Category: CULTURE

News about culture and cultural heritage

  • The Decimation of Alexandria’s Architectural Heritage

    The Decimation of Alexandria’s Architectural Heritage

    ΑλεξάνδρειαIn 2012, the civil group Save Alex took a stand in the streets of Alexandria, calling to save the Cicurel Villa in the ancient city’s Rushdy district. The group’s work resulted in a law that should have protected the building. But last week, the villa built by a Jewish-Turkish merchant in the 1930s was knocked down anyway.

    Since its foundation in 331 BC, each era has left its beautiful print on Alexandria’s architecture. The city’s streets are lined with Greek, Roman, English and Italian works of art. But these villas and palaces are now being demolished, taking away from Alexandria’s history, one after the other.

    The 1920s Modernist Agion Villa used to draw French, Italian and other foreign tourists to marvel at and study it. Brought down three months ago, the villa is to be replaced by a touristic residential tower. A few days after the Cicurel Villa incident, the much-loved Al-Salam Theatre, was also bulldozed for a TOLIP franchise hotel.

    “One of the most bizarre self-defeating trends in Alexandria is the idea that you can destroy historical buildings so you can build … hotels in their place. If this logic is followed through, where do tourists and visitors who stay in these hotels end up going for sightseeing? To go look at other hotels?,” said Amro Ali, a PhD scholar writing about Alexandria’s urban politics.

    Surrounded by trash and left to rot, it is feared many other sites face demise.

    “Owners care about the properties’ monetary value rather than their touristic or cultural value to Alexandria,” said Mohamed Mehaina, deputy director of AlexMed and member of the Heritage Preservation Committee at the Biblioteca Alexandrina.

    Under law 144 of the year 2006, “It is prohibited to demolish or add to any building of significant architectural style related to national history or a historical figure, a building that represents a historical era, or a building that is considered a touristic attraction.”

    To define this, AlexMed compiled a legal Heritage Preservation List in 2007. But owners seek to remove their properties from the list, either to dodge restrictions over them, or to sell or demolish the property, usually through filing a lawsuit. Forty-seven pieces of property have been dropped from the list through adjudications, and since 2009, 14 were knocked down, according to Mehaina.

    On the Alexandria corniche lies the locked up and neglected Sabahi Palace. With the area of 3000 meters squared, the site is worth EGP 300 million. Also on the heritage list is Princess Aziza Fahmy’s 15,000 meter property, valued at EGP 435 million. Despite their ‘protected’ status, these buildings are also under threat.

    The owners of Villa Ambron, the former home of British author Lawrence Durrell where he wrote the Alexandria Quartet, want to knock it down. The owner of Roman neo-classic Qerdahi Palace asked to be excluded from the heritage list.

    “The problem is that the state does not provide compensation,” Mehaina believes. In other countries, businesses receive a tax relief on buying historical property as compensation for saving heritage, which is why investors run to put money in such properties, the architect said.

    Alexandria’s oldest street, Fouad, said to be the first planned street in history, is under threat. Crowned by Muhammed Ali’s opera house on one side, and his cultural palace on the other, all the buildings’ details are very rare, said Hassan.

    “There is a harmony between the buildings, even if not built with the same elements and techniques,” stated Ahmed Hassan, founder of Save Alex. Each time a historical building is brought down, Fouad’s skyline is damaged further. New buildings ruined the visual perspective, whether because of height or architecture style, explained Mehaina.

    Blacklisted in the hearts of those who care about Alexandria’s heritage, one company, Stanly, buys buildings and demolishes them, among which was the famous Rialto Cinema.

    Meanwhile, another company called Sigma buys such historical landmarks to preserve, develop and reutilize them. While a branch of Roastery restaurant was set up in Fouad with not attention to harmony with heritage, Sigma redeveloped L Passagefood hall with more consideration.

    “[Sigma] is somehow treating the buildings more sensitively,” Hassan said.

    Speaking of the role of civil activity, Mehaina said that “… we are struggling [against the demolition of heritage], but we are not executives,” adding that heritage committees, NGOs, and demonstrations are held to fight for the cause, as well as awareness campaigns and documentation.

    Legislation, strict application of law and a heightened sense of awareness need to come together to salvage the remaining sites that have witnessed how Alexandria came to be.

