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Foreword Clarion Review

Xianna Michaels’s The Alchemy of Illuminated Poetry® is a surprising and successful hybrid of poetry and prose that serves as a meditative experience. A deeply personal yet universal outline, the book is unconventional in the best sense of the word.

As explained here, illuminated poetry is the term for illustrated poetry, and alchemy “simply means the art of transformation.” Through seven different steps, Michaels presents a guide to what she calls “poem-mandalas,” drawings and poetry that she makes with her left, non-dominant hand. The process is like “spiritual alchemy,” which she says “is above all about inner transformation.”

The lessons begin with the presentation of “Prima Materia,” or a personal moment or concept that has meaning to the practitioner and also serves as the foundational core of the work. Michaels suggests writing down a prima materia each day and working to simply observe as the poetry “spills out of you.”

Michaels jumps into the process by instructing with the universal “we” and “us,” bridging the gap between teacher and students. This creates seasoned, easy-to-understand language to help guide newcomers through the complex topics covered in the book.

Throughout the seven steps, amid a game plan for transcendent and visionary poetry, Michaels shares a series of “Facets.” The facets are small historical or logistical anecdotes that provide the collection of lessons with a loose narrative presence.

Whether through a mini-biography of Maria Prophetissa or a brief contemplation of the limitations of time, the facets are another testament to the book’s intention to educate and enlighten, more than anything else.

Michaels provides samples of personal poems and mandalas and even builds up to an innovative verse of her own creation, “Xoem.” This blend between the personal and professional provides the ultimate teaching experience and helps connect each step that is needed to create illuminated poetry.

In the seventh and final step, “Personal Gold,” Michaels draws on a popular alchemy ideal: “The alchemists’ quest to turn lead into gold, though certainly pursued by many, was also a metaphor for refinement of the self to attain one’s Personal Gold.”

As the book constantly reinforces, this lead-to-gold transformation is the product of continuous practice and an eternal curiosity.

With The Alchemy of Illuminated Poetry®, Xianna Michaels has created a master class experience on the art and science of illustrated poetry. The intricate brown-and-gold packaging is reason enough to pick up the book, but the written and illustrated artwork within is what makes this such an intriguing read.

Kirkus Review

A handbook that aims to help readers discover spiritual truth through unconventional poetry composition.

This beautifully produced work from Michaels (Lily of the Valley, 2016, etc.) encourages one to embark on a modern-day, metaphorical version of the medieval alchemists’ quest to turn base metals into gold. One may refine oneself, the author says, to “attain one’s Personal Gold.” She breaks down the mechanics of this “mystical, magical, meditative process” into seven steps, which she says that a reader may unlock with an unexpected method: writing poetry with his or her nondominant hand. Michaels claims that such untutored writing forces one to draw on the intuitive, emotional right side of the brain, using what she refers to as the “Prima Materia” of one’s creativity. In this way, she says, one may achieve a deeper understanding of self and, ultimately, a closer connection to God. In brisk, evocative prose, Michaels systematically lays out the details of each of the steps, such as “Self-Purification,” “Preparation,” and “Distillation,” even down to specifics of location and time of day. She knows that readers will be initially skeptical, especially considering how little success most people have in doing finely controlled work with their nondominant hand: “how can anything of value come from what must surely be indecipherable squiggles?” she imagines such readers asking, but she assures them to trust in the process. Whether or not readers achieve any success with its method, the book’s romantically charged language about poetry and personal investment is extremely contagious and oddly encouraging. Overall, it’s an effective invitation to write and explore one’s creativity: “You are the alchemist of your life,” she writes in a typically upbeat passage, “and your laboratory awaits.” The consistent messages of self-discovery and patience will appeal to many readers, regardless of their alchemical disposition.

A colorfully written guide to entering the “Inner Sanctum” of one’s creativity.

Foreword Clarion Review

Lily of the Valley is Xianna Michaels’s graceful and affecting poetic saga, the story of five generations of Jewish American women navigating the promises of the New World.

