize alleged, perceived or potential HIV exposure; alleged non disclosure of a known HIV-positive status prior to intentional HIV transmission. (source: AIDS Watch)

INTERSECTIONALITY is a term coined by Kimberlé Crenshaw, who says “Intersectionality is a lens through which you can see where power power comes from and collides, where it interlocks and intersects. It’s not simply that there’s a race problem here, a gender problem here, and a class or LGBTQ problem there. Many times that framework erases what happens to people who are subject to all of these things.” (source: Kimberlé Crenshaw)

PRE-EXPOSURE PROPHYLAXIS (or PrEP) is when HIV-negative people take daily HIV medicine called Truvada to lower their chances of getting the virus. Gilead, the pharmaceutical company that manufacturers Truvada, currently controls the patent and pricing for this drug. (source: Centers for Disease Control)

STRUCTURAL VIOLENCE is one way of describing social arrangements that put individuals and populations in harm’s way. The arrangements are structural because they are embedded in the political and economic organization of our social world; they are violent because they cause injury to people. (source: Paul Farmer)

SOCIAL PRACTICE can include any art form which involves people and communities in debate, collaboration or social interaction. This can often be organised as the result of an outreach or education program, but many independent artists also use it within their work. A dinner, a health clinic, or a dance party can all be considered artworks from the perspective of social practice. (source: Tate Museum)

UNDETECTABLE refers how regularly taking HIV medication can lower the amount of HIV in your blood (aka your viral load) to an undetectable level. People who are undetectable (or, you can say, whose viral load is suppressed) cannot transmit the virus to others. This doesn’t mean you no longer have HIV-it means that by continuing your plan of treatment, you can live with HIV by managing your health on your own terms. (source: Housing Works)

WHITE SUPREMACY can be understood through this quote by Frances Lee Ansley: “I do not mean to allude only to the self-conscious racism of white supremist hate groups. I refer instead to political, economic and cultural system in which whites overwhelmingly control power and material resources, conscious and unconscious ideas of white superiority and entitlement are widespread, and relations of white dominance and non-white subordination are daily reenacted across a broad array of institutions and social setting.” (source: Frances Lee Ansley)

Day With(out) Art In 1989, to make the public aware that AIDS can touch everyone and to inspire positive action, Visual AIDS presented the first Day to cover up their artwork, darkened their galleries, and even close for the day - symbolically reorient the chilling possibility of a furture without art or artist. Since then, Day With(out) Art has grown into a collaborative annual project in which organizations worldwide present exhibitions, screenings and public programs to highlight work by HIV+ artists and artwork addressing current issues around the ongoing AIDS pandemic. ALTERNATE ENDINGS, ACTIVIST RISINGS is the 29th annual Day With(out) Art project.

Visual AIDS

Founded in 1988, Visual AIDS is the only contemporary arts organization fully committed to HIV prevention and AIDS awareness through producing and presenting visual art projects, while assisting artists living with HIV/AIDS and the artistic contributions of the AIDS movement.

AlternateEndingsActivistRisings

DayWithoutArt2018

VisualAIDS

526 West 26th Street #510 New York, NY 10001 (212) 627-9855 [email protected]

Facebook: visualAIDS Instagram: @visual_AIDS Vimeo: visualAIDSSnyc www.visualAIDS.org

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ca-se-passe-la-haut · 5 years ago

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13 milliards d'années d'évolution galactique simulées pendant un an avec 16000 processeurs

Une équipe germano-américaine vient de rendre publique la simulation cosmologique la plus détaillée à ce jour de la formation et de l'évolution des galaxies, simulées sur une durée de près de 13 milliards d'années. Ils utilisé des ressources de calcul monstrueuses correspondant à 16000 ans sur un ordinateur à simple coeur (16000 coeurs pendant un an non-stop). Ces simulations nous fournissent pour la première fois des informations importantes sur les processus en jeu. Ils publient deux articles dans les Monthly Notices of the Royal Astronomical Society.

