Understanding Ecommerce Fundamentals

Ecommerce, short for electronic commerce, has revolutionized the way businesses operate and consumers shop. As we delve into the fundamentals of ecommerce, it’s essential to understand its various models, key terminology, and the broader ecosystem that supports it.

Definition and Types of Ecommerce Models

Ecommerce refers to the buying and selling of goods or services using the internet. It encompasses a wide range of business activities, primarily categorized into several models:

• B2C (Business to Consumer): This is the most common model, where businesses sell directly to consumers. An example is Amazon, where consumers purchase products ranging from books to electronics.
• B2B (Business to Business): In this model, transactions occur between businesses. Alibaba serves as a prime example, connecting manufacturers and suppliers with retailers.
• C2C (Consumer to Consumer): Platforms like eBay and Etsy allow consumers to sell directly to other consumers, often through auction or marketplace formats.
• C2B (Consumer to Business): This model includes individuals offering products or services to businesses, such as freelance platforms where graphic designers provide their services to companies.
• B2G (Business to Government): In this model, businesses provide goods and services to government entities. For instance, companies like FedEx and UPS often contract with government agencies for logistics services.

Key Terminology in Ecommerce

Understanding ecommerce requires familiarity with specific terminology. Here are some key terms:

• Conversion Rate: The percentage of visitors who complete a desired action, such as making a purchase.
• Shopping Cart: A software application that allows customers to select and store products before purchasing.
• Payment Gateway: A service that processes credit card payments for online retailers, ensuring secure transactions.
• Fulfillment: The process of receiving, packaging, and shipping products to customers.
• Return on Investment (ROI): A measure of the profitability of an investment, calculated by dividing net profit by the cost of the investment.

Overview of the Ecommerce Ecosystem

The ecommerce ecosystem is a complex network involving various stakeholders, including:

• Consumers: The end users who shop online.
• Retailers: The businesses selling products or services online.
• Service Providers: Companies that offer payment processing, logistics, and marketing services to ecommerce businesses.
• Technology Platforms: Ecommerce platforms like Shopify and WooCommerce that provide the infrastructure for online stores.
• Regulatory Bodies: Organizations that enforce laws and regulations governing online commerce, ensuring consumer protection and fair practices.

The synergy between these elements is crucial for the success of any ecommerce venture.

Building an Effective Ecommerce Website

Creating a successful ecommerce website involves careful planning and execution. From choosing the right platform to incorporating essential features, every aspect plays a vital role in enhancing user experience and driving sales.

Choosing the Right Ecommerce Platform

The ecommerce platform you select can significantly impact your business operations. Here are some popular options:

• Shopify: Known for its user-friendly interface and extensive app marketplace, Shopify is ideal for small to medium-sized businesses.
• WooCommerce: A plugin for WordPress, WooCommerce is perfect for those who want full control over their ecommerce site and are comfortable with web development.
• BigCommerce: Suitable for growing businesses, BigCommerce offers robust features and scalability to accommodate increasing sales.
• Magento: A powerful platform for large enterprises, Magento allows for extensive customization but requires technical expertise to manage.

When choosing a platform, consider factors such as ease of use, scalability, cost, and available integrations.

Essential Features for Ecommerce Websites

To provide a seamless shopping experience, your ecommerce website should include essential features such as:

• User-Friendly Navigation: Ensure easy access to product categories, filters, and search functionality to help customers find what they need quickly.
• Mobile Responsiveness: With increasing mobile shopping, your site must be optimized for mobile devices to enhance usability.
• Secure Payment Options: Offer multiple payment methods, including credit cards, PayPal, and newer options like Apple Pay, to cater to diverse customer preferences.
• Product Reviews and Ratings: Displaying customer feedback builds trust and encourages others to make a purchase.
• Live Chat Support: Providing real-time assistance can help address customer queries and boost conversion rates.

Design Best Practices for Enhanced User Experience

The design of your ecommerce website is critical in attracting and retaining customers. Here are some best practices to follow:

• Consistent Branding: Use a cohesive color scheme, fonts, and logos to create a recognizable brand identity.
• High-Quality Images: Showcase products with high-resolution images and multiple angles to give customers a clear view.
• Clear Call-to-Action (CTA): Use prominent buttons for actions like “Add to Cart” or “Buy Now” to guide users through the purchasing process.
• Fast Loading Times: Optimize images and minimize scripts to ensure your website loads quickly, as slow sites can lead to high bounce rates.
• Accessible Design: Ensure your website complies with accessibility standards so that all users, including those with disabilities, can navigate easily.

Driving Traffic to Your Ecommerce Store

Attracting visitors to your ecommerce store is crucial for generating sales. Implementing effective marketing strategies can significantly enhance your online visibility.

SEO Strategies for Ecommerce Websites

Search engine optimization (SEO) is vital for increasing organic traffic. Here are some key strategies:

• Keyword Research: Identify relevant keywords that potential customers use to search for your products. Tools like Google Keyword Planner and SEMrush can help in this regard.
• On-Page Optimization: Optimize product titles, descriptions, and meta tags with targeted keywords to improve search visibility.
• Quality Content Creation: Develop informative blog posts or guides related to your products, which can attract traffic and improve SEO.
• Link Building: Acquire backlinks from reputable sites in your niche to enhance domain authority and increase search rankings.
• Technical SEO: Ensure your website is mobile-friendly, has a sitemap, and features structured data to enhance search engine crawling and indexing.

Leveraging Social Media Marketing

Social media platforms are powerful tools for driving traffic to your ecommerce store. Here’s how to leverage them effectively:

• Identify the Right Platforms: Focus on platforms where your target audience is most active, such as Instagram, Facebook, or Pinterest.
• Engaging Content: Create visually appealing posts, stories, and videos that highlight your products and encourage shares.
• Social Ads: Utilize paid advertising options on social media to reach a broader audience and drive targeted traffic.
• Influencer Collaborations: Partner with influencers in your niche to promote your products and tap into their follower base.
• Community Engagement: Interact with your audience through comments, messages, and live sessions to build a loyal community.

Paid Advertising Channels and Best Practices

Investing in paid advertising can yield quick results and boost traffic. Consider the following channels:

• Google Ads: Use pay-per-click (PPC) advertising to display your products in search results and on partner sites.
• Facebook Ads: Create targeted ad campaigns based on user demographics, interests, and behaviors to reach potential customers.
• Retargeting Ads: Implement retargeting strategies to re-engage visitors who did not convert on their first visit.
• Display Ads: Use visually appealing banner ads on relevant websites to attract attention and drive traffic back to your site.
• Analytics Tracking: Monitor ad performance using tools like Google Analytics to optimize campaigns and improve ROI.

Optimizing the Customer Journey

Enhancing the customer journey is key to increasing conversions and fostering loyalty. Here are effective strategies to optimize this journey.

Personalization Techniques for Increased Engagement

Personalization can significantly enhance user experience, making customers feel valued. Consider these techniques:

• Personalized Recommendations: Use algorithms to suggest products based on browsing history and purchase behavior.
• Email Marketing: Send tailored emails featuring product recommendations, discounts, or reminders based on previous interactions.
• Dynamic Content: Adjust website content in real-time based on user behavior, location, or demographics to create a customized experience.
• Customer Segmentation: Divide your customer base into segments to create targeted marketing strategies and messages.
• Behavioral Triggers: Implement triggers that send personalized messages when customers perform specific actions, like abandoning their cart.

Effective Cart Abandonment Strategies

Shopping cart abandonment is a common challenge in ecommerce. Here are strategies to reduce abandonment rates:

• Follow-Up Emails: Send reminder emails to customers who leave items in their cart, offering incentives like discounts to encourage completion.
• Streamline the Checkout Process: Minimize the number of steps required to complete a purchase and offer guest checkout options.
• Transparent Pricing: Clearly display shipping costs and taxes to avoid surprises during checkout that may lead to abandonment.
• Exit-Intent Popups: Use popups that offer discounts or capture email addresses when customers show intent to leave the site.
• Retargeting Ads: Implement retargeting campaigns specifically for customers who abandoned their carts, reminding them of their interest.

Implementing Customer Feedback for Continuous Improvement

Customer feedback is invaluable for enhancing your ecommerce offerings. Here’s how to effectively gather and utilize feedback:

• Surveys and Questionnaires: Use tools like SurveyMonkey to collect customer opinions on their shopping experience.
• Product Reviews: Encourage customers to leave reviews and use this feedback to improve products and services.
• Social Listening: Monitor social media channels for mentions of your brand and respond to feedback, whether positive or negative.
• Usability Testing: Conduct regular testing sessions with real users to identify pain points in the shopping experience.
• Continuous Iteration: Use insights from feedback to make ongoing improvements to your website, products, and customer service.

Advanced Ecommerce Strategies for Growth

As your ecommerce business grows, implementing advanced strategies can help sustain that growth and adapt to changing market conditions.

Utilizing Data Analytics for Decision Making

Data analytics provides insights that can drive strategic decisions. Here’s how to leverage data effectively:

• Customer Behavior Analysis: Utilize tools like Google Analytics to track user behavior, identifying trends and areas for improvement.
• Sales Performance Metrics: Monitor key performance indicators (KPIs) such as conversion rates, average order value, and customer acquisition costs to assess performance.
• A/B Testing: Test different website elements, such as CTAs and product pages, to determine which versions perform better.
• Predictive Analytics: Use historical data to forecast future sales trends and inventory needs, allowing for proactive planning.
• Segmentation Analysis: Analyze customer segments to tailor marketing strategies and improve targeting.

Exploring Omni-Channel Retailing Opportunities

Omni-channel retailing creates a seamless shopping experience across multiple channels. Consider the following strategies:

• Integrated Inventory Management: Ensure consistent stock levels across online and physical stores to avoid discrepancies.
• Unified Customer Experience: Provide a cohesive brand experience whether customers shop online, via mobile, or in-store.
• Cross-Channel Promotions: Use promotions that span different channels, encouraging customers to engage with your brand wherever they prefer.
• Click-and-Collect Options: Allow customers to order online and pick up items in-store, combining the best of both shopping worlds.
• Customer Support Across Channels: Offer support through various channels, including chat, email, and phone, to enhance customer satisfaction.

Future Trends in Ecommerce and Innovations

The ecommerce landscape is continually evolving. Staying informed about future trends can position your business for success. Key trends to watch include:

• Artificial Intelligence (AI): AI-driven tools for personalization, customer service, and inventory management are becoming increasingly prevalent.
• Augmented Reality (AR): AR allows customers to visualize products in real-world settings, enhancing the shopping experience for items like furniture and fashion.
• Subscription Models: More ecommerce businesses are adopting subscription services, offering convenience and fostering customer loyalty.
• Sustainability Practices: Consumers are increasingly favoring brands that prioritize sustainability, prompting ecommerce businesses to adopt eco-friendly practices.
• Blockchain Technology: Blockchain can enhance security and transparency in transactions, making it a valuable asset for ecommerce.

By keeping an eye on these trends and adapting accordingly, ecommerce businesses can maintain a competitive edge in the dynamic online marketplace.

The post Maximize Your Sales: Proven Ecommerce Strategies That Work appeared first on My Blog.

Understanding the Foundations of Arts & Entertainment

The realms of arts and entertainment are deeply intertwined, representing a rich tapestry of human creativity and cultural expression. They encompass a vast array of practices and products that entertain, inspire, and provoke thought. This section delves into the foundational concepts that define arts and entertainment, their cultural significance, and the diverse forms of artistic expression that exist within these categories.

Defining Arts & Entertainment: Key Concepts

At its core, arts and entertainment can be defined as the various forms of creative expression that aim to engage, inform, or amuse audiences. The term “arts” typically refers to disciplines such as visual arts, performing arts, and literature, while “entertainment” encompasses activities or productions designed to captivate and hold the attention of an audience.

Key concepts within this domain include:

• Creativity: The cornerstone of any artistic endeavor, creativity involves the generation of new ideas, forms, or interpretations.
• Audience Engagement: Both arts and entertainment require an audience. The interaction between creators and audiences often shapes the impact of the work.
• Cultural Reflection: Artistic expressions often reflect societal values, norms, and issues, serving as a mirror to the world.

Understanding these concepts is vital for appreciating how arts and entertainment influence society and culture.