    (egyptianstreets.com)

  • First-ever legal bid for return of Elgin Marbles to Greece thrown out by European Court of Human Rights

    First-ever legal bid for return of Elgin Marbles to Greece thrown out by European Court of Human Rights

    Μάρμαρα ΠαρθενώναThe first-ever legal bid to force the UK to return the Elgin Marbles to Greece has been thrown out by the European Court of Human Rights.

    The court ruled that because the alleged theft of the sculptures from the 2,500-year-old Parthenon temple took place more than 150 years before the UK signed up to the human rights convention, it did not have the power to consider the lawsuit.

    Campaigners for the return of the sculptures pointed out that the court had not made a ruling on the “merits of the case”.

    The marbles were taken from the temple by the Earl of Elgin in the 1800s and he then sold them to the British Government in 1816 after running into financial difficulties.

    At the time, Greece was occupied by the Ottoman Empire. Lord Elgin obtained a “firman”, a legal document, that apparently allowed him to take some stones but some believe it did not entitle him to cut sculptures from the building.

    The marbles are regarded as some of the finest sculptures ever created and the Parthenon, built by the democratic Athenians after victory over the Persian Empire, is arguably the most important monument in Europe.

    The Greek Government was given extensive legal advice from lawyers Amal Clooney and Geoffrey Robertson, but appears to have decided against taking Britain to court.

    Instead, the case against the UK was brought by the Athenians’ Association, a cultural group, after the British Government refused an offer last year by Unesco to mediate between Greece and Britain.

    The British Government and the British Museum, where about half the surviving Parthenon sculptures are on display, insist the Earl of Elgin acquired them legally.

    In its ruling, which was sent to the Athenian Association last month, the European court said: “The Court notes that the marbles were removed from Greece in the early 19th century. 

    “In order to bring the matter within the temporal jurisdiction of the Court, the applicant has sought to rely on the refusal of the United Kingdom to enter into mediation with Greece concerning the return of the marbles and the continuing refusal to return the marbles. 

    “However, it is clear from the nature of the applicant’s complaints that its underlying grievance is the allegedly unlawful removal of the marbles from Greece. The removal having occurred some 150 years before the Convention was drafted and ratified by the respondent state, the applicant’s complaints would appear to be inadmissible.”

    The judges also said the Athenians’ Association did not have “any right … to have the marbles returned to Greece”.

    The Athenians’ Association’s legal representative, Vassilis Sotiropoulos, said the case was a “first step”.

    He claimed the judgement could actually help the Greek Government take legal action in the future.

    “Globally, this first statement of the European Court, historically the first court judgement, on the subject of the Parthenon Marbles highlights the points that Greece should focus on with particular attention in her recourse against the United Kingdom,” Mr Sotiropoulos said.

    “This decision leaves open the possibility of a recourse submitted by Greece being proclaimed admissible, thus also indirectly offering precious expertise on how to handle the case henceforth.”

    Andrew George, of the British Association for the Reunification of the Parthenon Sculptures, said the ruling did not affect the arguments in favour of sending the sculptures back.

    “We’ve learned nothing from this. There’s been no test of the merits of the case, just that this is not the arena to resolve the justice or otherwise of the case,” he said.

    “The UK Parliament effectively state-sanctioned the improper acquisition of the sculptures exactly 200 years ago this year. 

    “But this doesn’t make it a cause of pride for the British, nor does it make the act nor their continued retention either ethical or just.”

    On 10 July, a cross-party group of MPs launched a Bill to return the sculptures to Athens, where the Acropolis Museum was built specifically to house them within sight of the Parthenon.

    The British Museum argues that it “tells the story of cultural achievement throughout the world, from the dawn of human history over two million years ago until the present day”.

    “The Parthenon Sculptures are a vital element in this interconnected world collection. They are a part of the world’s shared heritage and transcend political boundaries,” it says.

    “The Acropolis Museum allows the Parthenon sculptures that are in Athens (approximately half of what survive from antiquity) to be appreciated against the backdrop of ancient Greek and Athenian history. The Parthenon sculptures in London are an important representation of ancient Athenian civilisation in the context of world history.”

    (www.independent.co.uk)

  • The Ark of the World: A Superbrand of Love and Solidarity

    The Ark of the World: A Superbrand of Love and Solidarity

    Κιβωτός του ΚόσμουIt was 1998 and a young orthodox priest who had just received his ordainment in the parish of Agios Georgios Church in the area of Kolonos-Attica, felt the need to reach out to his community by giving a second chance to children who were living under conditions of total negligence and abandonment.