Les équipes du Max Planck Institut de Garching et Heidelberg et leurs collaborateurs américains ont frappé un grand coup. Leur simulation nommée TNG50, qui fait partie du projet IllustrisTNG est tout simplement incroyable. Elle combine à la fois les détails nécessaires à l'échelle d'une galaxie et les détails à très grande échelle. Ils ont simulé un cube d'Univers de 230 millions d'années-lumière de côté avec des détails d'à peine 200 années-lumière (85 000 masses solaires).

TNG50 comporte ainsi des milliers de galaxies, qui sont suivies dans le temps durant 13 milliards d'années, via la simulation de 20 milliards de "particules" représentant la matière noire, les étoiles, le gaz, les trous noirs, évoluant au sein de champs magnétiques et de champs gravitationnels.

Ces simulations cosmologiques sont extrêmement gourmandes en temps de calcul. Les astrophysiciens-informaticiens doivent toujours faire face a un dilemme avec ce type de calculs à n corps : avec une puissance de calcul finie, les simulations précédentes parvenaient soit à un espace virtuel très détaillé mais limité à une galaxie ou deux, ou bien à un grand volume d'espace mais sans détails fins sur ce qui se passe au niveau des galaxies, ce qui réduit leur pouvoir de prédiction.

L'équipe de Annalisa Pillepich (Max Planck Institut für Astronomie, Heidelberg) et Dylan Nelson (Max Planck Institut für Astrophysik, Garching) ont réussi la prouesse de faire les deux en même temps : ils allient pour la première fois une simulation cosmologique à très grande échelle avec la résolution des simulations très zoomées. Il leur a fallu pour faire cela un supercalculateur, le Hazel Hen de Stuttgart possédant 16000 coeurs, qu'ils ont fait tourner pendant un an entier, 24h/24....

La vidéo que vous pouvez voir ci-dessous montre un échantillon de la simulation TNG50 centrée sur une seule galaxie massive au cours du temps. L'écran principal montre la densité du gaz (élevé en blanc, faible en noir). La vignette en bas à gauche montre la matière noire à grande échelle puis le gaz, et la vignette en bas à droite montre les distributions à petite échelle des étoiles et du gaz. La galaxie simulée ici aura la taille de la galaxie d'Andromède à la fin de la simulation, à l'époque actuelle. On observe que sa progénitrice subit une rapide formation d'étoiles dans un réservoir de gaz turbulent qui se stabilise en un disque bien ordonné après quelques milliards d'années d'évolution. La galaxie ne subit pas de fusion galactique majeure ici.

youtube

TNG50 est une simulation de magnétohydrodynamique, qui calcule donc à la fois les effets gravitationnels et magnétiques pour chaque particule de la simulation. Le résultat est visuellement bluffant., il permet aux chercheurs d'étudier en détails comment se forment les galaxies et comment elles ont évolué depuis l'époque de formation des premières étoile à T0 + 600 millions d'années. La simulation fournit aux astrophysiciens deux découvertes.

La première découverte numérique qu'offre THG50 concerne la formation des galaxies à disques (à l'image de notre galaxie). En utilisant la simulation comme une machine à remonter le temps de l'évolution cosmique, Annalisa Pillepich, Dylan Nelson et leurs collaborateurs voient comment les belles galaxies spirales bien ordonnées qui sont communes dans l'Univers proche, émergent de nuages de gaz très chaotiques, très désordonnés et très turbulents. Au fur et à mesure que le gaz se stabilise; il faut assez peu de temps pour que les étoiles nouvelles-nées se retrouvent sur des orbites de plus en plus circulaires, jusqu'à former des grandes galaxies spirales 10 milliards d'années plus tard. Le phénomène est vu quelle que soit l'époque et quelle que soit la masse de la galaxie. L'échantillon de galaxies simulées comporte soit 700 galaxies de plus 10 milliards de masses solaires en étoiles ou 6500 galaxies de plus de 100 millions de masses solaires en étoiles à l'époque de redshift z=1 (quand l'Univers a 6 milliards d'années), mais elles sont suivies sur une période de temps allant de 600 millions d'années après le Big Bang jusqu'à aujourd'hui...