The Role of Culture in Shaping Arts & Entertainment

Culture plays a pivotal role in shaping the landscape of arts and entertainment. It encompasses the beliefs, practices, languages, and symbols that characterize a community or society. Cultural contexts inform the themes, styles, and techniques utilized by artists and entertainers, resulting in a diverse range of expressions across different societies.

Consider the following:

• Historical Context: The arts have evolved through various historical movements, such as the Renaissance or the Harlem Renaissance, highlighting cultural shifts and societal changes.
• Regional Influences: Different geographical locations foster unique artistic traditions; for example, African tribal art differs vastly from Asian calligraphy.
• Globalization: Increased connectivity has led to cross-cultural influences, allowing artists to draw inspiration from a broader palette of styles and ideas.

This interplay between culture and artistic expression not only enriches the arts but also fosters a greater understanding of diverse perspectives.

Different Forms of Artistic Expression: An Overview

The spectrum of artistic expression is vast, encompassing various forms that cater to different tastes and interests. Here are some of the primary categories:

• Visual Arts: This includes painting, sculpture, photography, and digital arts, which primarily appeal to the sense of sight.
• Performing Arts: Theatre, music, and dance engage audiences through live performances, often emphasizing movement and sound.
• Literature: Written works, including poetry, fiction, and non-fiction, offer narrative and thematic depth, influencing other artistic forms.

Each of these forms contributes uniquely to the overall landscape of arts and entertainment, creating a rich tapestry of human expression.

Exploring Various Art Forms

To truly appreciate the breadth of arts and entertainment, one must explore the various forms that constitute this vibrant field. Each art form brings its own methodologies and experiences, contributing to an ever-evolving dialogue within the cultural sphere.

Visual Arts: Painting, Sculpture, and Photography

Visual arts encompass a wide range of creative expressions that are primarily visual in nature. This category includes traditional forms such as painting and sculpture, as well as contemporary practices like photography and digital art.

Painting, for example, has a long history, from the classical works of masters like Leonardo da Vinci to modern expressions by artists like Banksy. Each piece often tells a story or conveys a specific emotion, using colors, shapes, and textures to engage viewers.

Sculpture, which can be traced back to ancient civilizations, allows for three-dimensional exploration of form and material. Contemporary sculpture has expanded to include installations and mixed media, challenging traditional notions of what sculpture can be.

Photography has revolutionized the visual arts, capturing moments in time and offering new perspectives on reality. From portraiture to documentary photography, the medium has the power to evoke emotions and tell compelling stories.

Performing Arts: Theatre, Dance, and Music

The performing arts bring stories to life through live performance, engaging audiences in real-time. Theatre combines elements of drama, storytelling, and visual spectacle. Playwrights like Tennessee Williams and contemporary creators like Lin-Manuel Miranda have shaped the landscape of theatre, addressing societal issues and personal narratives.

Dance, a form of movement and expression, transcends language barriers. Styles range from ballet to hip-hop, each conveying emotions and stories through choreography. Famous companies like the American Ballet Theatre and innovative choreographers like Martha Graham have significantly impacted the evolution of dance.

Music, perhaps the most universally accessible form of art, encompasses genres that resonate across cultures. From classical symphonies to contemporary pop, music serves as a powerful medium for storytelling and emotional expression, influencing social movements and personal experiences.

Literature and its Influence on Other Art Forms

Literature serves as a foundation for many artistic expressions, influencing theatre, film, music, and visual arts. The written word has the power to convey complex ideas, emotions, and narratives, serving as inspiration for countless adaptations and interpretations.

For instance, classic novels such as “Pride and Prejudice” have inspired numerous film adaptations, while contemporary works often find their way into stage productions. The interplay between literature and other art forms creates a rich dialogue, allowing for reinterpretation and fresh perspectives.

Moreover, literary devices such as metaphor and symbolism have influenced visual artists, who incorporate these elements into their work, creating layers of meaning that engage audiences on multiple levels.

The Business of Arts & Entertainment

The arts and entertainment sector is not only a vibrant field of creativity but also a complex business landscape. Understanding the economic dynamics, funding mechanisms, and marketing strategies is crucial for artists and performers aiming to succeed in this competitive environment.

Understanding the Arts Market: Supply and Demand Dynamics

The arts market operates on the principles of supply and demand, much like any other industry. Artists and performers supply creative works, while audiences demand entertainment and cultural experiences. Understanding this dynamic is essential for navigating the market effectively.

Several factors influence supply and demand in the arts market:

• Trends and Cultural Shifts: Changes in societal values and preferences can impact what types of art are in demand. For example, the rise of social media has shifted audience preferences towards more accessible and relatable content.
• Economic Conditions: During economic downturns, funding for the arts may decrease, affecting the supply of artistic projects and performances.
• Technology: The advent of digital platforms has expanded the supply of art, enabling artists to reach global audiences, but it has also intensified competition.

Understanding these dynamics can help artists position themselves effectively within the market and identify opportunities for growth.

Funding and Financing for Artistic Projects

Securing funding is often one of the most significant challenges facing artists and entertainers. Various options exist for financing artistic projects, including:

• Grants: Numerous organizations offer grants to support artists, including government agencies, private foundations, and arts councils. Researching and applying for these grants can provide crucial financial support.
• Sponsorships: Collaborating with businesses and brands can help secure funding in exchange for promotional opportunities, creating mutually beneficial relationships.
• Crowdfunding: Platforms like Kickstarter and Indiegogo allow artists to raise funds directly from their audience, fostering community support and engagement.

Understanding the various funding avenues available is essential for artists seeking to bring their projects to fruition.

Marketing Strategies for Artists and Performers

Effective marketing is crucial for artists and performers aiming to reach and engage their audiences. Here are several strategies that can help:

• Building an Online Presence: Establishing a strong online presence through social media, personal websites, and email newsletters can help artists connect with their audience and promote their work.
• Networking: Building relationships within the industry can open doors to collaborations, performances, and exhibitions. Attend events, workshops, and exhibitions to meet fellow artists and industry professionals.
• Engaging Content: Create compelling content that showcases your work, such as behind-the-scenes videos, interviews, and tutorials. This not only builds brand loyalty but also attracts new audiences.

By implementing these marketing strategies, artists can effectively promote their work and expand their reach within the arts and entertainment landscape.

Technology’s Impact on Arts & Entertainment

In recent years, technology has profoundly transformed the arts and entertainment industry. From digital platforms to innovative performance techniques, technology has opened new avenues for creativity and audience engagement. This section explores the various ways technology is influencing the arts.

Digital Platforms: Streaming Services and Social Media

Streaming services like Netflix, Spotify, and YouTube have revolutionized how audiences consume entertainment. These platforms provide instant access to a vast array of content, allowing artists to reach global audiences without the traditional barriers of distribution.

Moreover, social media platforms have become essential tools for artists to share their work, connect with fans, and build communities. Platforms like Instagram, TikTok, and Twitter enable artists to engage directly with their audience, fostering a sense of intimacy and connection that can enhance loyalty and support.

As a result, artists can leverage these platforms for marketing, funding, and collaboration opportunities:

• Live Streaming: Artists can host live performances or Q&A sessions, creating a real-time connection with their audience.
• Content Sharing: Sharing snippets of work or behind-the-scenes content can engage followers and encourage them to support the artist.
• Collaborative Projects: Social media allows for collaboration across geographical boundaries, enabling artists to work together on projects that may not have been possible otherwise.

The Role of Virtual and Augmented Reality in Art

Virtual reality (VR) and augmented reality (AR) are emerging technologies that are reshaping the arts landscape. These technologies allow artists to create immersive experiences that engage audiences in innovative ways.

For instance, VR installations can transport viewers into entirely new environments, allowing them to interact with art in a three-dimensional space. Artists like Marina Abramović have experimented with VR to create transformative experiences that challenge perceptions of presence and distance.

AR, on the other hand, enhances the real world by overlaying digital elements. This technology has been used in public art projects, where viewers can point their smartphones at a mural to see animations or hear soundscapes that complement the visual experience.

Both VR and AR offer exciting possibilities for artists, enabling them to push the boundaries of creativity and engage audiences in unique ways.

How Technology is Transforming Live Performances

Technology is also transforming live performances, enhancing the audience experience and expanding creative possibilities. Innovations in sound and lighting technology allow for more dynamic and immersive performances, elevating the overall impact of live shows.

For example, artists like Beyoncé and U2 have incorporated elaborate visual effects and stage designs that utilize cutting-edge technology to create unforgettable experiences. Additionally, live streaming performances have become increasingly popular, allowing audiences who cannot attend in person to participate in the experience from anywhere in the world.

Furthermore, the integration of audience interaction through mobile apps or social media can enhance engagement, allowing viewers to influence aspects of the performance in real-time. This level of interactivity not only enriches the experience but also fosters a deeper connection between artists and their audience.

Future Trends in Arts & Entertainment

As the landscape of arts and entertainment continues to evolve, several key trends are shaping its future. From sustainability initiatives to the push for greater diversity, these trends reflect changing societal values and priorities.

Sustainability and Eco-Conscious Practices in the Arts

In response to growing environmental concerns, many artists and organizations are adopting sustainability practices in their work. This includes using eco-friendly materials, reducing waste, and promoting environmental awareness through their art.

For example, artists like Olafur Eliasson create installations that highlight climate change issues, encouraging viewers to reflect on their relationship with the environment. Additionally, organizations like the Arts Council England have launched initiatives to support sustainable practices within the arts sector.

Implementing sustainable practices not only benefits the environment but also resonates with audiences increasingly concerned about climate change and ecological responsibility.

The Growing Importance of Diversity and Inclusion

Diversity and inclusion have become paramount in the arts and entertainment industry, with a growing recognition of the need for representation across all forms. This trend encompasses not only racial and ethnic diversity but also gender, sexuality, and ability.

Initiatives like the #OscarsSoWhite movement have sparked discussions about representation in film, leading to calls for more inclusive practices in casting, storytelling, and production. Similarly, organizations are working to support underrepresented artists and ensure their voices are heard.

Encouraging diversity within the arts enriches the cultural landscape, allowing for a broader range of stories and experiences to be shared, ultimately benefiting both artists and audiences alike.

Innovative Collaborations Across Different Art Forms

As the boundaries between different art forms continue to blur, innovative collaborations are becoming increasingly common. Artists from diverse disciplines are coming together to create multidisciplinary works that challenge traditional notions of art.

For instance, collaborations between musicians and visual artists can result in immersive installations that engage multiple senses, such as the works created by artists like Björk, who combines music, visual art, and technology in her performances.

These cross-disciplinary collaborations not only expand the creative possibilities but also attract diverse audiences, fostering a sense of community and shared experience.

The post Captivating Trends Reshaping the Arts & Entertainment Scene appeared first on My Blog.

Gusto Lovers prenderà il via dalle 11,00 della mattina fino alle 20,30, e sarà l’occasione per vedere all’opera tante eccellenze del mondo della ristorazione, produttori di prelibatezze legati al mondo del cibo, del vino e dei distillati che arrivano da tutta la Toscana.

Una “festa” per il palato, che lo chef Leonardo Fiorenzani, ha fortemente voluto, nata per coinvolgere il pubblico in una giornata ricca di bontà.

MANGIARE BENE

L’evento prevede 27 espositori “food & beverage” di alto profilo da tutta la regione che presenteranno in degustazione un loro piatto tipico. Ma chi troveremo a Gusto Lovers a presentare le eccellenze e la tipicità del territorio toscano?

La Sosta del Cavaliere (chef Leonardo Fiorenzani, Ambasciatore del Gusto) – Sovicille, TerraMira ristorante 1 stella Michelin (chef Filippo Scapecchi) – Arezzo (AR), Il Gabbiano 3.0 1 stella Michelin (chef Alessandro Rossi) – Marina di Grosseto (GR), Passo dopo Passo Osteria (chef Maurizio Bardotti) – Castellina in Chianti (SI), Osmosi ️ristorante 1 stella Michelin (chef Mirko Marcelli) – Montepulciano (SI), La Pergola (Pizzaiolo Tommaso Vatti) Ambasciatore del Gusto – Radicondoli (SI), Octavin ristorante 1 stella Michelin (chef Luca Fracassi) – Arezzo, Linfa ristorante 1 stella Michelin (chef Vincenzo Martella) – San Gimignano, La Bottega del 30 (chef Helen Stoquelet) – Castelnuovo Berardenga, Ora d’Aria (chef Marco Stabile, Ambasciatore del Gusto) – Firenze, Bis Osteria (chef Alessandro Calabrese) – Colle Val d’Elsa, Il Frantoio (chef Jacopo Pereira) – Colle Val d’Elsa, Paca ristorante 1 stella Michelin (chef Niccolò Palumbo) – Prato.