    Back in the late ‘90s that particular area of western Attica was one of the most difficult regions to live in, troubled by cases of drug trafficking, gang crime and social exclusion mainly for the young.  For the 27 year old Father Antonios Papanikolaou, this was the ideal place to take action. “I was watching from my window, young abandoned kids, involved in drugs and completely wretched. I started wondering what could I do to help them? At first, it started with a group of young adolescents. I approached them and asked them to join me at a basketball game… I sat down and listened to them, I accepted them exactly like they were. I realized that my flock was out and not inside the Church”,he explains in one of his interviews and underlines that by joining these children in their space, their home, the neighborhood square or the field, he saw their positive features emerging through sports and tournaments. “When someone is that desperate, like they were what can you really tell them? That Christ will save them? They will not pay attention”, sites the active priest who soon realized that in order to make a difference to the lives of these children, he needed to create a safer place for them, where they would be nurtured and loved. At first he used his own home. And when that space proved too small, he rented another space, an abandoned cafeteria, where he was able to receive the growing number of socially excluded children who were daily experiencing abandonment, indifference and racism. The “Ark of the World”, a Non-Profit Organization for the Special Care and Protection of Mothers and Children, was thus born, in order to create programs of support with an ultimate goal to help the children of the area return to school and complete their education.

    Father Antonios did not have a specific plan in mind, when he set the whole project in motion. “One thing led to another. The children were sick. So we said, we need to cook in one corner (of the shelter) and teach them in the other corner. Then the homeless came in, so we put beds. Then we built bathrooms so that the children could bathe and one thing led to another”. As soon as people started getting acquainted with the work of the young priest, they gradually joined his cause by volunteering to the work of “The Ark”, teaching the children, cooking for them or bringing them clothes, shoes and toys. But from the very beginning, the message was that “The Ark of the World” was a place for everybody, regardless of ethnicity or religion. It was through the relentless work of Father Antonios that his community was persuaded to accept and support immigrants and not exclude them or marginalize them. “How can a refugee survive unless you educate and help him find his way? He will be otherwise forced to steal! I approached the immigrants’ and refugees’ children and explained them the history of our fathers and grandfathers…. We know what the words “refugee”, “racism” and “death” mean. If everyone took action in his neighborhood we wouldn’t be facing this huge problem with foreigners who cannot leave the country and are pushed into the margins of society! So, we can either lock ourselves inside our homes or help them stand on their feet!”

    Despite the numerous difficulties and adversities, Father Antonios remains optimistic and never loses his hope and dedication to his goal: to always find ways to help as many children as possible! With the support of numerous volunteers, they are providing today help to approximately 500 children from Greece and abroad, aged as young as infants to 18-year-olds, making the centre of Athens a community of compassion and love. The Ark offers food to 1.300 people on a daily basis (mostly homeless mothers with their children, including refugees and non-refugees) and meets the needs of children for their education as well as clothing, footwear, medical and dental care through the work of volunteers. There are also teachers and instructors who organize workshops for ceramics, hagiography, computing, foreign languages, folk dances and learning of musical instruments, among other things.  

    The focus remains largely to the aid and support of mothers who struggle from cases of abuse, abandonment and poverty. They are given the opportunity to place their children to the daily care of “The Ark of the World” and at the same time they can receive financial aid to pay their bills and rent.  The ultimate goal is to help them stand on their feet and be able to provide for their children in full. Since 2012, “The Ark of the World” has added more actions to its work of solidarity: a renovated three storey building in Piraeus has been operating as a guest house for unaccompanied children, a “social grocery” serves 200 families on a daily basis and during the last two years, “The Ark of the World” has been operating a centre at Pogoniani Ioanninon in the region of Epirus and another one in Chios island, including an agricultural school and a boarding school for the children. 150 children in total are sheltered in Athens, Piraeus, Epirus and Chios.

    Ever since its establishment, “The Ark of the World” has received numerous awards and distinctions in Greece and abroad. This year, “Suberbrands” a prestigious international organization operating in Greece since 1995 which identifies on a yearly basis the country’s strongest brands, has selected “The Ark of the World” as a “Superbrand ” in the section Non Governmental Organizations, out of 68 candidates.

    As once Father Antonios said: “volunteerism is a tangible action of love and therefore shouldn’t be awarded”. So the work of solidarity and love continues through his relentless efforts, combined with the work of volunteers and donors who support the mission of “The Ark of the World” in protecting, supporting and spreading love to children and mothers in need.