La seconde découverte offerte par la simulation TNG50 est que la géométrie des flux cosmiques de gaz autour des galaxies détermine leur structure, et vice-versa. Cet effet n'avait pas été anticipé, il émerge "naturellement" à partir des ingrédients physiques qui ont été injectés dans les équations nourrissant l’algorithme de leur modèle d'Univers. Les flux de gaz sortant des galaxies sont produits par les explosions de nombreuses supernovas ou l'activité des trous noirs supermassifs, qui sont pris en compte dans la simulation. Ce que l'on voit, c'est qu'au départ, les flux de gaz sont également assez chaotiques et partent dans toutes les directions, mais au fil du temps, ils deviennent de plus en plus focalisés le long d'une direction où il y a le moins de résistance.

Vers la fin du temps cosmologique simulé, les vents de gaz qui sont propulsés en dehors des galaxies forment clairement deux cônes de direction opposée, orthogonalement au disque galactique. Ils peuvent atteindre une vitesse de plus de 3000 km/s et une distance de 65 000 années-lumière. Puis ces flux de gaz ralentissent lors de leur tentative d'échapper au puits gravitationnel de la galaxie et peuvent retomber vers la galaxie en formant une sorte de fontaine de gaz recyclé. Ce processus redistribue le gaz du centre des galaxies vers leurs périphérie, accélérant alors leur transformation vers des formes en fins disques aplatis. Mais le phénomène n'est pas identique pour toutes les galaxies formées, il est beaucoup plus présent dans les galaxies qui ont une masse en étoiles supérieure à 32 milliards de masses solaires, ce que les astrophysiciens attribuent à l'effet de rétroaction du trou noir supermassif qui doit être présent. Dylan Nelson et ses collègues observent aussi que la vitesse de ces "émissions" gazeuses augmente avec la masse stellaire de la galaxie, et que pour une masse donnée, cette vitesse est plus grande à grand redshift (plus tôt dans l'histoire cosmique), quand les galaxies forment le plus d'étoiles.

Les chercheurs du Max Planck Institut, de Harvard, du MIT et du Center for Computational Astrophysics ont d'ores et déjà annoncé qu'ils partageront leurs données de simulation avec la communauté scientifique et avec le public. Cela pourrait permettre de faire de nouvelles découvertes de phénomènes émergents, produisant de la beauté à partir du chaos, grâce aux équations de la physique.

Sources First results from the TNG50 simulation: the evolution of stellar and gaseous discs across cosmic time Annalisa Pillepich et al. Monthly Notices of the Royal Astronomical Society, Volume 490, Issue 3, (December 2019), https://doi.org/10.1093/mnras/stz2338 First results from the TNG50 simulation: galactic outflows driven by supernovae and black hole feedback Dylan Nelson, et al. Monthly Notices of the Royal Astronomical Society, Volume 490, Issue 3, (December 2019) https://doi.org/10.1093/mnras/stz2306

Illustrations 1) Echantillon de 16 galaxies produites par simulation, vues de face et par la tranche (D. Nelson (MPA) and the IllustrisTNG team) 2) Evolution sur quelques centaines de millions d'années des flux de gaz éjectés autour d'une galaxie, en grande partie par le trou noir central : les 4 colonnes montrent de gauche à droite : la vitesse d'éjection, la température, la densité, et la composition en éléments lourds (D. Nelson (MPA) and the IllustrisTNG team)

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#science #astrophysique #cosmologie #galaxies

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mitchbattros · 5 years ago

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Galactic Fountains And Carousels: Order Emerging From Chaos

Scientists from Germany and the United States have unveiled the results of a newly-completed, state of the art simulation of the evolution of galaxies. TNG50 is the most detailed large-scale cosmological simulation yet. It allows researchers to study in detail how galaxies form, and how they have evolved since shortly after the Big Bang. For the first time, it reveals that the geometry of the cosmic gas flows around galaxies determines galaxies' structures, and vice versa. The researchers publish their results in two papers in the journal Monthly Notices of the Royal Astronomical Society.