The volume opens on a pogrom that rips through a shtetl, rending families irrevocably. Young Laili is sent with her her sister Basya to New York, with the hope that they’ll be able to enjoy more freedoms there. Laili’s name is anglicized by Ellis Island officials; now known as “Lily,” she finds work in a sweatshop sewing clothing. As she sews, she dreams of an easier life for her children, preferably in the golden valleys of the West.

Though tragedies continue to fall upon her family—a shop fire kills one matriarch; a son abandons his tradition and family to pursue life on his own; a daughter returns to Europe, too near to the Holocaust for safety—so, too, do the generations that follow Lily find their fortunes in America increasing. They become business owners, college graduates, parents, and the pursuers of old family dreams. Their Judaism ebbs and flows in proportion to the challenges they face—work on Shabbat gives way to the avoidance of the mikveh, compromises are made with the observance of mitzvot, especially around kashrut. Yet through it all, they maintain a sense of connection to their tradition, and to the family members who sacrificed so much to provide them with opportunities.

Lily of the Valley is written in English sestet form, a rhyme scheme that initially requires some getting used to; the violence of the opening pogrom fits uneasily with the apparent jauntiness of the poetic formula. Conjunctions are employed a bit too freely, and not every end rhyme is a comfortable fit. Related misgivings give way beneath the charm of Michaels’s verses, though. These lines breathe life into the women they focus on: the first Lily is a determined dreamer, her daughter Molly a believer, her daughter Lily a stylish girl who dusts off family aspirations. Each woman, in the limited lines allotted to her, is fleshed out well, particularly in relation to the decisions she makes around religious observance.

The intrafamily loyalty and support conveyed throughout Lily of the Valley is inspirational without being cloying, and the book moves from generation to generation with significant emotional prowess. This book is impressive for the balances it strikes: managing to be feminist, even as Lily’s great-granddaughter moves back toward observance, to the surprised delight of her nonobservant family; achieving a well-rounded picture of Jewish American history, though in the span of a few stanzas each on just fifty pages. The end result is a project certain to woo readers with its loveliness. Its beautiful, classic packaging, paired with the delicate, scene-setting illustrations that run throughout, make the project an all the more likely candidate for family treasure status.

Lily of the Valley is an elegantly bound poetic volume that celebrates the varied inheritances of Jewish American women with poignancy.

Kirkus Review

A verse narrative follows the fortunes of a Jewish family through five generations after it immigrates to the United States.

In 1892, a Russian Jewish couple suffer a horrifying loss when their baby is murdered by Cossacks in a pogrom. They send their two remaining children, Basya and Laili, to the United States, because “in America everyone has a chance.” With their names changed to Bess and Lily at Ellis Island, the girls toil in a Lower East Side sweatshop. Lily dreams of making beautiful clothes for rich women and moving to warm, sunny Southern California but realizes “Not for Lily’s family, no. / But a grandchild, maybe, one day would go.” Her daughters, Molly and Anna, join her at the Triangle Shirtwaist Company, where the girls survive the factory’s notorious fire, but their mother dies. Through two world wars and the Great Depression, Molly and her husband, Max, work hard and better their circumstances. Their daughter Lily and her husband prosper, sending their daughter Maxine to college. Not very religiously observant up till then, Maxine is drawn to the Chabad movement and Orthodox Judaism. She marries young and has five children while getting her Ph.D. in costume history, and she fulfills her grandmother’s dream by moving to Los Angeles County’s San Fernando Valley. Maxine’s daughter Lily continues the family interest in fashion and style by starting her own clothing line (“Lily of the Valley”) after marrying and having children. Michaels (Mindel and the Misfit Dragons, 2014) offers a gorgeously designed and illustrated book, though its appearance may outweigh its entirely familiar story (Ellis Island, sweatshops, world wars, reclamation of one’s heritage). Still, it’s told with verve and a pleasing sense of things coming out right. Michaels employs an English sestet form that works well; it’s short enough to keep things moving, while the ABABCC structure lends an air of finality to each stanza. The rhyme and the sometimes-singsong rhythm might make this seem a children’s book, but the content isn’t always kid-friendly: “[The Cossacks] stomped on the baby and slashed Mama’s side.”