Ma la lista non finisce qui, perché ci saranno anche La Cantina del Poggiaccio – Sovicille, Le Logge Ristorante – Sovicille, Il Caggio – Sovicille Poggio Ai Legni – Sovicille, Gelateria Dondoli – San Gimignano, La Fabbrica del Panforte – Sovicille, Azienda Agricola Bezzini – Casa al Gianni – Sovicille, Azienda Agricola Spannocchia ­ – Chiusdino.

BERE BENE

Amici in Bolla – Siena, Birrificio La Steccaia – Rapolano Terme, Castello Poggiarello – Sovicille,
Perlage Enoteca, – Siena, Tenuta di Trecciano – Sovicille, Azienda Agricola Pietro – Nenni Toscana – Chiusdino, Taz Siena – il Gin di Siena.

Premio per il Miglior Prosciutto da Cinta senese

Evento nell’evento, alle ore 19,30 il Premio per il Miglior Prosciutto da Cinta senese in collaborazione con il Consorzio di Tutela della Cinta Senese DOP e una giuria composta da esperti. Al Premio partecipano: Az. Agr. Spannocchia, Chiusdino; Az. Agr. Bezzini, Sovicille; Az. Agr. Mario Vigni, Asciano; Salumificio Patrone, Campiglia Marittima.

“Con grande gioia – dichiara chef Leonardo Fiorenzani, (recentemente nominato da Forbes Italia tra i 100 ristoratori innovativi del 2025) – presentiamo GUSTO LOVERS, un evento pensato per discostarsi dalla moltitudine e focalizzarsi sull’eccellenza enogastronomica del nostro territorio. Continua chef Fiorenzani: “L’evento poi vuole divenire nel tempo un appuntamento fisso, magari anche itinerante, che attraverso la qualità e l’eccellenza della nostra enogastronomia racconti un territorio, la sua cultura, le sue tradizioni, la sua storia ma che accolga e intrattenga”

.L’accesso all’evento è gratuito mentre per i piatti in degustazione sarà necessario acquistare un ticket per una singola proposta: food €5,00; beverage €3,00.

Durante la giornata sarà possibile di visitare il CHIOSTRO DI TORRI eccezionalmente aperto al pubblico nel seguente orario: mattina ore 11,30 fino 12,30; pomeriggio dalle ore 14,00 alle ore 19,30. Si possono prenotare, a pagamento, visite guidate.
Il DJ Alessandro Serra intratterrà con la sua musica live gli ospiti di GUSTO LOVERS per l’intera giornata mentre fotografo ufficiale dell’evento sarà Niccolò Poppi.

L’a manifestazione è organizzata da La Sosta del Cavaliere di chef Leonardo Fiorenzani e Michela Bigio in collaborazione e con il Patrocinio di Confesercenti Siena, Comune di Sovicille, Comune di Siena, Ambasciatori del Gusto, Consorzio di Tutela della Cinta Senese DOP, Il Forchettiere, MyTuscany, DMO Terre di Siena. Si avvale della partecipazione dell’Associazione La Racchetta ODV Sez. Sovicille, Associazione “Il Busso” Torri e dall’Associazione La Pubblica Assistenza Montagnola Senese.

L’articolo Debutta “Gusto Lovers” l’evento più goloso dell’autunno sembra essere il primo su La Finestra di Stefania.

Autogrill lancia AMORE “Do Eat Better”, il nuovo concept di cucina fast casual all’italiana e il primo format con servizio al tavolo in autostrada di Autogrill, un’assoluta novità nel panorama della ristorazione on the road. Inaugurato oggi nei locali del punto vendita di Montepulciano Est, sulla A1, AMORE aprirà presto anche nel punto vendita di Badia Al Pino (AR). “Con il lancio di AMORE e l’introduzione della formula del servizio al tavolo, intendiamo

Continua …

The post Autogrill lancia “AMORE”, il nuovo concept di cucina fast casual all’italiana con servizio al tavolo appeared first on L'Appetito Vien Leggendo.

Il codice alfanumerico identificativo

Le cuciture e l’hardware

La pelle

La custodia

Il prezzo

Questa settimana sarà ricordata per l’eclissi di luna di Venerdì 27 luglio. Ecco cinque cene da segnare in agenda, dove pizzaioli di fama e chef stellati, prepareranno piatti al chiaro di luna.

A Cortona (AR) torna Street Chef, l’appuntamento culinario di caratura nazionale che giovedì 26 e venerdì 27 luglio vedrà le strade e le piazze di Cortona protagoniste di un viaggio enogastronomico volto a valorizzare le eccellenze del territorio e la tradizione della Cucina Italiana.

La manifestazione si aprirà giovedì 26 luglio con la serata speciale dedicata alla Pizza e all’arte del pizzaiolo, patrimonio dell’umanità Unesco. Avremo il piacere di vedere esibirsi in piazza i grandi pizzaioli della Scuderia Catalano:
Antonio Ferraiuolo – Pizzeria le 7 Voglie, San Marco Evangelista CE
Giorgio Moffa – Antica Pizzeria Ciro dal 1923, Formia e Gaeta LT
Maurizio Del Buono – Pizzeria da Gennaro, Napoli NA
Roberto Esposito – Pizzeria Rosso Vivo – Pizzeria Re al Quadrato, Chianciano Terme SI
Roberto Miele – La Taverna dei Re, Campobasso CB
Vincenzo Di Fiore – Pizzeria Vincenzo di Fiore, Acerra NA
che prepareranno a vista le pizze della tradizione e per la prima volta interpreteranno insieme a grandi chef pizze gourmet con i prodotti della Valdichiana, tra cui l’Aglione, la Chianina, la Cinta, lo zafferano, l’olio d’oliva, accompagnate da fritti della friggitoria campana e toscana e birra agricola toscana, serviti al tavolo nella meravigliosa cornice di Piazza Garibaldi.

Venerdì 27 luglio dalle 17:00 alle 23:00, come nella passata edizione i vicoli di Cortona saranno teatro di “Morsi e Sorsi”, un percorso enogastronomico che permetterà ai visitatori di assaporare le eccellenze dello Street Food locale. I chioschi si snoderanno da Piazza Garibaldi per tutta Via Nazionale, Piazza della Repubblica, Piazza Signorelli e Via Dardano: in ogni punto gli operatori proporranno piatti da gustare passeggiando, abbinati ad un bicchiere di vino della DOC Cortona.
Alle ore 18:30 Street Chef Opening in Piazza Della Repubblica il concerto del quintetto Amsterdam Brass Quintet darà il benvenuto alla grande brigata di chef. In collaborazione con Associazione Mammut.
Alle ore 20:30 la tanto attesa Cena Gourmet che porterà in Piazza Garibaldi un’incredibile brigata di oltre 20 chef di cui 5 chef stellati provenienti da tutto lo stivale:
Silvia Baracchi * – Ristorante Il Falconiere, Cortona AR
Claudio Sadler * – Ristorante Sadler, Milano
Paolo Gramaglia * – Ristorante President, Pompei NA
Valentino Palmisano * – Ristorante Vespasia di Palazzo Seneca, Norcia PG
Giuseppe Di Iorio * – Ristorante Aroma, Roma
Elio Sironi – Ristorante Ceresio 7, Milano
Paolo Cappuccio – Chef consulente per le nuove tendenze “nutrizionali”
Paolo Paciaroni – Borgo Lanciano, Castelraimondo MC
Massimiliano Mandozzi – Ristorante L’Orangerie Casta Diva Resort, Blevio CO
Elnava De Rosa – Ristorante L’Orangerie Casta Diva Resort, Blevio CO
Catia Ciofo – Taste&Feeling, Perugia
Michela Starita – Lady Chef Associazione Cuochi Montecatini Terme PT
Marialuisa Lovari – Cucina Donnaluisa Relais il Verreno, Ambra AR
Andrea Giuseppucci – Ristorante La Gattabuia, Tolentino MC
Andrea Perini – Chef all’extravergine del premio il Magnifico
Walter Redaelli – Ristorante Walter Redaelli, Sinalunga SI
Emilio Signori – Locanda La Luna, Tirli GR
Matteo Donati – Ristorante Donati, Castiglione Della Pescaia GR
Shady Hasbun – Chef Shady Food Experience, Arezzo
guidata da Fausto Arrighi, già direttore della prestigiosa Guida Michelin e Annamaria Farina, interior designer.

Serata stellata al ristorante La Magnolia di Forte dei Marmi

Lo Chef Resident Cristoforo Trapani ospita Matteo Baronetto
per una cena esclusiva a quattro mani

Si svolgerà giovedì 26 luglio alle ore 20.30 nell’elegante e raffinata cornice del ristorante “La Magnolia”, il fiore all’occhiello dell’hotel Byron di Forte dei Marmi, l’incantevole dimora a 5 stelle del Gruppo Soft Living Places. Il padrone di casa lo chef Cristoforo Trapani ospiterà il collega Matteo Baronetto dello storico ristorante “Del Cambio” di Torino per una cena esclusiva all’insegna dei sapori italiani di mare e non solo.

Ad aprire le danze, il benvenuto di Matteo Baronetto con l’insalata piemontese. Segue il primo e il secondo proposti da Trapani: tortelli di parmigiana di melanzane con scamorza affumicata e il morone alla mugnaia, asparagi di mare e bottarga di tonno. Il tutto accompagnato dalla freschezza e rotondità del Lambrusco Rose e Pinot Bianco. Il palato degli invitati continuerà ad essere deliziato in chiusura da Baronetto con la noce di cocco, abbinata all’Aneri Gewúrztraminer, vino elegante e raffinato dal sapore pieno e armonico.

Prezzo incluso abbinamento enologico: € 120,00.

Per prenotazioni e informazioni: Ristorante La Magnolia presso Hotel Byron – Forte dei Marmi Tel. (+39) 0584 787052 Email: info@hotelbyron.net

A Il Borro Tuscan Bistro, all’interno della Tenuta Il Borro, azienda agricola e vitivinicola biologica nel Valdarno di proprietà di Ferruccio Ferragamo, giovedì 26 luglio dalle 19.30 andrà in scena una serata tutta italiana. Andrea Campani, Executive Chef dei ristoranti de Il Borro (Osteria del Borro e Il Borro Tuscan Bistrò), ospita Giovanni Santarpia, maestro pizzaiolo napoletano, ma toscano d’adozione, e Simone Bonini, ideatore e padre del gelato artigianale.

Il menù, al chiaro di luna, prevede un mix di antipasti con salumi, formaggi e verdure dell’orto biologico de Il Borro, accompagnato da un insolito aperitivo a base di gelato gastronomico di Simone Bonini creato a quattro mani con lo Chef di casa Andrea Campani. La protagonista sarà poi la pizza fritta di Giovanni Santarpia seguita da un giro di pizze cotte nel forno a legna create per l’occasione insieme ad Andrea Campani.

In abbinamento verrà servita la Biritullera, una birra artigianale, dal sapore toscano, a base di farro e orzo, provenienti dalle coltivazioni biologiche de Il Borro. Finale in Bontà con i best di Simone Bonini, che, come i piatti di Andrea Campani, sono realizzati con materie prime di qualità (spesso locali), rigorosamente di stagione, per un risultato dal carattere deciso e ineguagliabile.

Prezzo a persona: €40
Per informazioni e prenotazioni:

osteria@ilborro.it – 055 9772333

Venerdi 27 luglio 2018 lo chef  Takeshi Iwai sarà l’interprete, insieme a Pasquale Palamaro, resident chef del ristorante Indaco al Regina Isabella, di una cena sostenibile a 4 mani.

L’executive chef del ristorante Ada E Augusto di Gaggiano (MI) ha aderito volentieri all’ evento che vede come tema quello dell’etica in cucina. Un argomento attuale quello della sostenibilità che spinge gli chef a riflettere sul valore del cibo, delle stagioni, e della territorialità in modo da garantire un maggior rispetto per la natura e per quanto può dare.