Astronomers running cosmological simulations face a fundamental trade-off: with finite computing power, typical simulations so far have been either very detailed or have spanned a large volume of virtual space, but have so far not been able to do both. Detailed simulations with limited volumes can model no more than a few galaxies, making statistical deductions difficult. Large-volume simulations, in turn, typically lack the details necessary to reproduce many of the small-scale properties we observe in our own Universe, reducing their predictive power. The TNG50 simulation, which has just been published, manages to avoid this trade-off. For the first time, it combines the idea of a large-scale cosmological simulation -- a Universe in a box -- with the computational resolution of "zoom" simulations, at a level of detail that had previously only been possible for studies of individual galaxies. In a simulated cube of space that is more than 230 million light-years across, TNG50 can discern physical phenomena that occur on scales one million times smaller, tracing the simultaneous evolution of thousands of galaxies over 13.8 billion years of cosmic history. It does so with more than 20 billion particles representing dark (invisible) matter, stars, cosmic gas, magnetic fields, and supermassive black holes. The calculation itself required 16,000 cores on the Hazel Hen supercomputer in Stuttgart, working together, 24/7, for more than a year -- the equivalent of fifteen thousand years on a single processor, making it one of the most demanding astrophysical computations to date. The first scientific results from TNG50 are published by a team led by Dr Annalisa Pillepich (Max Planck Institute for Astronomy, Heidelberg) and Dr Dylan Nelson (Max Planck Institute for Astrophysics, Garching) and reveal unforeseen physical phenomena. According to Nelson: "Numerical experiments of this kind are particularly successful when you get out more than you put in. In our simulation, we see phenomena that had not been programmed explicitly into the simulation code. These phenomena emerge in a natural fashion, from the complex interplay of the basic physical ingredients of our model universe." TNG50 features two prominent examples for this kind of emergent behaviour. The first concerns the formation of "disc" galaxies like our own Milky Way. Using the simulation as a time machine to rewind the evolution of cosmic structure, researchers have seen how the well-ordered, rapidly rotating disc galaxies (which are common in our nearby Universe) emerge from chaotic, disorganised, and highly turbulent clouds of gas at earlier epochs. As the gas settles down, newborn stars are typically found on more and more circular orbits, eventually forming large spiral galaxies -- galactic carousels. Annalisa Pillepich explains: "In practice, TNG50 shows that our own Milky Way galaxy with its thin disc is at the height of galaxy fashion: over the past 10 billion years, at least those galaxies that are still forming new stars have become more and more disc-like, and their chaotic internal motions have decreased considerably. The Universe was much messier when it was just a few billion years old!" As these galaxies flatten out, researchers found another emergent phenomenon, involving the high-speed outflows and winds of gas flowing out of galaxies. This launched as a result of the explosions of massive stars (supernovae) and activity from supermassive black holes found at the heart of galaxies. Galactic gaseous outflows are initially also chaotic and flow away in all directions, but over time, they begin to become more focused along a path of least resistance. In the late universe, flows out of galaxies take the form of two cones, emerging in opposite directions -- like two ice cream cones placed tip to tip, with the galaxy swirling at the centre. These flows of material slow down as they attempt to leave the gravitational well of the galaxy's halo of invisible -- or dark -- matter, and can eventually stall and fall back, forming a galactic fountain of recycled gas. This process redistributes gas from the centre of a galaxy to its outskirts, further accelerating the transformation of the galaxy itself into a thin disc: galactic structure shapes galactic fountains, and vice versa. The team of scientists creating TNG50 (based at Max-Planck-Institutes in Garching and Heidelberg, Harvard University, MIT, and the Center for Computational Astrophysics (CCA)) will eventually release all simulation data to the astronomy community at large, as well as to the public. This will allow astronomers all over the world to make their own discoveries in the TNG50 universe -- and possibly find additional examples of emergent cosmic phenomena, of order emerging from chaos. Read the full article