A beautiful volume that tells a classic American story.

Foreword Clarion Review

Mindel and the Misfit Dragons, a lushly illustrated rhyming fairy tale, assures tweens in those awkward middle years that it’s okay to be different because they will eventually find a place where they belong. With writing, illustrations, and calligraphy all done by Xianna Michaels, this story clearly represents a labor of love, and the author’s enthusiasm spills over.

Eight-year-old Mindel inhabits a castle called Draconmere with her parents, Sir Benjamin and Lady Leah. The inhospitable living conditions pose a problem for this devout Jewish family because the wind keeps blowing out the sacred Sabbath candles and the dampness destroys the Torah scrolls. Faced with the possibility of having to leave her home, Mindel sets out on a journey to rectify the situation, Along the way, she befriends some dragons who, because of their differences from their brethren, have not been hired by the humans to perform jobs.

Michaels describes the duties of “kindly dragons” this way: “They breathed their fire to serve as warning / So enemies took flight.” This concept of benevolent dragons who peacefully coexist with people is a welcome change from dragons who are either dangerous to people or are pets to be trained.

In skillful alternate rhyme, Michaels develops personalities for both the humans and the dragons in the story while simultaneously creating an exciting adventure. Because the story is told in the third person, people and dragons alike become well-rounded as the audience learns the viewpoints of all the key players. Resourceful Mindel always remains a believable child because she still has moments of fear, despite her overall bravery. The parent dragons fret over their offspring’s differences, yet they ultimately love their children. While his younger brother and sister cherish their odd appearances, the eldest laments, “I have these fins; I long to swim. / Mama wasn’t wrong. / A misfit’s life is very grim. / There’s nowhere I belong.”

A glossary in front defines terms like “falcon” and “moat,” the origin of character names, and key Jewish terms like “cholent” and “mitzvah.” Some familiarity with the Sabbath laws is advisable in order for non-Jewish readers to truly understand why the candles cannot be relit. Indeed, it sometimes seems unclear what age Michaels writes for, because she defines “falcon” and then frequently uses words more readily understood by high-schoolers, such as “wreaks” and “wanton.” This diction will not prohibit younger readers from understanding the gist of the story, although it may cause them to stumble over the rhymes.

The use of calligraphy also distracts. Although it is beautiful, the serifs on the hand-lettered pages make it difficult to read some words. That every page is bordered with an outline of a scroll combined with the calligraphy threatens to draw eyes away from the expert verse. Thankfully, though, the author’s rich black ink drawings pull readers back in by giving Mindel’s world a depth that augments the verses. The golden calligraphy set against a dark green background makes the back matter hard to read. The addition of gold lines to represent grass halfway down the back cover only intensifies the difficulty.

While young adults and adults may find the book’s treatment of belonging simplistic, older readers are in a better position to appreciate Michaels’ vocabulary and superb poetry.

Kirkus Review

A rambunctious little girl recruits three misfit dragons to solve the problems a castle faces each Jewish Sabbath in this children’s fantasy in verse.