    (www.greeknewsagenda.gr)

  • Greek Movie Ouzeri Tsitsanis in Shanghai International Film Festival

    Greek Movie Ouzeri Tsitsanis in Shanghai International Film Festival

    ΠολιτισμόςAs part of the 19th Shanghai International Film Festival, held on June 11-19, 2016, the Greek movie Ouzeri Tsitsanis by Manousos Manousakis was selected for the Spectrum section, which keeps track of global cinema screenings. On the evening of June 13, at Cathay Theatre, the Chinese audience (together with members of the local Greek community) had the opportunity to watch the movie and take part in a post-screening discussion with the director. 

    Based on a book under the same title by Giorgos Skampardonis, the film takes place in Thessaloniki, Greece in 1942-43. The city is under German occupation. A love story between a Christian and a Jew, forbidden in these times, is used to describe the brutality and irrationality of racial discrimination. Ouzeri Tsitsanis, a taverna the composer Vasilis Tsitsanis runs, provides refuge to the couple and is a source of hope for people. It is also the place where Tsitsanis composes some of his well known songs. The Chinese title of the movie, “fuyun biri” (浮云蔽日), literally means “floating clouds cover the sun” but was translated as “Cloudy Sunday,” probably to reflect the English meaning of the famous Greek song Sinnefiasmeni Kiriaki. 

    Mr. Manousakis pointed out that both Greece and China have long history and this brings them together. He was curious to see if the movie touched the Chinese, since its topic is not part of their history. Members of the audience asked the director what was his source of inspiration, if it was difficult to find funding due to the Greek economic crisis and what his impression of Shanghai was, among other questions. 

    This was the second Greek movie in the festival, which also hosted the film Invisible by Dimitris Athanitis. 

    (world.greekreporter.com)

  • Tomb of Jesus to undergo restoration after Christian sects put aside religious rivalries

    Tomb of Jesus to undergo restoration after Christian sects put aside religious rivalries

    ΙεροσόλυμαLongstanding religious rivalries have been put to one side as a team of experts begin work on restoring the church where Christians believe Jesus was buried.

    Roman Catholic, Greek Orthodox and Armenian churches are responsible for maintaining separate sections of Jerusalem’s Church of the Holy Sepulchre, with each protectively watching over their territory. 

    Although those who work and pray at the church usually do so in harmony, tensions have been known to rise in the past. In 2008 an argument between Greek Orthodox and Armenian monks resulted in a brawl.

    However, the clergymen have now put aside their differences as the building is in dire need of repair. Last year, the Israeli police even shut down the building for a brief time after Israel’s Antiquities Authority declared it unsafe.

    “We equally decided the required renovation was necessary to be done, so we agreed upon it,” said Reverend Samuel Aghoyan, the top Armenian official at the church.

    Each denomination will contribute to the $3.3 million (£2.26 million) needed to fund the project, and Jordan’s King Abdullah will also make a personal donation.

    Nine Greek experts, who have previously worked on the Acropolis and many Byzantine churches, have been enlisted for the task, which will reinforce and preserve the Edicule – the ancient chamber where the tomb is held.

    Pilgrims and tourists will still be able to visit the site while the work – which is expected to take around a year – is undertaken.

    Antonia Moropoulou, an architect at the National Technical University of Athens, which is supervising the renovation, said: “Nobody envies this responsibility and challenge. It is a challenge to work here in this ambient of an open monument visited by thousands of people daily.” 

    She said although the tomb is stable it requires urgent attention after years of exposure to environmental factors like water, humidity and candle smoke. 

    “The marble and stone slabs have developed, due to the stresses, some deformations,” she said, while “another solution is needed” for the iron cage around the Edicule, which can no longer withstand the stress.

    The church is one of the world’s oldest – and holiest –shrines. It was built in 325 AD by Roman Emperor Constantine just meters from where Jesus is believed to have been crucified.

    This structure was destroyed by Muslim Caliph al-Hakim in 1009, however it was restored in the 12th century by Crusaders.

    In 1808 the Edicule was devastated in a fire, and the work to repair the damage in 1810 was the last undertaken at the Holy site.

    Italian pilgrim Claudio Pardini said the restoration is “an important sign”, and shows all of the Christian churches are working together to preserve their faith’s traditions. 

    “It’s good to take care of our churches so that we can leave the next generations a sign, something to visit, because Christ isn’t an idea. He’s a story,” he said.