#GalacticFountainsAndCarousels:OrderEmergingFromChaos

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enricocassi · 6 years ago

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Per la Diciassettesima edizione della Stagione Musicale Concerti e Colline Venerdì 21 Settembre si esibirà il Trio Garnerama.

Il Programma

Claude Bolling (1930)

Javanaise

Amoureuse

Veloce

Stefano Bollani (1972)

Casa di bambola

Gironcolon

Edoardo Bruni (1975)

Per Anna

Moonshine

Aria di Venere

Dave Brubeck (1920 – 2012)

Blue rondo à la turk

Tom Jobim (1927 – 1994)

Insensatez

Acqua de berber

Corcovado

Carlos Gardel

Por una cabeza

Bob Barnes (?)

Mandragora

Astor Piazzolla

Preparense

Novitango

Esqualo

Gli interpreti

Edoardo Bruni

Pianista e compositore.

Diplomato col massimo dei voti presso i Conservatori di Trento (M. M. Giese) e di Rotterdam (A. Delle Vigne), si è perfezionato con Cohen, Berman, Schiff, Margarius. Svolge attività concertistica in Italia ed in Europa, in cartelloni prestigiosi.

Diplomato anche in composizione col massimo dei voti presso il Conservatorio di Trento, si è perfezionato con Mullenbach, Corghi, Bacalov.

Sue composizioni sono state eseguite in Italia ed in Europa in oltre 200 concerti.

Laureato in filosofia e dottore di ricerca in musicologia, è attualmente docente presso il Conservatorio di Vicenza.

Fabrizio Crivellari

Ha studiato flauto con Carlo Pedrazzoli, Annalisa Cuel, Emilio Galante, sotto la cui guida si diploma brillantemente presso il Conservatorio di Trento.

Nel 2006 ottiene il Diploma Accademico di II livello in flauto traverso, con il massimo dei voti e la lode. Si è perfezionato con Raymond Guiot, Sir James Galway, Conrad Klemm, Vieri Bottazzini, Rien de Reede, Giampaolo Pretto e con Franco d’Andrea nell’ ambito dell’improvvisazione jazz.

Premiato in diversi concorsi nazionali, è sovente ospite di numerose rassegne musicali nelle quali ha spesso collaborato per l’esecuzione di brani in anteprima nazionale e mondiale.

Negli ultimi anni si è interessato attivamente alla musica jazz, blues e rock.

Peter Lanziner

Ha studiato pianoforte con C. Obber e contrabbasso con M.Postinghel, diplomandosi presso il Conservatorio di Trento nel 1994.

Accanto agli studi di legge presso le Università di Trento e Uppsala (Svezia), ha frequentato diversi corsi di perfezionamento e master class, tra cui quelli con Schachenhofer, Petracchi e Holland, di musica da camera presso il Mozarteum di Salisburgo, di musica barocca con Gatti, Chiarappa e Balestracci, di didattica musicale con Maule, Nelson, Young, Rebaudengo.

La sua intensa attività concertistica lo ha portato ad esibirsi in orchestra ed in varie formazioni cameristiche (Orch. Haydn, Bruckner Orch., Opernstudio, O.F.I., J.O.P., gli Ensembles Corelli e Kaleidos…), in Italia ed all’estero (Spagna, Inghilterra, Francia, Svezia, Germania, Austria, U.S.A., India…), collaborando inoltre a registrazioni radio-televisive e discografiche.