An evil dragon once terrorized Castle Draconmere. The beast’s destruction was so unstoppable that the king asked Sir Benjamin to kill it, promising to give the castle to him in return. Sir Benjamin tricked the dragon with a sleep-inducing stew and slew it easily, and he, his wife, and their young daughter, Mindel, moved into the castle. But Castle Draconmere wasn’t ideal; every Sabbath, the family had to decide whether to leave the gate open or shut. Moving the gate would break the laws of the Sabbath itself. Leaving it open left them vulnerable to villains, because no guards could stay awake the duration of the night. Keeping it shut meant barring themselves from visitors. On top of this, the drafty castle blew out the candles early each Sabbath—and it’s forbidden to relight them. Finally, the pages of the sacred scrolls and books suddenly began to turn up wet and ruined with no clear culprit. Sir Benjamin warns Mindel that if they can’t find solutions to these problems, they must abandon Castle Draconmere. But Mindel desperately wants to stay. She stumbles upon three misfit dragons, each with traits that make them unsuitable for protecting anywhere but Castle Draconmere. Serpenfin was born with only fins and has trouble sleeping, making him the perfect guard for the moat. Pointilla is small, possessing the ability to shoot tiny, precise flames. She’s just the one to light the Sabbath candles. And Bibinfor yearns to watch over books, not jewels, creating the ultimate protector of the sacred tomes. Soon everyone has found a place and all is well—until the nasty dragon eels arrive. Debut author Michaels weaves an enchanting story that will enthrall young readers. Parents will delight in reading it aloud, finding an easy rhythm in the verse. Charming illustrations and carefully penned calligraphy add a visual element perfect for story time.

This captivating fairy tale melds whimsy and faith; children will clamor to hear it read aloud.

Foreword Clarion Reviews

A refreshing blend of classic narrative poetry and modern style and creativity, Xianna Michaels’s The Sorcerer Queen is a versatile gem.

The lilting tale of a kingdom haunted by an ancient curse, Xianna Michaels’s The Sorcerer Queen is a captivating volume of narrative poetry, recounted in the spirit of traveling minstrels and wandering troubadours singing legends of old.

The aging King of Caravaille is determined to name an heir from among his three nephews in hopes of sparing his subjects from the curse of Oriana, long the cause of chaos and bloodshed surrounding each succession. With the aid of his trusted adviser, Lord Shin, he realizes that he will need to seek out the mysterious Sorcerer Queen and elusive Goldspun Weaver to unravel the secrets of the tragic prophecy and ensure peace for Caravaille.

The stage is set with five acts and multiple scenes, creating ambience with descriptions ranging from moonlit gardens to the king’s privy chambers and royal throne room. A cast of players is listed prior to the entrance of “The Bard,” very much akin to a theatrical production.

The entire epyllion is done in creatively positioned and oriented quatrains, with each double-page spread functioning to form visually fluid shapes, patterns, and designs. Pen-and-ink drawings by Michaels are scattered throughout, adding a touch of whimsical detail with depictions of crowns, knights, and courtyards.

The curse itself doubles as a riddle with clues for its reversal. King Sagan ruminates extensively with his royal advisor, Lord Shin; they humorously attempt to decipher the imagery and proclamations. Complete in eight stanzas, the curse is periodically quoted in a chorus-like manner—though Sagan, much to Shin’s consternation, often passes out before the recitation has been completed:

Shin slowly closed the ancient book,
So moved that he could weep,
But when he turned to look at Sagan––
The king was fast asleep!

Individual stanzas utilize alternating rhymes and maintain an upbeat, rolling cadence that builds suspense and urgency while retaining a sense of fun and excitement. There is a smooth, lyrical rhythm to the quatrains; each functions either as a complete thought or is linked to others with natural pauses. This rhythm is occasionally interrupted by midline breaks.

Sagan is a well-meaning ruler, but he is quick to make up his mind and slow to change it; he is unintentionally comical, if sincere, in his efforts. His nephews are likewise pleasantly agreeable; it is not immediately clear which will break the curse or why the Sorcerer Queen is determined that it must be one over another. As the story is consistently fast paced throughout, answers and resolutions are quickly realized.

A refreshing blend of classic narrative poetry and modern style and creativity, Xianna Michaels’s The Sorcerer Queenis a versatile gem—perfect for reciting, reading in tandem, performing with a group, or simply enjoying as a fantasy adventure.

Kirkus Review

This YA fairy tale describes in verse the story of an old curse that must be undone by righting wrongs.