I piatti che lo Chef Iwai presenterà sono: uno dei suoi piatti più iconici, l’appetizer Trota Carota e a seguire i Mondeghili; come antipasto una delle sue più recenti creazioni Rapa rossa e mandorle e per finire il primo Spaghettini freddi, storione, mandarino e zenzero. Un trionfo di cibi di stagione e sapori italiani rivisitati dal giovane chef del Sol Levante.

In occasione della spettacolare eclissi totale di Luna di VENERDI’ 27 LUGLIO la Casa Chianti Classico resterà aperta con i suoi servizi di degustazione e bistrot sulla splendida terrazza per godere del lungo e spettacolare fenomeno astronomico.
Per l’occasione sarà anche possibile osservare le fasi dell’eclissi attraverso un telescopio e, per chi vuole, provare a fotografare la luna e Marte che si troverà in congiunzione poco distante e che brillerà anch’esso di una luce arancione.
La luna alle nostre latitudini sorgerà dopo le ore 20 ed inizierà l’ingresso nell’ombra alle 20:20 circa. L’eclissi totale culminerà alle 22:22.

Circonvallazione Santa Maria, 18
53017 Radda in Chianti

L’articolo Cinque cene imperdibili al chiaro di luna sembra essere il primo su La Finestra di Stefania.

This news is exciting to me on a few levels — eight years ago I had my first introduction to Atavist when I met a journalist named Evan Ratliff for coffee at Housing Works in New York. He showed me the first pieces of what became a bold new platform for long-form storytelling, which he created with co-founders Jefferson Rabb and Nicholas Thompson. At the time I had just started Longreads, so we shared an interest in seeing a revival for long-form journalism on the open web.

Fast-forward to today and we’re thrilled to have the Atavist and Longreads teams now together under the WordPress.com banner. Atavist’s publishing platform will be moving over to WordPress, and its award-winning magazine The Atavist will continue to serve up outstanding in-depth storytelling with a new feature each month, under the editorship of Seyward Darby. Also joining the team is Atavist CEO Rabb and head of product communications Kathleen Ross.

I chatted with Rabb, Darby, and Ross about what’s next.

Jeff, Seyward, Kathleen, we’re excited you’re here! You’ve had a terrific run over the past eight years — leading innovation around the design and process of multimedia storytelling, winning many awards along the way — what are your hopes and priorities for Atavist moving forward?

RABB: Thank you, I’m thrilled to be here! My number one hope in joining [WordPress.com parent company] Automattic is to bring everything we have built and learned to an audience that is orders of magnitude larger. I’ve spent the past eight years honing a toolset and sensibility for digital journalism, and now I’m excited to put this to use for a mass audience. When these are integrated into WordPress, I am hoping we will have an unbeatable product for storytelling and journalism. There are many fascinating challenges and problems in journalism today, and now more than ever I want to be part of the solution.

DARBY: I’m also excited to be here! I’ve been at The Atavist Magazine for the last 15 months, and it’s the best job I’ve ever had. The list of things I love about our publication is too long to include in full, but some highlights are the intimate collaborations with creators, the anchoring belief in the timeless power of cinematic storytelling, and the commitment to nurturing the next generation of long-form writers. Certainly, we work with big-name journalists, but we’re also a magazine that supports up-and-coming narrative writers who want to take a swing at a really, really big story. I love nothing more than helping someone crack the code on a 15,000-word feature’s complex structure. (I’m a big fan of Post-It notes and story trees, and of fist-pumping to no one in particular when an article section falls into place.)

Moving forward, the magazine’s foundational priorities will remain the same: We’ll tell great stories, design them beautifully, treat our collaborators well, and have a lot of fun in the process. My hope is that, by combining forces with WordPress.com, we’ll get to push the boundaries of our projects: dive into more multi-part narrative investigations, produce more original video or audio where it makes good sense, improve the diversity of our roster of writers and artists, and provide journalists with the resources and time they need to report the hell out of topics they’re passionate about.

Winning awards and getting our stories optioned for film/TV, which we also have a strong track record of doing, will be goals, absolutely, but never at the expense of providing a quality experience to every person who contributes to or reads The Atavist.

Tell us about some of your favorite stories you’ve hosted.

DARBY: I’m proud of every story I’ve shepherded as the executive editor, so it’s hard for me to pick favorites. The most successful Atavist stories share the same key ingredients: a propulsive, satisfying narrative, rich characters, and scenes that make readers feel immersed in the world the writer is describing. At first blush, Kenneth R. Rosen’s story “The Devil’s Henchmen,” about what is being done with the bodies of the ISIS dead in Mosul, doesn’t seem to have much in common with Amitha Kalaichandran’s “Losing Conner’s Mind,” about a family’s quest to save a child from a rare, fatal disease; Allyn Gaestel’s “Things Fall Apart,” about an over-hyped art installation in Nigeria; Mike Mariani’s “Promethea Unbound,” about the tortured life of a child genius; or David Mark Simpson’s “Not Fuzz,” about a millionaire hotelier who moonlights as a serial police impersonator. Yet these stories all have compelling plots about everyday people whose lives are shaped by sheer will and unpredictable circumstance. You can’t put them down because you want to know what’s going to happen.

As for Atavist stories that predate my time at the magazine, I’ll award a few superlatives. Quirkiest goes to Jon Mooallem’s “American Hippopotamus,” about a bizarre plan to alter the national diet. Most Lyrical goes to Leslie Jamison’s “52 Blue,” about the world’s loneliest whale. Most Ambitious goes to Evan Ratliff’s epic “The Mastermind,” about a crime lord whose empire spanned pretty much the whole world. (It’s soon to be a book and TV show.) And Couldn’t Get It Out of My Head goes to Will Hunt and Matt Wolfe’s “The Ghosts of Pickering Trail,” about a family living in a haunted house. I’ll stop there, but I really could go on and on.

ROSS: Before I worked for Atavist, I actually worked right down the hall, so I have been reading the magazine for a long time. To me, the best Atavist Magazine stories are transporting: in “Welcome to Dog World,” Blair Braverman shows us Alaska; socialites head to Sioux Falls, South Dakota, for an early feminist victory in “The Divorce Colony” by April White; and James Verini’s “Love and Ruin” (the title story of our 2016 collection) is a romance and historical epic all in one, and I think about Nancy Hatch Dupree’s library in Afghanistan often. “A Family Matter” may be one of the most important stories we’ve done. Finally, I love stories about spectacular failures, so I have to mention Mitch Moxley’s article “Sunk,” which is about a disastrous attempt to make an epic movie about mermaids; plus, the piece has some excellent moments of maximalist design, including pixelated fish that bob across the page.

RABB: I have a soft spot for the very first stories such as “Lifted,” “Piano Demon,” and “My Mother’s Lover.” In addition to being great pieces of writing, they were the petri dishes in which our experimental approach to storytelling was born. They included ideas such as pop-up annotations, maps, and immersive sound elements. Even though the way we distribute our articles has changed dramatically since those stories were published—back then, they were exclusively on the Atavist mobile app and Kindle—many of the concepts and approaches in them formed the DNA of our company’s product. Developing those first few stories was an exciting and vital time for me.

Finally, I’m wondering what you think about the state of storytelling on the open web today. Where do you think things are headed?

DARBY: There are so many stories being told in the digital space right now, in so many ways, and to so many different audiences. Take SKAM Austin, which D.T. Max recently wrote about for The New Yorker. It’s a teen drama told entirely through Facebook posts, Instagram stories, texts, and other digital scraps and marginalia—a story crafted for its young target audience, based on the way they consume information and communicate with one another. That project is fictional, but there’s similar experimentation happening in the non-fiction space. Certainly, publications are pushing the envelope on transmedia (multi-platform storytelling) and rethinking story structure based on how events now unfold in real time in the palm of your hand. I’m thinking of projects like WIRED‘s story on police brutality, “How Social Media Shaped the Three Days That Shook America,” and National Geographic‘s partnership with ProPublica, “How the U.S. Triggered a Massacre in Mexico.” Recently, I was a fellow at the Sundance Institute’s New Frontier Lab, an incubator for storytellers who work with emerging technologies like VR, AR, and AI. It was incredible to hear the ways that this diverse group is reimagining how to create and deliver narratives. I can’t wait for all of the projects they were workshopping to be out in the world, and I hope to bring what I learned there to bear on my work at Automattic.

That said, I’m a journalist first, and when it comes to technology, I always have this nagging fear that form might compromise substance. No one should tell a story entirely via social media or VR or video just because they can; they should do so because there’s actual benefit—to the story itself, to the audience reached, and so on. I’m reminded of my very first job out of college, back in the aughts. I was a journalist in Eastern Europe and Central Asia, and I also conducted research on media training needs in the region. I met lots of aspiring journalists who said, “This international NGO helped me set up a blog, but I don’t even really know how to conduct an interview or fact-check. Can someone help me with that?” The experience has always stuck with me as a reminder that the basics of great journalism should apply no matter the platform. At The Atavist, we like to say that story comes first, and by that we mean plot and accuracy, then form and reach.

This news is exciting to me on a few levels — eight years ago I had my first introduction to Atavist when I met a journalist named Evan Ratliff for coffee at Housing Works in New York. He showed me the first pieces of what became a bold new platform for long-form storytelling, which he created with co-founders Jefferson Rabb and Nicholas Thompson. At the time I had just started Longreads, so we shared an interest in seeing a revival for long-form journalism on the open web.

Fast-forward to today and we’re thrilled to have the Atavist and Longreads teams now together under the WordPress.com banner. Atavist’s publishing platform will be moving over to WordPress, and its award-winning magazine The Atavist will continue to serve up outstanding in-depth storytelling with a new feature each month, under the editorship of Seyward Darby. Also joining the team is Atavist CEO Rabb and head of product communications Kathleen Ross.

I chatted with Rabb, Darby, and Ross about what’s next.

Jeff, Seyward, Kathleen, we’re excited you’re here! You’ve had a terrific run over the past eight years — leading innovation around the design and process of multimedia storytelling, winning many awards along the way — what are your hopes and priorities for Atavist moving forward?

RABB: Thank you, I’m thrilled to be here! My number one hope in joining [WordPress.com parent company] Automattic is to bring everything we have built and learned to an audience that is orders of magnitude larger. I’ve spent the past eight years honing a toolset and sensibility for digital journalism, and now I’m excited to put this to use for a mass audience. When these are integrated into WordPress, I am hoping we will have an unbeatable product for storytelling and journalism. There are many fascinating challenges and problems in journalism today, and now more than ever I want to be part of the solution.

DARBY: I’m also excited to be here! I’ve been at The Atavist Magazine for the last 15 months, and it’s the best job I’ve ever had. The list of things I love about our publication is too long to include in full, but some highlights are the intimate collaborations with creators, the anchoring belief in the timeless power of cinematic storytelling, and the commitment to nurturing the next generation of long-form writers. Certainly, we work with big-name journalists, but we’re also a magazine that supports up-and-coming narrative writers who want to take a swing at a really, really big story. I love nothing more than helping someone crack the code on a 15,000-word feature’s complex structure. (I’m a big fan of Post-It notes and story trees, and of fist-pumping to no one in particular when an article section falls into place.)

Moving forward, the magazine’s foundational priorities will remain the same: We’ll tell great stories, design them beautifully, treat our collaborators well, and have a lot of fun in the process. My hope is that, by combining forces with WordPress.com, we’ll get to push the boundaries of our projects: dive into more multi-part narrative investigations, produce more original video or audio where it makes good sense, improve the diversity of our roster of writers and artists, and provide journalists with the resources and time they need to report the hell out of topics they’re passionate about.

Winning awards and getting our stories optioned for film/TV, which we also have a strong track record of doing, will be goals, absolutely, but never at the expense of providing a quality experience to every person who contributes to or reads The Atavist.

Tell us about some of your favorite stories you’ve hosted.

DARBY: I’m proud of every story I’ve shepherded as the executive editor, so it’s hard for me to pick favorites. The most successful Atavist stories share the same key ingredients: a propulsive, satisfying narrative, rich characters, and scenes that make readers feel immersed in the world the writer is describing. At first blush, Kenneth R. Rosen’s story “The Devil’s Henchmen,” about what is being done with the bodies of the ISIS dead in Mosul, doesn’t seem to have much in common with Amitha Kalaichandran’s “Losing Conner’s Mind,” about a family’s quest to save a child from a rare, fatal disease; Allyn Gaestel’s “Things Fall Apart,” about an over-hyped art installation in Nigeria; Mike Mariani’s “Promethea Unbound,” about the tortured life of a child genius; or David Mark Simpson’s “Not Fuzz,” about a millionaire hotelier who moonlights as a serial police impersonator. Yet these stories all have compelling plots about everyday people whose lives are shaped by sheer will and unpredictable circumstance. You can’t put them down because you want to know what’s going to happen.