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#eventi #langhe

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rabbittstewcomics · 6 years ago

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Episode 155

Top 10 July sales, Sandman Universe, Supergirl 21, Fantastic Four 1, Spider-Man Annual, Hey Kids Comics!, Hot Lunch Special, Black Badge, Blastosaurus, Dinosaucers, Riptide, Long Live Pro Wrestling 0, Norah, Oddwell

Reviews: Ant-Man and Wasp, The Meg, Maniac, Gravity Falls episode 1

News: Dark Phoenix and New Mutants movies, Supergirl movie, Negan Techen, Black Mask is Birds of Prey villain, new Greg for s4 of Crazy Ex Girlfriend, Bautista and Guardians 3, Ruby Rose is Batwoman, Fury and Hill in Spider-Man: Far From Home, Oscar stuff, Jackpot movie, Silver Sable and Black Cat movies, Cyborg cast for Doom Patrol, Cassandra Cain casting, X-Men Disassembled, Lois Lane by Greg Rucka

Comics Details:

Sandman Universe 1 by Neil Gaiman, Nalo Hopkinson, Kat Howard, Si Spurrier, Dan Watters, Bilquis Evely, Max Fiumara, Sebastian Fiumara, Tom Fowler, Domo Stanton, Mat Lopes

Supergirl 21 by Marc Andreyko, Kevin Maguire, Sean Parsons, Fco Plascencia

Fantastic Four 1 by Dan Slott, Sara Pichelli, Elisabetta D’amico, Marte Gracia, Simone Bianchi, Marco Russo, Skottie Young, Jeremy Treece

Spider-Man Annual by Bryan Hill, Mark Bagley, Nelson Blake, Alitha Martinez, Roberto Poggi, Carlos Lopez

Hey Kids Comics! 1 by Howard Chaykin, Wil Quintana

Hot Lunch Special 1 by Eliot Rahal, Jorge Fornes

Black Badge 1 by Matt Kindt, Tyler Jenkins, Hilary Jenkins

Dinosaucers 1 by Michael Uslan, Andrew Pepoy, Jason Millet

Riptide 1 by Scott Chitwood, Danny Luckert

Long Live Pro Wrestling 0 by James Haick, Branko Jovanovic

Norah 1 by Kasey Pierce, Sean Seal

Oddwell 1 by David Clark, Acacia Rodarte

Comics Countdown, 08 Aug 2018:

10. Bloodshot Salvation 12 by Jeff Lemire, Doug Braithwaite, Jordie Bellaire 9. Hawkman 3 by Robert Venditti, Bryan Hitch, Andrew Currie, Paul Neary, Alex Sinclair 8. Oblivion Song 6 by Robert Kirkman, Lorenzo De Felici, Annalisa Leoni 7. Long Live Pro Wrestling 0 by James Haick, Branko Jovanovic 6. Relay 2 by Zac Thompson, Andy Clarke, Donny Cates 5. Shadow Roads 2 by Cullen Bunn, Brian Hurtt, AC Zamudio 4. Eternal Empire 10 by Sarah Vaughn, Jonathan Luna 3. Farmhand 2 by Rob Guillory, Taylor Wells 2. Outpost Zero 2 by Sean McKeever, Alexandre Tefenkgi,Jean-Francois Beaulieu 1. Sandman Universe 1 by Neil Gaiman, Nalo Hopkinson, Kat Howard, Si Spurrier, Dan Watters, Bilquis Evely, Max Fiumara, Sebastian Fiumara, Tom Fowler, Domo Stanton, Mat Lopes

Check out this episode!

