Editor in Chief
At the end of April, Edison Foundation, in collaboration with Federvini, released the online movie Artedivino by the German director Alexander Kockerbeck. Over approximately forty minutes, the film portrays the coming together of the nectar of Bacchus and Italy’s territory, art and culture while capturing countless views of wine landscapes from southern to northern Italy.
During the long and dull isolation we had to endure in order to contain the Covid-19 virus, we rediscovered the importance of landscapes. The mere sight of natural spaces by looking at photographs and videos, evokes reassuring and comforting, sometimes nostalgic, feelings in those who observe them. The study The Frontiers in Ecology and the Environment by N. Nadkarni of the University of Utah, published in the magazine Nature
in 2017, had already highlighted the benefits of nature imagery on people in places of detention.
The time for contemplation, memory and recollection is over. We all desperately long to experience landscapes, to travel through them, regaining the sense of freedom that only wide-open spaces can provide; that special tie that binds man to nature against the denaturation of biological cycles.
Wine landscapes are the focus of this issue of Il Sommelier. Compared to other topics related to the world of wine, this topic remains poorly explored, while the others have been covered using the approach expressed by the words of Italo Calvino: “I am interested in everything that straddles various disciplines […] I try to base myself on things I see, on objects, on images “(Corsera 1984). In “wine landscapes”, which are part of rural landscapes, fixed and mobile, material and immaterial elements coexist, such as terroir (OIV 2010) and sensoriality (colours, scents, silence …). Using specialized and artistic knowledge, we have tried to describe wine landscapes from a dual perspective: narration of the landscape and the landscape as its own novelist.