As for Atavist stories that predate my time at the magazine, I’ll award a few superlatives. Quirkiest goes to Jon Mooallem’s “American Hippopotamus,” about a bizarre plan to alter the national diet. Most Lyrical goes to Leslie Jamison’s “52 Blue,” about the world’s loneliest whale. Most Ambitious goes to Evan Ratliff’s epic “The Mastermind,” about a crime lord whose empire spanned pretty much the whole world. (It’s soon to be a book and TV show.) And Couldn’t Get It Out of My Head goes to Will Hunt and Matt Wolfe’s “The Ghosts of Pickering Trail,” about a family living in a haunted house. I’ll stop there, but I really could go on and on.

ROSS: Before I worked for Atavist, I actually worked right down the hall, so I have been reading the magazine for a long time. To me, the best Atavist Magazine stories are transporting: in “Welcome to Dog World,” Blair Braverman shows us Alaska; socialites head to Sioux Falls, South Dakota, for an early feminist victory in “The Divorce Colony” by April White; and James Verini’s “Love and Ruin” (the title story of our 2016 collection) is a romance and historical epic all in one, and I think about Nancy Hatch Dupree’s library in Afghanistan often. “A Family Matter” may be one of the most important stories we’ve done. Finally, I love stories about spectacular failures, so I have to mention Mitch Moxley’s article “Sunk,” which is about a disastrous attempt to make an epic movie about mermaids; plus, the piece has some excellent moments of maximalist design, including pixelated fish that bob across the page.

RABB: I have a soft spot for the very first stories such as “Lifted,” “Piano Demon,” and “My Mother’s Lover.” In addition to being great pieces of writing, they were the petri dishes in which our experimental approach to storytelling was born. They included ideas such as pop-up annotations, maps, and immersive sound elements. Even though the way we distribute our articles has changed dramatically since those stories were published—back then, they were exclusively on the Atavist mobile app and Kindle—many of the concepts and approaches in them formed the DNA of our company’s product. Developing those first few stories was an exciting and vital time for me.

Finally, I’m wondering what you think about the state of storytelling on the open web today. Where do you think things are headed?

DARBY: There are so many stories being told in the digital space right now, in so many ways, and to so many different audiences. Take SKAM Austin, which D.T. Max recently wrote about for The New Yorker. It’s a teen drama told entirely through Facebook posts, Instagram stories, texts, and other digital scraps and marginalia—a story crafted for its young target audience, based on the way they consume information and communicate with one another. That project is fictional, but there’s similar experimentation happening in the non-fiction space. Certainly, publications are pushing the envelope on transmedia (multi-platform storytelling) and rethinking story structure based on how events now unfold in real time in the palm of your hand. I’m thinking of projects like WIRED‘s story on police brutality, “How Social Media Shaped the Three Days That Shook America,” and National Geographic‘s partnership with ProPublica, “How the U.S. Triggered a Massacre in Mexico.” Recently, I was a fellow at the Sundance Institute’s New Frontier Lab, an incubator for storytellers who work with emerging technologies like VR, AR, and AI. It was incredible to hear the ways that this diverse group is reimagining how to create and deliver narratives. I can’t wait for all of the projects they were workshopping to be out in the world, and I hope to bring what I learned there to bear on my work at Automattic.

That said, I’m a journalist first, and when it comes to technology, I always have this nagging fear that form might compromise substance. No one should tell a story entirely via social media or VR or video just because they can; they should do so because there’s actual benefit—to the story itself, to the audience reached, and so on. I’m reminded of my very first job out of college, back in the aughts. I was a journalist in Eastern Europe and Central Asia, and I also conducted research on media training needs in the region. I met lots of aspiring journalists who said, “This international NGO helped me set up a blog, but I don’t even really know how to conduct an interview or fact-check. Can someone help me with that?” The experience has always stuck with me as a reminder that the basics of great journalism should apply no matter the platform. At The Atavist, we like to say that story comes first, and by that we mean plot and accuracy, then form and reach.

This news is exciting to me on a few levels — eight years ago I had my first introduction to Atavist when I met a journalist named Evan Ratliff for coffee at Housing Works in New York. He showed me the first pieces of what became a bold new platform for long-form storytelling, which he created with co-founders Jefferson Rabb and Nicholas Thompson. At the time I had just started Longreads, so we shared an interest in seeing a revival for long-form journalism on the open web.

Fast-forward to today and we’re thrilled to have the Atavist and Longreads teams now together under the WordPress.com banner. Atavist’s publishing platform will be moving over to WordPress, and its award-winning magazine The Atavist will continue to serve up outstanding in-depth storytelling with a new feature each month, under the editorship of Seyward Darby. Also joining the team is Atavist CEO Rabb and head of product communications Kathleen Ross.

I chatted with Rabb, Darby, and Ross about what’s next.

Jeff, Seyward, Kathleen, we’re excited you’re here! You’ve had a terrific run over the past eight years — leading innovation around the design and process of multimedia storytelling, winning many awards along the way — what are your hopes and priorities for Atavist moving forward?

RABB: Thank you, I’m thrilled to be here! My number one hope in joining [WordPress.com parent company] Automattic is to bring everything we have built and learned to an audience that is orders of magnitude larger. I’ve spent the past eight years honing a toolset and sensibility for digital journalism, and now I’m excited to put this to use for a mass audience. When these are integrated into WordPress, I am hoping we will have an unbeatable product for storytelling and journalism. There are many fascinating challenges and problems in journalism today, and now more than ever I want to be part of the solution.

DARBY: I’m also excited to be here! I’ve been at The Atavist Magazine for the last 15 months, and it’s the best job I’ve ever had. The list of things I love about our publication is too long to include in full, but some highlights are the intimate collaborations with creators, the anchoring belief in the timeless power of cinematic storytelling, and the commitment to nurturing the next generation of long-form writers. Certainly, we work with big-name journalists, but we’re also a magazine that supports up-and-coming narrative writers who want to take a swing at a really, really big story. I love nothing more than helping someone crack the code on a 15,000-word feature’s complex structure. (I’m a big fan of Post-It notes and story trees, and of fist-pumping to no one in particular when an article section falls into place.)

Moving forward, the magazine’s foundational priorities will remain the same: We’ll tell great stories, design them beautifully, treat our collaborators well, and have a lot of fun in the process. My hope is that, by combining forces with WordPress.com, we’ll get to push the boundaries of our projects: dive into more multi-part narrative investigations, produce more original video or audio where it makes good sense, improve the diversity of our roster of writers and artists, and provide journalists with the resources and time they need to report the hell out of topics they’re passionate about.

Winning awards and getting our stories optioned for film/TV, which we also have a strong track record of doing, will be goals, absolutely, but never at the expense of providing a quality experience to every person who contributes to or reads The Atavist.

Tell us about some of your favorite stories you’ve hosted.

DARBY: I’m proud of every story I’ve shepherded as the executive editor, so it’s hard for me to pick favorites. The most successful Atavist stories share the same key ingredients: a propulsive, satisfying narrative, rich characters, and scenes that make readers feel immersed in the world the writer is describing. At first blush, Kenneth R. Rosen’s story “The Devil’s Henchmen,” about what is being done with the bodies of the ISIS dead in Mosul, doesn’t seem to have much in common with Amitha Kalaichandran’s “Losing Conner’s Mind,” about a family’s quest to save a child from a rare, fatal disease; Allyn Gaestel’s “Things Fall Apart,” about an over-hyped art installation in Nigeria; Mike Mariani’s “Promethea Unbound,” about the tortured life of a child genius; or David Mark Simpson’s “Not Fuzz,” about a millionaire hotelier who moonlights as a serial police impersonator. Yet these stories all have compelling plots about everyday people whose lives are shaped by sheer will and unpredictable circumstance. You can’t put them down because you want to know what’s going to happen.

As for Atavist stories that predate my time at the magazine, I’ll award a few superlatives. Quirkiest goes to Jon Mooallem’s “American Hippopotamus,” about a bizarre plan to alter the national diet. Most Lyrical goes to Leslie Jamison’s “52 Blue,” about the world’s loneliest whale. Most Ambitious goes to Evan Ratliff’s epic “The Mastermind,” about a crime lord whose empire spanned pretty much the whole world. (It’s soon to be a book and TV show.) And Couldn’t Get It Out of My Head goes to Will Hunt and Matt Wolfe’s “The Ghosts of Pickering Trail,” about a family living in a haunted house. I’ll stop there, but I really could go on and on.

ROSS: Before I worked for Atavist, I actually worked right down the hall, so I have been reading the magazine for a long time. To me, the best Atavist Magazine stories are transporting: in “Welcome to Dog World,” Blair Braverman shows us Alaska; socialites head to Sioux Falls, South Dakota, for an early feminist victory in “The Divorce Colony” by April White; and James Verini’s “Love and Ruin” (the title story of our 2016 collection) is a romance and historical epic all in one, and I think about Nancy Hatch Dupree’s library in Afghanistan often. “A Family Matter” may be one of the most important stories we’ve done. Finally, I love stories about spectacular failures, so I have to mention Mitch Moxley’s article “Sunk,” which is about a disastrous attempt to make an epic movie about mermaids; plus, the piece has some excellent moments of maximalist design, including pixelated fish that bob across the page.

RABB: I have a soft spot for the very first stories such as “Lifted,” “Piano Demon,” and “My Mother’s Lover.” In addition to being great pieces of writing, they were the petri dishes in which our experimental approach to storytelling was born. They included ideas such as pop-up annotations, maps, and immersive sound elements. Even though the way we distribute our articles has changed dramatically since those stories were published—back then, they were exclusively on the Atavist mobile app and Kindle—many of the concepts and approaches in them formed the DNA of our company’s product. Developing those first few stories was an exciting and vital time for me.

Finally, I’m wondering what you think about the state of storytelling on the open web today. Where do you think things are headed?

DARBY: There are so many stories being told in the digital space right now, in so many ways, and to so many different audiences. Take SKAM Austin, which D.T. Max recently wrote about for The New Yorker. It’s a teen drama told entirely through Facebook posts, Instagram stories, texts, and other digital scraps and marginalia—a story crafted for its young target audience, based on the way they consume information and communicate with one another. That project is fictional, but there’s similar experimentation happening in the non-fiction space. Certainly, publications are pushing the envelope on transmedia (multi-platform storytelling) and rethinking story structure based on how events now unfold in real time in the palm of your hand. I’m thinking of projects like WIRED‘s story on police brutality, “How Social Media Shaped the Three Days That Shook America,” and National Geographic‘s partnership with ProPublica, “How the U.S. Triggered a Massacre in Mexico.” Recently, I was a fellow at the Sundance Institute’s New Frontier Lab, an incubator for storytellers who work with emerging technologies like VR, AR, and AI. It was incredible to hear the ways that this diverse group is reimagining how to create and deliver narratives. I can’t wait for all of the projects they were workshopping to be out in the world, and I hope to bring what I learned there to bear on my work at Automattic.

That said, I’m a journalist first, and when it comes to technology, I always have this nagging fear that form might compromise substance. No one should tell a story entirely via social media or VR or video just because they can; they should do so because there’s actual benefit—to the story itself, to the audience reached, and so on. I’m reminded of my very first job out of college, back in the aughts. I was a journalist in Eastern Europe and Central Asia, and I also conducted research on media training needs in the region. I met lots of aspiring journalists who said, “This international NGO helped me set up a blog, but I don’t even really know how to conduct an interview or fact-check. Can someone help me with that?” The experience has always stuck with me as a reminder that the basics of great journalism should apply no matter the platform. At The Atavist, we like to say that story comes first, and by that we mean plot and accuracy, then form and reach.

This news is exciting to me on a few levels — eight years ago I had my first introduction to Atavist when I met a journalist named Evan Ratliff for coffee at Housing Works in New York. He showed me the first pieces of what became a bold new platform for long-form storytelling, which he created with co-founders Jefferson Rabb and Nicholas Thompson. At the time I had just started Longreads, so we shared an interest in seeing a revival for long-form journalism on the open web.