In a fictional world similar to medieval Europe, Caravaille’s monarch rules so wisely that he’s known as King Sagan “the Fair,” but all is not well in his realm. Ninety-two years ago, Merk the Fierce, Sagan’s ancestor, stole the throne by killing King Daemon. Daemon’s dying wife, Queen Oriana, cursed Merk’s line for “three score years and more” with succession problems that would always lead to war and chaos. The aging Sagan, who has no son, wants to choose an heir among his three nephews, hoping the curse will have expired by now. Javan is the bravest warrior; Cadmon is kind and just; Sky is wise. Sagan’s adviser Lord Shin recommends careful study of Oriana’s entire curse, as does Zagir, an ancient sorcerer queen and the oldest person in Caravaille. Sagan earnestly tries to follow this advice, but each attempt to name an heir results in interference by mysterious animals (kestrel, cat, and wolf), who wreck the kingdom’s ancient symbols of royal rule. These can be repaired only by goldspun weaving, an art lost with Oriana’s death. The sorcerer queen holds the key to restoring this practice and the kingdom’s unity, if the right person can divine the truth. Michaels (The Alchemy
of Illuminated Poetry, 2017, etc.) uses quatrains rhyming ABCB, which gallop along at an effective pace. The rhymes work well, and can sometimes be quite clever: Sagan “found himself bemused, befuddled / By the utter lack of deference, / The experience being quite outside / His lifelong frame of reference.” Also striking are the characters' struggles to interpret the curse—is it a metaphor or what? Fairy-tale elements like a three-part structure and animal helpers provide appeal, while the story also benefits from an original take on the who-will-inherit question. The book is handsome, with appealing typography and illustrations by the author that enhance the tale’s medieval/Elizabethan flavor.

Bringing love and unity to a broken land finds beautiful expression in this engaging fable.

Owner and Data Controller
Xianna Michaels

Owner contact email: Xianna@XiannaMichaels.com

Types of Data collected
Among the types of Personal Data that this Application collects, by itself or through third parties, there are: email address and first name, last name, country, street address, town/city, state, zip, credit card number, credit card expiry, credit card code, and credit card postal code.
Complete details on each type of Personal Data collected are provided in the dedicated sections of this privacy policy or by specific explanation texts displayed prior to the Data collection.
Personal Data may be freely provided by the User, or, in case of Usage Data, collected automatically when using this Application.
Unless specified otherwise, all Data requested by this Application is mandatory and failure to provide this Data may make it impossible for this Application to provide its services. In cases where this Application specifically states that some Data is not mandatory, Users are free not to communicate this Data without consequences to the availability or the functioning of the Service.
Users who are uncertain about which Personal Data is mandatory are welcome to contact the Owner.
Any use of Cookies – or of other tracking tools – by this Application or by the owners of third-party services used by this Application serves the purpose of providing the Service required by the User, in addition to any other purposes described in the present document and in the Cookie Policy, if available.

Users are responsible for any third-party Personal Data obtained, published or shared through this Application and confirm that they have the third party's consent to provide the Data to the Owner.

Mode and place of processing the Data
Methods of processing
The Owner takes appropriate security measures to prevent unauthorized access, disclosure, modification, or unauthorized destruction of the Data.
The Data processing is carried out using computers and/or IT enabled tools, following organizational procedures and modes strictly related to the purposes indicated. In addition to the Owner, in some cases, the Data may be accessible to certain types of persons in charge, involved with the operation of this Application (administration, sales, marketing, legal, system administration) or external parties (such as third-party technical service providers, mail carriers, hosting providers, IT companies, communications agencies) appointed, if necessary, as Data Processors by the Owner. The updated list of these parties may be requested from the Owner at any time.
Legal basis of processing
The Owner may process Personal Data relating to Users if one of the following applies:
Users have given their consent for one or more specific purposes. Note: Under some legislations the Owner may be allowed to process Personal Data until the User objects to such processing (“opt-out”), without having to rely on consent or any other of the following legal bases. This, however, does not apply, whenever the processing of Personal Data is subject to European data protection law;
provision of Data is necessary for the performance of an agreement with the User and/or for any pre-contractual obligations thereof;
processing is necessary for compliance with a legal obligation to which the Owner is subject;
processing is related to a task that is carried out in the public interest or in the exercise of official authority vested in the Owner;
processing is necessary for the purposes of the legitimate interests pursued by the Owner or by a third party.
In any case, the Owner will gladly help to clarify the specific legal basis that applies to the processing, and in particular whether the provision of Personal Data is a statutory or contractual requirement, or a requirement necessary to enter into a contract.
Place
The Data is processed at the Owner's operating offices and in any other places where the parties involved in the processing are located.