    (www.independent.co.uk)

  • Athens Cathedral Reopens After 7-Year Restoration

    Athens Cathedral Reopens After 7-Year Restoration

    Μητρόπολη ΑθηνώνAn official ceremony took place on Saturday evening at the Athens Cathedral to celebrate its reopening after seven years of restoration.

    The reopening ceremony was attended, among other officials, by the President of the Hellenic Republic Prokopis Pavlopoulos, Minister of Education, Research and Religious Affairs Nikos Filis and Supreme Court President Vassiliki Thanou, who saw the interior of the church and attended the great vespers by Hieronymus Archbishop of Athens.

    The ceremony started at 7 p.m. with the holy water of the temple, the brief thanksgiving prayer and Vespers. Representatives of all political parties were present along with Athens Mayor Giorgos Kaminis. Several metropolitan bishops of the Church of Greece, representatives of the patriarchates of Alexandria and Jerusalem and faithful from all the parishes of Athens.

    The first Mass in the renovated church took place on Sunday morning by Archbishop Ieronymos II of Athens and all of Greece with the participation of hierarchs of the Holy Synod.

    The Cathedral of the Annunciation, the Metropolis as it is generally known, was built in the 1842 – 1862 period and the name of the street it stands on – starting at Syntagma Square and ending in Monastiraki – was given after it. The Athens Cathedral suffered serious damages from the 1981 and 1999 earthquakes, and has remained surrounded by scaffolds for 17 years. There was an effort to have it fully restored by the 2004 Olympics but the project did not materialize on time.

    A major restoration project started in 2010 for the static support of the building and maintenance . In addition, there was renovation of the surrounding square and the sidewalk on Mitropoleos Street.

    (greece.greekreporter.com)

  • Mediterranean Artists Spread Message of Peace Through Music

    Mediterranean Artists Spread Message of Peace Through Music

    Γενικά νέαFifteen artists from 12 Mediterranean countries kicked off the first in a series of annual concerts Saturday at the United Nations in Geneva intended to promote dialogue and understanding among civilizations.   

    Renowned musicians from Morocco, Egypt, Jordan, Lebanon, Spain, Greece, France, Palestine, Malta, Italy, Tunis and Cyprus performed in a succession of songs and instrumental pieces accompanied by the Royal Symphony Orchestra of Morocco.  

    Organizers of The Mediterranean Concert take the significance behind catch phrases such as “music speaks louder than words” or “music soothes the savage breast” seriously.

    Miquel Angel Moratinos is president of the ONUART Foundation, a private organization that promotes cultural projects at international institutions in Geneva.  He said ONUART decided to gather artists from Mediterranean countries so “we could have a clear message to this very moving and turbulent area at this time.”  

    He said the 15 artists, who come from different origins and musical styles, are able to convey through their music the message that the troubled Mediterranean region has been and always will be a flourishing civilization despite present and past conflicts.

    “I hope that this concert will give the sense of the need of having the voice of the people in the Mediterranean to stress that peace is possible, harmony is possible, tolerance is possible in this important area of international community,” he said.

    The concert took place in the Human Rights and Alliance of Civilizations Chamber, a large conference room where the U.N. Human Rights Council meets.  The venue is filled with symbolism.  

    The message was not lost on Nassir Abdulazia al-Nasser of the United Nations Alliance of Civilization, who is co-organizer of the concert. 

    “Today, the conflict in the Middle East is very dangerous, which affects the peace and security not only in the region, but outside,” he said.  “The message of music is a message of peace.”  

    Syria is into its sixth year of war.  The devastating conflict has killed an estimated 400,000 people and has displaced more than 11 million, both within the country and as refugees.  The war also has triggered the biggest migration crisis in Europe since World War II, as millions of refugees and migrants have crossed the Mediterranean Sea in the pursuit of refuge.

    Two other wars, in Iraq and Yemen, continue unabated, with reports of large-scale killings, mass displacement, human rights atrocities and devastation of infrastructure.

    Al-Nasser said it is up to politicians, not to artists, to resolve the crises, but he is convinced that art is “a vehicle for the promotion of peaceful dialogue between cultures and societies.

    “All forms of art and especially music,” he said, “can build bridges between people who cannot understand each other’s languages, who come from different religious and ethnic backgrounds.”

    Spanish singer Maria del Mar Bonet said music, for her, was a way of moving toward dialogue and peace.  She told VOA that the Mediterranean is “a place in turmoil, a place of suffering,” and that this must end.