Fast-forward to today and we’re thrilled to have the Atavist and Longreads teams now together under the WordPress.com banner. Atavist’s publishing platform will be moving over to WordPress, and its award-winning magazine The Atavist will continue to serve up outstanding in-depth storytelling with a new feature each month, under the editorship of Seyward Darby. Also joining the team is Atavist CEO Rabb and head of product communications Kathleen Ross.

I chatted with Rabb, Darby, and Ross about what’s next.

Jeff, Seyward, Kathleen, we’re excited you’re here! You’ve had a terrific run over the past eight years — leading innovation around the design and process of multimedia storytelling, winning many awards along the way — what are your hopes and priorities for Atavist moving forward?

RABB: Thank you, I’m thrilled to be here! My number one hope in joining [WordPress.com parent company] Automattic is to bring everything we have built and learned to an audience that is orders of magnitude larger. I’ve spent the past eight years honing a toolset and sensibility for digital journalism, and now I’m excited to put this to use for a mass audience. When these are integrated into WordPress, I am hoping we will have an unbeatable product for storytelling and journalism. There are many fascinating challenges and problems in journalism today, and now more than ever I want to be part of the solution.

DARBY: I’m also excited to be here! I’ve been at The Atavist Magazine for the last 15 months, and it’s the best job I’ve ever had. The list of things I love about our publication is too long to include in full, but some highlights are the intimate collaborations with creators, the anchoring belief in the timeless power of cinematic storytelling, and the commitment to nurturing the next generation of long-form writers. Certainly, we work with big-name journalists, but we’re also a magazine that supports up-and-coming narrative writers who want to take a swing at a really, really big story. I love nothing more than helping someone crack the code on a 15,000-word feature’s complex structure. (I’m a big fan of Post-It notes and story trees, and of fist-pumping to no one in particular when an article section falls into place.)

Moving forward, the magazine’s foundational priorities will remain the same: We’ll tell great stories, design them beautifully, treat our collaborators well, and have a lot of fun in the process. My hope is that, by combining forces with WordPress.com, we’ll get to push the boundaries of our projects: dive into more multi-part narrative investigations, produce more original video or audio where it makes good sense, improve the diversity of our roster of writers and artists, and provide journalists with the resources and time they need to report the hell out of topics they’re passionate about.

Winning awards and getting our stories optioned for film/TV, which we also have a strong track record of doing, will be goals, absolutely, but never at the expense of providing a quality experience to every person who contributes to or reads The Atavist.

Tell us about some of your favorite stories you’ve hosted.

DARBY: I’m proud of every story I’ve shepherded as the executive editor, so it’s hard for me to pick favorites. The most successful Atavist stories share the same key ingredients: a propulsive, satisfying narrative, rich characters, and scenes that make readers feel immersed in the world the writer is describing. At first blush, Kenneth R. Rosen’s story “The Devil’s Henchmen,” about what is being done with the bodies of the ISIS dead in Mosul, doesn’t seem to have much in common with Amitha Kalaichandran’s “Losing Conner’s Mind,” about a family’s quest to save a child from a rare, fatal disease; Allyn Gaestel’s “Things Fall Apart,” about an over-hyped art installation in Nigeria; Mike Mariani’s “Promethea Unbound,” about the tortured life of a child genius; or David Mark Simpson’s “Not Fuzz,” about a millionaire hotelier who moonlights as a serial police impersonator. Yet these stories all have compelling plots about everyday people whose lives are shaped by sheer will and unpredictable circumstance. You can’t put them down because you want to know what’s going to happen.

As for Atavist stories that predate my time at the magazine, I’ll award a few superlatives. Quirkiest goes to Jon Mooallem’s “American Hippopotamus,” about a bizarre plan to alter the national diet. Most Lyrical goes to Leslie Jamison’s “52 Blue,” about the world’s loneliest whale. Most Ambitious goes to Evan Ratliff’s epic “The Mastermind,” about a crime lord whose empire spanned pretty much the whole world. (It’s soon to be a book and TV show.) And Couldn’t Get It Out of My Head goes to Will Hunt and Matt Wolfe’s “The Ghosts of Pickering Trail,” about a family living in a haunted house. I’ll stop there, but I really could go on and on.

ROSS: Before I worked for Atavist, I actually worked right down the hall, so I have been reading the magazine for a long time. To me, the best Atavist Magazine stories are transporting: in “Welcome to Dog World,” Blair Braverman shows us Alaska; socialites head to Sioux Falls, South Dakota, for an early feminist victory in “The Divorce Colony” by April White; and James Verini’s “Love and Ruin” (the title story of our 2016 collection) is a romance and historical epic all in one, and I think about Nancy Hatch Dupree’s library in Afghanistan often. “A Family Matter” may be one of the most important stories we’ve done. Finally, I love stories about spectacular failures, so I have to mention Mitch Moxley’s article “Sunk,” which is about a disastrous attempt to make an epic movie about mermaids; plus, the piece has some excellent moments of maximalist design, including pixelated fish that bob across the page.

RABB: I have a soft spot for the very first stories such as “Lifted,” “Piano Demon,” and “My Mother’s Lover.” In addition to being great pieces of writing, they were the petri dishes in which our experimental approach to storytelling was born. They included ideas such as pop-up annotations, maps, and immersive sound elements. Even though the way we distribute our articles has changed dramatically since those stories were published—back then, they were exclusively on the Atavist mobile app and Kindle—many of the concepts and approaches in them formed the DNA of our company’s product. Developing those first few stories was an exciting and vital time for me.

Finally, I’m wondering what you think about the state of storytelling on the open web today. Where do you think things are headed?

DARBY: There are so many stories being told in the digital space right now, in so many ways, and to so many different audiences. Take SKAM Austin, which D.T. Max recently wrote about for The New Yorker. It’s a teen drama told entirely through Facebook posts, Instagram stories, texts, and other digital scraps and marginalia—a story crafted for its young target audience, based on the way they consume information and communicate with one another. That project is fictional, but there’s similar experimentation happening in the non-fiction space. Certainly, publications are pushing the envelope on transmedia (multi-platform storytelling) and rethinking story structure based on how events now unfold in real time in the palm of your hand. I’m thinking of projects like WIRED‘s story on police brutality, “How Social Media Shaped the Three Days That Shook America,” and National Geographic‘s partnership with ProPublica, “How the U.S. Triggered a Massacre in Mexico.” Recently, I was a fellow at the Sundance Institute’s New Frontier Lab, an incubator for storytellers who work with emerging technologies like VR, AR, and AI. It was incredible to hear the ways that this diverse group is reimagining how to create and deliver narratives. I can’t wait for all of the projects they were workshopping to be out in the world, and I hope to bring what I learned there to bear on my work at Automattic.

That said, I’m a journalist first, and when it comes to technology, I always have this nagging fear that form might compromise substance. No one should tell a story entirely via social media or VR or video just because they can; they should do so because there’s actual benefit—to the story itself, to the audience reached, and so on. I’m reminded of my very first job out of college, back in the aughts. I was a journalist in Eastern Europe and Central Asia, and I also conducted research on media training needs in the region. I met lots of aspiring journalists who said, “This international NGO helped me set up a blog, but I don’t even really know how to conduct an interview or fact-check. Can someone help me with that?” The experience has always stuck with me as a reminder that the basics of great journalism should apply no matter the platform. At The Atavist, we like to say that story comes first, and by that we mean plot and accuracy, then form and reach.

This news is exciting to me on a few levels — eight years ago I had my first introduction to Atavist when I met a journalist named Evan Ratliff for coffee at Housing Works in New York. He showed me the first pieces of what became a bold new platform for long-form storytelling, which he created with co-founders Jefferson Rabb and Nicholas Thompson. At the time I had just started Longreads, so we shared an interest in seeing a revival for long-form journalism on the open web.

Fast-forward to today and we’re thrilled to have the Atavist and Longreads teams now together under the WordPress.com banner. Atavist’s publishing platform will be moving over to WordPress, and its award-winning magazine The Atavist will continue to serve up outstanding in-depth storytelling with a new feature each month, under the editorship of Seyward Darby. Also joining the team is Atavist CEO Rabb and head of product communications Kathleen Ross.

I chatted with Rabb, Darby, and Ross about what’s next.

Jeff, Seyward, Kathleen, we’re excited you’re here! You’ve had a terrific run over the past eight years — leading innovation around the design and process of multimedia storytelling, winning many awards along the way — what are your hopes and priorities for Atavist moving forward?

RABB: Thank you, I’m thrilled to be here! My number one hope in joining [WordPress.com parent company] Automattic is to bring everything we have built and learned to an audience that is orders of magnitude larger. I’ve spent the past eight years honing a toolset and sensibility for digital journalism, and now I’m excited to put this to use for a mass audience. When these are integrated into WordPress, I am hoping we will have an unbeatable product for storytelling and journalism. There are many fascinating challenges and problems in journalism today, and now more than ever I want to be part of the solution.

DARBY: I’m also excited to be here! I’ve been at The Atavist Magazine for the last 15 months, and it’s the best job I’ve ever had. The list of things I love about our publication is too long to include in full, but some highlights are the intimate collaborations with creators, the anchoring belief in the timeless power of cinematic storytelling, and the commitment to nurturing the next generation of long-form writers. Certainly, we work with big-name journalists, but we’re also a magazine that supports up-and-coming narrative writers who want to take a swing at a really, really big story. I love nothing more than helping someone crack the code on a 15,000-word feature’s complex structure. (I’m a big fan of Post-It notes and story trees, and of fist-pumping to no one in particular when an article section falls into place.)

Moving forward, the magazine’s foundational priorities will remain the same: We’ll tell great stories, design them beautifully, treat our collaborators well, and have a lot of fun in the process. My hope is that, by combining forces with WordPress.com, we’ll get to push the boundaries of our projects: dive into more multi-part narrative investigations, produce more original video or audio where it makes good sense, improve the diversity of our roster of writers and artists, and provide journalists with the resources and time they need to report the hell out of topics they’re passionate about.

Winning awards and getting our stories optioned for film/TV, which we also have a strong track record of doing, will be goals, absolutely, but never at the expense of providing a quality experience to every person who contributes to or reads The Atavist.

Tell us about some of your favorite stories you’ve hosted.

DARBY: I’m proud of every story I’ve shepherded as the executive editor, so it’s hard for me to pick favorites. The most successful Atavist stories share the same key ingredients: a propulsive, satisfying narrative, rich characters, and scenes that make readers feel immersed in the world the writer is describing. At first blush, Kenneth R. Rosen’s story “The Devil’s Henchmen,” about what is being done with the bodies of the ISIS dead in Mosul, doesn’t seem to have much in common with Amitha Kalaichandran’s “Losing Conner’s Mind,” about a family’s quest to save a child from a rare, fatal disease; Allyn Gaestel’s “Things Fall Apart,” about an over-hyped art installation in Nigeria; Mike Mariani’s “Promethea Unbound,” about the tortured life of a child genius; or David Mark Simpson’s “Not Fuzz,” about a millionaire hotelier who moonlights as a serial police impersonator. Yet these stories all have compelling plots about everyday people whose lives are shaped by sheer will and unpredictable circumstance. You can’t put them down because you want to know what’s going to happen.

As for Atavist stories that predate my time at the magazine, I’ll award a few superlatives. Quirkiest goes to Jon Mooallem’s “American Hippopotamus,” about a bizarre plan to alter the national diet. Most Lyrical goes to Leslie Jamison’s “52 Blue,” about the world’s loneliest whale. Most Ambitious goes to Evan Ratliff’s epic “The Mastermind,” about a crime lord whose empire spanned pretty much the whole world. (It’s soon to be a book and TV show.) And Couldn’t Get It Out of My Head goes to Will Hunt and Matt Wolfe’s “The Ghosts of Pickering Trail,” about a family living in a haunted house. I’ll stop there, but I really could go on and on.