Depending on the User's location, data transfers may involve transferring the User's Data to a country other than their own. To find out more about the place of processing of such transferred Data, Users can check the section containing details about the processing of Personal Data.
Users are also entitled to learn about the legal basis of Data transfers to a country outside the European Union or to any international organization governed by public international law or set up by two or more countries, such as the UN, and about the security measures taken by the Owner to safeguard their Data.

If any such transfer takes place, Users can find out more by checking the relevant sections of this document or inquire with the Owner using the information provided in the contact section.
Retention time
Personal Data shall be processed and stored for as long as required by the purpose they have been collected for.
Therefore:
Personal Data collected for purposes related to the performance of a contract between the Owner and the User shall be retained until such contract has been fully performed.
Personal Data collected for the purposes of the Owner’s legitimate interests shall be retained as long as needed to fulfill such purposes. Users may find specific information regarding the legitimate interests pursued by the Owner within the relevant sections of this document or by contacting the Owner.
The Owner may be allowed to retain Personal Data for a longer period whenever the User has given consent to such processing, as long as such consent is not withdrawn. Furthermore, the Owner may be obliged to retain Personal Data for a longer period whenever required to do so for the performance of a legal obligation or upon order of an authority.

Once the retention period expires, Personal Data shall be deleted. Therefore, the right to access, the right to erasure, the right to rectification and the right to data portability cannot be enforced after expiration of the retention period.

The purposes of processing
The Data concerning the User is collected to allow the Owner to provide its Services, as well as for the following purposes: Managing contacts and sending messages.
Users can find further detailed information about such purposes of processing and about the specific Personal Data used for each purpose in the respective sections of this document.

Detailed information on the processing of Personal Data
Personal Data is collected for the following purposes and using the following services:

Managing contacts and sending messages
This type of service makes it possible to manage a database of email contacts, phone contacts or any other contact information to communicate with the User.
These services may also collect data concerning the date and time when the message was viewed by the User, as well as when the User interacted with it, such as by clicking on links included in the message.

MailChimp (The Rocket Science Group, LLC.)
MailChimp is an email address management and message sending service provided by The Rocket Science Group, LLC.

Personal Data collected: email address and first name.
Place of processing: United States – PRIVACY POLICY. Privacy Shield participant.

Credit card transactions
Square

Personal Data collected: credit card number, expiry, card code, and postal code.

The rights of Users
Users may exercise certain rights regarding their Data processed by the Owner.

In particular, Users have the right to do the following:
Withdraw their consent at any time. Users have the right to withdraw consent where they have previously given their consent to the processing of their Personal Data.
Object to processing of their Data. Users have the right to object to the processing of their Data if the processing is carried out on a legal basis other than consent. Further details are provided in the dedicated section below.
Access their Data. Users have the right to learn if Data is being processed by the Owner, obtain disclosure regarding certain aspects of the processing and obtain a copy of the Data undergoing processing.
Verify and seek rectification. Users have the right to verify the accuracy of their Data and ask for it to be updated or corrected.
Restrict the processing of their Data. Users have the right, under certain circumstances, to restrict the processing of their Data. In this case, the Owner will not process their Data for any purpose other than storing it.
Have their Personal Data deleted or otherwise removed. Users have the right, under certain circumstances, to obtain the erasure of their Data from the Owner.
Receive their Data and have it transferred to another controller. Users have the right to receive their Data in a structured, commonly used and machine readable format and, if technically feasible, to have it transmitted to another controller without any hindrance. This provision is applicable provided that the Data is processed by automated means and that the processing is based on the User's consent, on a contract which the User is part of or on pre-contractual obligations thereof.
Lodge a complaint. Users have the right to bring a claim before their competent data protection authority.