#comics #podcast #podernfamily #rabbittstew

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tmnotizie · 7 years ago

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ASCOLI PICENO – Il convegno “I prodotti del cratere�� realizzato all’’interno del progetto “Scuola: Spazio Aperto alla Cultura” con il contributo del MIBACT Direzione Generale Arte e Architettura contemporanee e periferie urbane, in collaborazione con il MIUR, tenutosi sabato 21 ottobre presso l’Istituto Tecnico Agrario Celso Ulpiani è stata un’occasione per porre alla ribalta i prodotti del cratere e offrire spunti per una rinascita post sisma. La biologa nutrizionista Barbara Zambuchini CEA “Ambiente e Mare”, Regione Marche, è intervenuta per presentare il Food Contest Nazionale “Un Mare di Marche” #uncuoreperricostruire un esempio virtuoso e innovativo che ha consentito al territorio Piceno e alle 11 aziende aderenti di essere valorizzati, nell’ambito di un’iniziativa di promozione che coniuga il mare, le dolci colline marchigiane e le loro pregiate risorse.

Il Food Contest, “Un Mare di Marche”#uncuoreperricostruire è realizzato dal Centro di Educazione Ambientale CEA “Ambiente e Mare” Regione Marche, dall’Associazione Accademia della Cultura e del Turismo Sostenibile e dall’Istituto d’Istruzione Superiore “Celso Ulpiani” di Ascoli Piceno. Si ringraziano per la collaborazione: Tamara Cinciripini delegata dall’Associazione Italiana Food Blogger (AIFB), Nelson Gentili – Fiduciario Slow Food Condotta Piceno, Roberto Tommasone di “Un Cuore per Ricostruire” il gruppo d’acquisto avviato al Centro AgroAlimentare Piceno che devolve parte del ricavato all’Associazione Capodacqua Viva, per la ricostruzione delle zone colpite dal sisma.

“In questo modo Food Contest Un Mare di Marche #uncuoreperricostruire -sottolinea Barbara Zambuchini– creativo e moderno lega realmente il Mare alla Montagna, può contribuire alla rinascita del nostro territorio, come elemento di unione facendo conoscere i prodotti locali poveri e/o massivo del ns mare e/o allevato nella R. Marche e i prodotti della Montagna e in particolar modo quelli del Piceno dell’area cratere. L’obiettivo è di promuovere in toto il territorio, le nostre eccellenze ad es. dalle Mele Rosa dei Monti Sibillini, all’Anice verde di Castignano, Presidi Slow Food, ai tanti legumi che nelle Marche hanno la loro terra d’elezione. Grazie ai 28 blogger professionisti AIFB, di 12 regioni italiane, che stanno realizzando e postando nel web, le loro ricette innovative e sostenibili, realizzando un connubio tra sapori ed esperienze con le nostre eccellenze, veri e propri presidi di biodiversità, si vuole dare risonanza Nazionale ai Prodotti, all’Aziende Produttrici coinvolte dell’area cratere 2016, al territorio di appartenenza”

Le 11 eccellenze del territorio coinvolte nel Food Contest Un Mare di Marche #uncuoreperricostruire, sono le seguenti:

– Farina semintegrale di grano tenero “Gentil Rosso” macinato a pietra, Antico Molino Santa Chiara, di Amedeo Castelli

– Zafferano Piceno, Azienda Zafferano Piceno di RobertoTommasone

– Paté a base di Oliva Tenera Ascolana bio, Oleificio Silvestri Rosina

– Cipolla Piatta Rossa di Pedaso, Azienda Agricola rASOterra di Yuri Marchionni

– Anice Verde di Castignano, Presidio Slow Food, Associazione Anice Verde di Castignano, Presidente Sergio Corradetti.

– Mele Rosa dei Monti Sibillini, Presidio Slow Food, Associazione dei produttori di Mela Rosa dei Sibillini, Referente Antonio Del Duca.

– Patasibilla – patata a pasta gialla dei monti Sibillini, Saecula – Natural Village della Fam. Piciotti.