ROSS: Before I worked for Atavist, I actually worked right down the hall, so I have been reading the magazine for a long time. To me, the best Atavist Magazine stories are transporting: in “Welcome to Dog World,” Blair Braverman shows us Alaska; socialites head to Sioux Falls, South Dakota, for an early feminist victory in “The Divorce Colony” by April White; and James Verini’s “Love and Ruin” (the title story of our 2016 collection) is a romance and historical epic all in one, and I think about Nancy Hatch Dupree’s library in Afghanistan often. “A Family Matter” may be one of the most important stories we’ve done. Finally, I love stories about spectacular failures, so I have to mention Mitch Moxley’s article “Sunk,” which is about a disastrous attempt to make an epic movie about mermaids; plus, the piece has some excellent moments of maximalist design, including pixelated fish that bob across the page.

RABB: I have a soft spot for the very first stories such as “Lifted,” “Piano Demon,” and “My Mother’s Lover.” In addition to being great pieces of writing, they were the petri dishes in which our experimental approach to storytelling was born. They included ideas such as pop-up annotations, maps, and immersive sound elements. Even though the way we distribute our articles has changed dramatically since those stories were published—back then, they were exclusively on the Atavist mobile app and Kindle—many of the concepts and approaches in them formed the DNA of our company’s product. Developing those first few stories was an exciting and vital time for me.

Finally, I’m wondering what you think about the state of storytelling on the open web today. Where do you think things are headed?

DARBY: There are so many stories being told in the digital space right now, in so many ways, and to so many different audiences. Take SKAM Austin, which D.T. Max recently wrote about for The New Yorker. It’s a teen drama told entirely through Facebook posts, Instagram stories, texts, and other digital scraps and marginalia—a story crafted for its young target audience, based on the way they consume information and communicate with one another. That project is fictional, but there’s similar experimentation happening in the non-fiction space. Certainly, publications are pushing the envelope on transmedia (multi-platform storytelling) and rethinking story structure based on how events now unfold in real time in the palm of your hand. I’m thinking of projects like WIRED‘s story on police brutality, “How Social Media Shaped the Three Days That Shook America,” and National Geographic‘s partnership with ProPublica, “How the U.S. Triggered a Massacre in Mexico.” Recently, I was a fellow at the Sundance Institute’s New Frontier Lab, an incubator for storytellers who work with emerging technologies like VR, AR, and AI. It was incredible to hear the ways that this diverse group is reimagining how to create and deliver narratives. I can’t wait for all of the projects they were workshopping to be out in the world, and I hope to bring what I learned there to bear on my work at Automattic.

That said, I’m a journalist first, and when it comes to technology, I always have this nagging fear that form might compromise substance. No one should tell a story entirely via social media or VR or video just because they can; they should do so because there’s actual benefit—to the story itself, to the audience reached, and so on. I’m reminded of my very first job out of college, back in the aughts. I was a journalist in Eastern Europe and Central Asia, and I also conducted research on media training needs in the region. I met lots of aspiring journalists who said, “This international NGO helped me set up a blog, but I don’t even really know how to conduct an interview or fact-check. Can someone help me with that?” The experience has always stuck with me as a reminder that the basics of great journalism should apply no matter the platform. At The Atavist, we like to say that story comes first, and by that we mean plot and accuracy, then form and reach.

Quali sono gli alimenti ricchi di ferro? Innanzitutto è bene dire che il ferro è un minerale essenziale per la salute umana e che questo può essere assunto in diversi modi.

Alimenti ricchi di ferro

Il primo modo per assumere il ferro necessario al fabbisogno quotidiano è quello di ingerirlo attraverso i cibi, si tratta del modo più naturale di assicurarci il fabbisogno giornaliero.

A questo punto però sorgono due domande:

1. Quali sono gli alimenti ricchi di ferro?
2. Come fare ad assimilare il ferro al meglio?

Prima di rispondere ad entrambe le domande, occorre ricordare che nel caso non si assumano i quantitativi corretti di ferro al dì, nel tempo si rischia di incorrere in un problema di anemia. L’anemia rappresenta una situazione che può riguardare persone di età differenti e riguarda sia uomini che donne, ma che sovente, colpisce più le donne in età fertile.

La carne fa venire subito alla mente il ferro, soprattutto quella di cavallo che viene considerata un’ ottima fonte di questo minerale. Ma il ferro è contenuto come noto, anche in cibi di origine vegetale.

La prima cosa da dire è che bisogna fare una distinzione tra due tipologie di ferro che si ritrovano negli alimenti:

1. il ferro eme
2. il ferro non eme

Il ferro eme è quello più facile da assorbire, lo si ritrova soprattutto nella carne nella percentuale del 40%, il rimanente, ovvero il 60% è ferro non eme.

Il ferro non eme richiede maggiore attenzione visto che è quella il cui assorbimento è più lento.

Il Fabbisogno giornaliero di Fe

Fe indica il ferro sull’apposita tabella, e le assunzioni di questo sono molto variabili a seconda dell’età ad esempio. Se ci si basa sui LARN ovvero sui Livelli di assunzione di riferimento per la popolazione italiana, il fabbisogno medio indicato con le due lettere: AR su base giornaliera va da 8 mg a 18 mg.

Ma in una condizione quale quella di una gravidanza può arrivare anche a 27 mg la necessità giornaliera di questo minerale.

Prima quindi di cambiare in modo repentino la vostra dieta è bene consultarvi con il medico per comprendere quanto ferro occorre a voi specificatamente.

Lista di 45 alimenti ricchi di Ferro

Ecco a seguire una lista di alimenti ricchi di ferro, tratta dalla Tabella Inran:

1. Crusca di frumento
2. Fegato di ovino
3. Pepe nero
4. Fagioli crudi
5. Rene di bovino
6. Radicchio verde
7. Uova di gallina
8. Ostrica
9. Muesli
10. Scorfano
11. Lupini
12. Basilico
13. Fiocchi d’avena
14. Rughetta o rucola
15. Cuore di equino
16. Cioccolato fondente
17. Albicocche secche
18. Fave secche sgusciate crude
19. Piselli secchi
20. Patè di coniglio
21. Spigola
22. Caffe’ tostato
23. Patè di fegato
24. Trippa di bovino
25. Prugne secche
26. Fette biscottate
27. Patè di prosciutto
28. Pesce gatto
29. Crema di nocciole e cacao
30. Cocco essiccato
31. Tartufo nero
32. Arachidi tostate
33. Torrone alla mandorla
34. Pesche disidratate
35. Olive da tavola
36. Nocciole secche
37. Agnello cotto
38. Tarassaco o dente di leone
39. Lenticchie secche cotte
40. Fagioli Borlotti freschi crudi
41. Agnello cotto
42. Cioccolato al latte
43. Mandorle dolci secche
44. Fichi secchi
45. Panettone

L’articolo Fabbisogno quotidiano e alimenti ricchi di ferro sembra essere il primo su Diete per Dimagrire.

Natale è passato, e da Santo Stefano alla befana, scatta la famosa frase: “cosa facciamo oggi?”

Io vi suggerisco di andar per presepi, che in Toscana ne trovate davvero di belli: viventi, artistici e originali. Pronti per cominciare questo itinerario artistico? Dalla Lunigiana alla Maremma, ecco dove sono i presepi più belli in Toscana.

Un itinerario “mare e monti”, alla scoperta di piccoli borghi, che da anni ospitano presepi fatti con amore e minuziosità.

LE VIE DEI PRESEPI

I PRESEPI ARTISTICI

AI BASSI – FIRENZE Parrocchia SS. Nome di Gesù ai Bassi, Via dell’Argingrosso

Sempre più suggestivo con nuove scenografie e tanti personaggi in movimento

Aperto dal 17 dicembre al 15 gennaio. Feriale 15,30-19 – Sabato e festivi 10,30-12,30 e 15,30-19.

CAMPI BISENZIO (FI)

Riproduzione a grandezza naturale di una borgata di Betlemme situata su due piani

all’aperto. Ricerca della fedeltà agli elementi storico-biblici. Aperto dall’8 dicembre al 2 febbraio feriali 15,30-19, festivi anche 12-13.

CICIANA (LU)

Presepio poliscenico. Avvolge in un’atmosfera speciale lo spettatore per fargli riscoprire le radici spirituali più profonde del Natale. Aperto sabati e festivi 15-19, da Natale al 15 gennaio 2017.

CIGOLI – San Miniato (PI)

Tra le più grandi rappresentazioni tecnologiche italiane con i suoi 100 m2

Aperto dal 7 dicembre all’8 gennaio, tutti i giorni h 9,30 -12,30 e 14,30 -19,30.

FUCECCHIO (PI)

Presepe elettromeccanico costituito da 200 personaggi in oltre 60 mq. Ciclo di 11 minuti giorno/notte e voce guida. Aperto dall’8 dicembre al 6 gennaio. Prefestivi e festivi 9-12,30 e 15-19,30. Feriali 15-19. Chiuso il lunedì

LECORE – Signa (FI)

Realizzato con allestimenti emozionanti a tema, ogni anno completamente diversi che occupano l’intera abside. Costruito con materiale povero come scatole di cartone e materiale di scarto. Suscita forti e profonde emozioni. Aperto dal 24 dicembre al 22 gennaio. Festivi: 15,30-19, prefestivi 17-19,30

LEGNAIA – Firenze Via Sant’Angelo

Affianca alla tradizione l’innovazione in una suggestiva atmosfera

Aperto dall’11 dicembre al 16 gennaio. Feriale 9,30-11,30 e 17-19, festivi

9,30-12,30 e 17-19.

MONTIGNOSO- GAMBASSI TERME (FI)

E’ rappresentata in grandi dimensioni tutta la vita di Gesù. Visitabile tutto l’anno

Famiglia del Cuore Immacolato di Maria – Santuario N.S. di Fatima. Aperto fino al 31 gennaio con orario 15-19.

MONTOPOLI VAL D’ARNO (PI) Pieve dei SS. Stefano e Giovanni Presepe tradizionale arricchito da un pregevole fondale pittorico raffigurante Montopoli Aperto dall’8 dicembre all’8 gennaio. Feriale 8-12 e 16-18,30. Festivo e prefestivo 8-12,30

e 15,30-19,30.

NICOSIA DI CALCI – Calci (PI) Parrocchia di Sant’Agostino

Il “Presepio che cresce” si arricchisce ogni anno di nuovi personaggi realizzati a mano. Aperto dal 25 dicembre all’8 gennaio orario 15-18,30. Dall’8 gennaio al 2 febbraio

su appuntamento.

PETROIO – Vinci (FI) Parrocchia S.Maria a Petroio, Via di Petroio

Realizzazione monumentale allestita esternamente e realizzata in muratura, occupa

un’intera collina. La cura del dettaglio e i movimenti costituiscono una vera attrazione.

Aperto dal 4 dicembre all’8 gennaio. Tutti i giorni dalle 9,30 alle 19,30.

POGGIBONSI (SI) via Sant’Anna 9

Presepe animato dei vecchi mestieri (falegname, barbiere, fabbro etc) in un

percorso illustrato di circa 50 raffigurazioni per un totale di oltre 200 movimenti

Aperto dal 4 dicembre all’8 gennaio tutti i giorni 16-20; festivi e prefestivi 10-20

SAN ROMANO (PI)

Nato nel 1922, è una monumentale rappresentazione nel chiostro francescano

del convento. Aperto dall’8 dicembre all’8 gennaio. Tutti i giorni 9-12 e 15-18.30.

SAN PANCRAZIO (LU)

Ambientato in un paesaggio medio-orientale con effetti sonori, e visivi. Accanto ad esso una mostra fotografica all’interno della chiesa. Aperto domenica e festivi dall’8 dicembre a Natale. Poi fino al 15 gennaio anche i sabati 15 -19

SOVIGLIANA-Vinci (Fi) Parrocchia di San Bartolomeo, via Empolese

Presepe tradizionale a fasi cicliche, movimentato. Adiacente ad esso una mostra di diorami. Aperto dall’8 dicembre all’8 gennaio in tutti i week end e festivi 9,30-12 e 14,30-19.

TOFORI (LU)

Un percorso nelle vecchie cantine parrocchiali guida il visitatore a meditarare le scene dell’Annunciazione, della Nascita e dell’Infanzia di Gesù. Aperto dal 25 dicembre al 15 gennaio festivi della 14,30 alle 18 feriale su appuntamento.

I PRESEPI VIVENTI

BADIA SAN SAVINO (PI)

Ambientato all’anno zero con più di cento figuranti in costumi d’epoca.

Riproposte in un ambiente suggestivo scene e quadri del periodo.