Details about the right to object to processing
Where Personal Data is processed for a public interest, in the exercise of an official authority vested in the Owner or for the purposes of the legitimate interests pursued by the Owner, Users may object to such processing by providing a ground related to their particular situation to justify the objection.

Users must know that, however, should their Personal Data be processed for direct marketing purposes, they can object to that processing at any time without providing any justification. To learn, whether the Owner is processing Personal Data for direct marketing purposes, Users may refer to the relevant sections of this document.

How to exercise these rights
Any requests to exercise User rights can be directed to the Owner through the contact details provided in this document. These requests can be exercised free of charge and will be addressed by the Owner as early as possible and always within one month.

Additional information about Data collection and processing

Legal action
The User's Personal Data may be used for legal purposes by the Owner in Court or in the stages leading to possible legal action arising from improper use of this Application or the related Services.

The User declares to be aware that the Owner may be required to reveal personal data upon request of public authorities.

Additional information about User's Personal Data
In addition to the information contained in this privacy policy, this Application may provide the User with additional and contextual information concerning particular Services or the collection and processing of Personal Data upon request.

System logs and maintenance
For operation and maintenance purposes, this Application and any third-party services may collect files that record interaction with this Application (System logs) use other Personal Data (such as the IP Address) for this purpose.

Information not contained in this policy
More details concerning the collection or processing of Personal Data may be requested from the Owner at any time. Please see the contact information at the beginning of this document.
How “Do Not Track” requests are handled

This Application does not support “Do Not Track” requests.
To determine whether any of the third-party services it uses honor the “Do Not Track” requests, please read their privacy policies.

Changes to this privacy policy
The Owner reserves the right to make changes to this privacy policy at any time by giving notice to its Users on this page and possibly within this Application and/or - as far as technically and legally feasible - sending a notice to Users via any contact information available to the Owner. It is strongly recommended to check this page often, referring to the date of the last modification listed at the bottom.

Should the changes affect processing activities performed on the basis of the User’s consent, the Owner shall collect new consent from the User, where required.

Definitions and legal references

Personal Data (or Data)
Any information that directly, indirectly, or in connection with other information — including a personal identification number — allows for the identification or identifiability of a natural person.

Usage Data
Information collected automatically through this Application (or third-party services employed in this Application), which can include: the IP addresses or domain names of the computers utilized by the Users who use this Application, the URI addresses (Uniform Resource Identifier), the time of the request, the method utilized to submit the request to the server, the size of the file received in response, the numerical code indicating the status of the server's answer (successful outcome, error, etc.), the country of origin, the features of the browser and the operating system utilized by the User, the various time details per visit (e.g., the time spent on each page within the Application) and the details about the path followed within the Application with special reference to the sequence of pages visited, and other parameters about the device operating system and/or the User's IT environment.

User
The individual using this Application who, unless otherwise specified, coincides with the Data Subject.

Data Subject
The natural person to whom the Personal Data refers.

Data Processor (or Data Supervisor)
The natural or legal person, public authority, agency or other body which processes Personal Data on behalf of the Controller, as described in this privacy policy.

Data Controller (or Owner)
The natural or legal person, public authority, agency or other body which, alone or jointly with others, determines the purposes and means of the processing of Personal Data, including the security measures concerning the operation and use of this Application. The Data Controller, unless otherwise specified, is the Owner of this Application.

This Application
The means by which the Personal Data of the User is collected and processed.

Service
The service provided by this Application as described in the relative terms (if available) and on this site/application.

European Union (or EU)
Unless otherwise specified, all references made within this document to the European Union include all current member states to the European Union and the European Economic Area.

Legal information
This privacy statement has been prepared based on provisions of multiple legislations, including Art. 13/14 of Regulation (EU) 2016/679 (General Data Protection Regulation).
This privacy policy relates solely to this Application, if not stated otherwise within this document.