– Tartufo Nero – Scorzone Invernale, Associazione Tartufai dei Monti della Laga

e Angellozzi Tartuficoltura.

– Lenticchia dei Sibillini, Azienda Agricola Lorenzo di Fortuni Francesco

– Stringhette artigianali realizzate con grano di montagna, Pastificio Regina dei Sibillini della Fam. Alessandrini

– Olio Extra Vergine di Oliva Monocultivar Ascolana Tenera bio, Agribiologica Cartofaro, Adamo Castelli

Per le spedizioni dei prodotti ai food blogger, si ringrazia Gian Vincenzo Clerici Direttore GLS Corriere Executive di Monteprandone, quale prezioso partner dell’iniziativa.

Entro fine novembre 2017 verranno pubblicati sul sito AIFB i nominativi dei 3 finalisti del Contest “UN MARE DI MARCHE”#uncuoreperricostruire e i vincitori delle due menzioni speciali (miglior “Report Fotografico” e migliore “Ricetta per bambini”) selezionati tra i 28 partecipanti di seguito menzionati: Annalisa Sandri per il Friuli Venezia Giulia, Chiara Lazzarin e Irene Prandi per il Piemonte, Claudia Bonera, Michele Carta, Renato Romano per la Lombardia, Elisa Di Rienzo, Erica Zampieri, Giusy Locati, Serena Codognola e Thaíse Bacelar per il Veneto, Antonella Vergari, Aylin Caiola e Marica Bochicchio per l’Emilia Romagna, Sara Sguerri, Stefania Pigoni, Tanya Scotto D’Aniello e Valentina Donati per la Toscana, Cristiana Curri, Giulia Possanzini e Serena Bringheli-Savi per il Lazio, Gloria Mengarelli e Maria Di Palma per le Marche, Francesco Di Lullo e Martina Olivieri per l’Abruzzo, Francesca Lucisano per la Calabria, Natascia Mura per la Sardegna, Stephanie Cabibbo per la Sicilia.

Tra tutti i blogger partecipanti ne sono stati individuati 3 che avranno il compito di realizzare una delle 2 ricette in concorso, in abbinamento sempre con 4 dei prodotti del pacco, pensandola strettamente per i bambini, sarà infatti prevista una Menzione Speciale “Miglior ricetta per bambini” legata alla promozione di un’alimentazione sana, equilibrata e consapevole a partire dall’infanzia.

Barbara Zambuchini Referente del CEA “Ambiente e Mare”, Regione Marche sottolinea “l’attenzione dedicata dal Centro alla promozione dell’alimentazione sana ed equilibrata a partire dall’Infanzia, già da quattro anni abbiamo, introdotto il pesce fresco locale povero/massivo “zero spine” nelle mense pubbliche, al fine di migliorare la Qualità e la Sostenibilità del pasto della Ristorazione Pubblica, Grazie alla Campagna Educativa Alimentare “Pappa Fish”, giunta quest’anno alla 5 Ed., promossa dalla R. Marche e dal FEAMP, 2014/2020 Fondo Europeo Affari Marittimi e la Pesca.

Un ringraziamento speciale a Nicoletta Sgariglia della “Tenuta Sol Alto” di Monsampolo del Tronto (AP) che ha messo a disposizione il Primo Premio, un Week-end per 2 persone presso la sua struttura, alle 11 Aziende del territorio che oltre ad aver fornito i prodotti per le ricette hanno realizzato un cesto di prodotti di qualità della Regione Marche e dell’area “cratere” del sisma 2016 quale Secondo Premio del contest, infine per il Terzo premio l’Istituto d’Istruzione Superiore “Celso Ulpiani” che ha messo a disposizione una selezione di prodotti tipici bio autoprodotti.

The post Ascoli Piceno, un convegno per rilanciare i prodotti del cratere e la rinascita post sisma appeared first on TM notizie - ultime notizie di OGGI, cronaca, sport.

#Marche #TMNotizie

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