Si svolge il 6 gennaio dalle 15,30 alle 20

CASTELFRANCO DI SOTTO – (PI)

Nel centro storico oltre cento figuranti danno vita a una suggestiva rappresentazione ambientata all’anno zero. Si svolge in due parti il 23 dicembre alle ore 21 e il 24 dicembre a partire dalle ore 22,30.

GHIVIZZANO (LU)

L’antico borgo si anima di botteghe, antichi mestieri, locande e figuranti in un tutto nel passato per rievocare la nascita di Gesù. Si è svolto il 10 dicembre scorso.

PESCIA (PT)

Il fiume fa da scena a una delle più suggestive rappresentazioni toscane ambientate al tempo di San Francesco con oltre 200 figuranti. Si svolge il 6 gennaio alle ore 15

Nel centro storico è allestita la via dei presepi con oltre 40 postazioni.

Aperta dall’8 dicembre al 6 gennaio.

RUOTA – Capannori (LU) pendici Monte Serra

In un delizioso borgo si svolge dal 1989 una rappresentazione in costume ambientata

ai tempi di Gesù. Si svolge il 26 dicembre dalle 13,30 alle 19. Navetta da Pieve di Compito e Colle di Compito.

SAN MINIATO BASSO (PI)

Corteo con oltre 200 figuranti, dal centro del paese alla piazza della chiesa

dove sono allestite, molte scene della Palestina al tempo di Gesù Rappresentazioni:

26 dicembre e 6 gennaio ore 16,30

FONTE VETRIANA (SI)

Il presepe vivente si svolge in vere e proprie grotte, già abitate nell’Età del Bronzo in un luogo che è presepe tutto l’anno. In ogni grotta vengono allestiti i mestieri sempre visitabili. Il 26 dicembre la rappresentazione con i 18 figuranti che abitano il paese e quelli dei dintorni.

CASTELVECCHIO (PT)

Nella splendida Svizzera Pesciatina, il presepe vivente di Castelvecchio si svolge la vigilia di Natale il 24 dicembre a partire dalla tarda serata per poi concludersi con la messa di Mezzanotte.

LE VILLE DI MONTECHI (AR)
E’ tra i più grandi presepi viventi italiani con oltre 300 figuranti, 57 scene e oltre un chilometro di percorso per i visitatori.
Si svolge il 25 e 26 dicembre, il 1° e 6 gennaio 2017 dalle 17,15 alle 19,30

IL MUSEO DEL PRESEPE

USIGLIANO DI LARI (PI)

Unico in Toscana, raccoglie quaranta riproduzioni realizzate dal presepista Claudio Terreni. Realizzato nelle cantine, nl frantoio e nel coppaio della Vecchia Fattoria Castelli. Aperto tutto l’anno. Feriale su appuntamento (0587 685047), prefestivi e festivi 16,30-19.

CONVALLE DI PESCAGLIA (LU)
Presepe in grotta aperto tutti i giorni fino all’8 gennaio.

Orario festivi 10-19, feriale su appuntamento.

MISERICORDIA DI POGGIBONSI E MISERICORDIA DI CERTALDO

Visitabili negli orari di apertura delle confraternite

SAN CASCIANO VAL DI PESA (Fi)

Nella propositura di San Cassiano è realizzato un presepe ambientato in tipico borgo toscano di fine Ottocento. Allestito all’interno di una cappella della chiesa, riproduce un paese, con la sua piazza, la sua chiesa, i suoi negozi, il mercato; mentre la natività è ambientata in una casa diroccata. Visitabile con l’orario di apertura della chiesa.

TIZZANA (PT)

A Tizzana di Quarrata (Pt), Il presepe, di stile tradizionale, ha come particolarità il luogo di volta azzurra cosparsa di stelle e può davvero sperimentare l’invito che l’angelo fece ai pastori di andare a visitare un bambino avvolto in fasce, adagiato in una mangiatoia. Lungo più di undici metri offre ai visitatori particolari suggestioni. Visitabile fino al 6 gennaio

TRAVERSAGNA (Pt)

Il presepe poliscenico è animato con tre fasi, sincronizzato con commento e colonna sonora con personaggi in movimento. Durata ciclo 13 minuti.

Aperto fino all’8 gennaio aperto sabato e festivi ore 15-19

OSTE DI MONTEMURLO (Po)

Dal 2002 viene realizzato nella chiesa parrocchiale da un gruppo di giovani un presepe dotato di effetti scenici e pregevoli realizzazione dei dettagli. L’Italia centrale distrutta dal terremoto è il motivo di riflessione di quest’anno.

Visitabile tutti i giorni dalle 10 dicembre al 2 febbraio dalle ore 9 alle ore 19

NODICA (Pi)
Lino Bertagni ha realizzato in un locale sopra al circolo, accanto alla Chiesa dei santi Simone e Giuda, un presepe classico con paesaggi realistici. È stato realizzato otto anni fa e ogni anno viene ampliato e modificato. Occupa 24 metri quadrati e ha sedici movimenti fatti a mano.
Visitabile fino all’8 gennaio.

CASTELNUOVO VAL DI CECINA (Pi)

Caratteristico sia per la sua collocazione che per i suoi personaggi è costituito da statue di terra cotta create appositamente da un artigiano locale di altezza che varia dai 30-35 cm ai 60-70 cm.

Il presepe nel soffione è sempre visitabile dall’esterno del percorso chiuso ogni giorno dalla prima settimana di dicembre fino a dopo l’ Epifania.

SAN GIULIANO TERME (Pi)

Nella parrocchia di San Martino a Ulmiano il presepe meccanico permanente è diviso in scene che vanno dall’Annunciazione alla fuga in Egitto, è azionato da tre ruote di bicicletta.

Visitabile dal 23 dicembre all’8 gennaio dalle ore 10 alle ore 19.

PIEVE FOSCIANA (LU)

Accanto al grande presepe meccanico costruito nel 1973, ci sono quaranta rappresentazioni. In via San Giovanni presepi e diorami, realizzati con tecnica del gesso e polistirolo sono arricchiti da armoniosi movimenti e vengono esposti all’ammirazione di un pubblico che ogni anno diventa sempre più numeroso. Aperto fino all’8 gennaio. Festivi 14.30 – 18,30 – Feriali su appuntamento.

PORCARI (LU)

Paola Del Carlo trasforma la sua casa di campagna in via Sbarra 87 (Lucca) in una sala espositiva per i presepi da lei realizzati e per quelli provenienti dall’Italia e dall’estero e la apre a tutti i visitatori.

FIGLINE VALDARNO (FI)

Da dieci anni il Calcit Valdarno Fiorentino organizza una rassegna presepiale e quest’anno espone opere di presepisti provenienti da tutta Italia.

Aperto fino all’8 gennaio. Festivi e prefestivi ore 10-12,30 e 16-19,30.

SAN GIOVANNI VALDARNO (AR)

Nella Basilica di S.Maria delle Grazie una mostra permanente a tema che ogni anno si rinnova osservando, con cadenza biennale, l’arte presepiale di artisti italiani e stranieri. L’edizione 2016 è intitolata “6° biennale d’arte presepiale con un ricordo ai 50 anni dall’alluvione di Firenze. Aperto fino all’8 gennaio.

CASCINA (PI)

Allestito dalle scuole Santa Teresa, sono esposte più di 800 natività da tutto il mondo. Ad essi si aggiungono i presepi realizzati dalle classi scolastiche.

Aperto fino all’8 gennaio dalle 15,30 alle 19,30.

Aggiornamenti sul sito

www.terredipresepi.blogspot.it
Facebook Terre Di Presepi

L’articolo Andar per presepi in Toscana, durante le festività natalizie sembra essere il primo su La Finestra di Stefania.

Metti una sera a cena la cucina del riuso, e la tradizione toscana diventa la protagonista. Mai come nelle ricette toscane ci sono tanti piatti cucinati con gli avanzi, che diventano dei signori piatti, che ci vengono invidiati in tutto il mondo.

L’occasione per assaporare la cucina del riuso, è stata la conviviale ecumenica dell’Accademia Italiana della Cucina, Delegazione del Valdarno Aretino: nelle sale del ristorante Daniele e Riccardo a Montevarchi, profumi e sapori della tradizione hanno preso forma.

Con gli avanzi, si possono cucinare gustore ricette “alternative” e i toscani in questo sono dei veri e propri maestri, basti pensare alla polenta, alle polpette fino alla ribollita, dove il pane raffermo è l’ingrediente principale della zuppa.

Ma la cena ecumenica dell’altra sera è stata anche solidale, con gli spaghetti all’amatriciana, cucinati per un nobile gesto, aiutare gli abitanti e l’Istituto Alberghiero di Amatrice, colpiti dal terremoto. I complimenti vanno allo chef Daniele Casini, che ha cotto la pasta per oltre quaranta persone in modo eccellente, lo spaghetto era perfetto, e  seguendo minuziosamente la ricetta tradizionale, come indicata nel disciplinare De.C.O. del comune di Amatrice.

Non una cena conviviale qualsiasi, tra un piatto e l’investitura dei nuovi “Accademici”, si è parlato di cucina povera, di come riutilizzare gli avanzi, di valorizzare i prodotti del Valdarno, e state in campana che Il Delegato Roberto Vasarri, di idee per valorizzare il territorio ne ha tante.

Sapevano il fatto suo le salsicce con i fagioli cannellini, le croccanti verdure al vapore, ma soprattutto “la francesina”,comunemente chiamata lesso rifatto con le cipolle: una grande quantità di cipolle, portate a una lenta stufatura, pomodoro, pepe e lesso avanzato sono gli ingredienti di questo piatto povero, ma gustoso.

Dulcis in fundo, la zuppa inglese, uno dei dolci toscani più amati, che ha conquistato tutti i palati dei numerosi accademici presenti alla cena. E applausi a Riccardo in cucina e Daniele in sala, che hanno capito alla perfezione lo spirito della serata.

Ristorante Daniele e Riccardo

Via Poggio Bracciolini, 5/9
Montevarchi (AR)

Telefono
055 / 900399
328 / 4682726

casinid@alice.it

Aperto a pranzo e a cena

Chiuso la domenica

L’articolo La cucina del riuso, secondo l’Accademia Italiana della Cucina sembra essere il primo su La Finestra di Stefania.

Quando leggi una notizia come questa, non puoi che essere felice: il Roseto Fineschi di Cavriglia, vince il prestigioso premio dell’American Rose Society “Great Rosarians of the World Rose Gardens Hall of Fame Award 2016”. Calcolando che Cavriglia( AR) è a 12 km da casa, sono doppiamente felice, perchè sei consapevole che in un paese vicino al tuo, esiste un altro piccolo paradiso.

Del Roseto Fineschi di Cavriglia, ve ne avevo già parato in questo post, e siccome maggio è il mese delle rose e io da giardiniera le adoro, quando ho letto questa notizia, sono stata davvero contenta.

L’American Rose Society gli ha infatti conferito il prestigioso premio ”Great Rosarians of the World Rose Gardens Hall of Fame Award”. L’evento si terrà a New York dal 16 al 18 Giugno 2016 e la cerimonia di conferimento del premio avrà luogo presso il “Queens Botanical Garden”.

Il roseto di Cavriglia, vanta tantissime varietà di rose: suddivise tra le rose botaniche, le rose antiche e le rose moderne, e sarà un piacere perdersi tra i sui sentieri con le rose create dai più famosi ibridatori del mondo

Lasciatevi guidare da vostro istinto: seguite i colori che più vi piacciono per primi, e non tralasciate nulla. Ogni rosa ha la sua storia da raccontarvi e il suo profumo da farvi sentire. Buon divertimento.

Il Roseto è’ visitabile tutti i giorni feriali e festivi dalla prima domenica di maggio all’ultima domenica di giugno, dalle ore 9 alle ore 19.

Per visite di gruppi numerosi è necessaria la prenotazione (tel.366 2063941, fax 055 96.66.38, info@rosetofineschi.it ).

L’ ingresso prevede una donazione all’ Associazione  pari a Euro 6,00 a persona.

Roseto Botanico Carla Fineschi

Localita’ Casalone 76

Cavriglia – Arezzo

L’articolo Il Roseto Fineschi di Cavriglia vince il premio “Roseto dell’Anno” sembra essere il primo su La Finestra di Stefania.