    “The fact that each artist selects a work and performs it sends a powerful message that we do not want to suffer anymore,” she said.  “We do have to end the suffering, and by coming together as we are doing in this concert, we are taking a great step toward that end.”

    Organizers of The Mediterranean Concert want to spread their musical message of peace as widely as possible.  They said they have plans to replicate the concert in other historical Mediterranean sites, such as the Pyramids in Egypt; Carthage in Tunisia; Baalbek in Lebanon; and Jerash in Jordan.

    (www.voanews.com)

  • 4,200-Year-Old Egyptian Temple Discovered to Have Remarkably Well Preserved Artwork

    4,200-Year-Old Egyptian Temple Discovered to Have Remarkably Well Preserved Artwork

    ΑρχαιολογίαScattered throughout modern Egypt are many ancient temples which are famous for their splendor and historical significance. The perfect example of one of these breathtaking displays of luxury is the Temple of Hathor. Built around 2250 BC, the artwork that runs throughout the building is remarkably well kept, despite being thousands and thousands of years old. As the main temple within the significant Dendera Temple complex, it is known for being one of the best-preserved sites in all of Egypt.

    Facing the Nile, the sanctuary layout is classical Egyptian, containing stunning examples of Ptolemaic Egyptian artwork including depictions of Cleopatra and her son, fathered by Julius Caesar. The temple itself was built to worship the Ancient Egyptian goddess Hathor, who personified feminine love, healing, and motherhood. Imposing columns have been carved to bear the face of the goddess, complete with the cow horns she is typically shown to bear.

    Though the entire temple is magnificent, it is the ceiling that remains the true masterpiece. Recently, workers carefully removed hundreds of years of black soot which accumulated as a centuries-old Arab village established camp within the temple. Through the restoration, a spectacular and vibrant painting overhead was slowly revealed. Decorated with a complex astrological chart of the heavens and zodiac signs, the ancient temple ceiling now offers a highly detailed setting to study or just a lovely scene to visit and be swept away by the antiquated opulence.

    (www.mymodernmet.com)

  • The world’s oldest computer is still revealing its secrets

    The world’s oldest computer is still revealing its secrets

    ΠολιτισμόςItem 15087 wasn’t much to look at, particularly compared to other wonders uncovered from the shipwreck at Antikythera, Greece, in 1901. The underwater excavation revealed gorgeous bronze sculptures, ropes of decadent jewelry and a treasure trove of antique coins.

    Amid all that splendor, who could have guessed that a shoebox-size mangled bronze machine, its inscriptions barely legible, its gears calcified and corroded, would be the discovery that could captivate scientists for more than a century?

    “In this very small volume of messed-up corroded metal you have packed in there enough knowledge to fill several books telling us about ancient technology, ancient science and the way these interacted with the broader culture of the time,” said Alexander Jones, a historian of ancient science at New York University’s Institute for the Study of the Ancient World. “It would be hard to dispute that this is the single most information-rich object that has been uncovered by archaeologists from ancient times.”

    Jones is part of an international team of archaeologists, astronomers and historians who have labored for the past 10 years to decipher the mechanism’s many mysteries. The results of their research, including the text of a long explanatory “label” revealed through X-ray analysis, were just published in a special issue of the journal Almagest, which examines the history and philosophy of science.

    The findings substantially improve our understanding of the instrument’s origins and purpose, Jones said, offering hints at where and by whom the mechanism was made, and how it might have been used. It looks increasingly like a “philosopher’s guide to the galaxy,” as the Associated Press put it — functioning as a teaching tool, a status symbol and an elaborate celebration of the wonders of ancient science and technology.

    In its prime, about 2,100 years ago, the Antikythera (an-ti-KEE-thur-a) Mechanism was a complex, whirling, clockwork instrument comprising at least 30 bronze gears bearing thousands of interlocking tiny teeth. Powered by a single hand crank, the machine modeled the passage of time and the movements of celestial bodies with astonishing precision. It had dials that counted the days according to at least three different calendars, and another that could be used to calculate the timing of the Olympics. Pointers representing the stars and planets revolved around its front face, indicating their position in relation to Earth. A tiny, painted model of the moon rotated on a spindly axis, flashing black and white to mimic the real moon’s waxing and waning.

    The sum of all these moving parts was far and away the most sophisticated piece of machinery found from ancient Greece. Nothing like it would appear again until the 14th century, when the earliest geared clocks began to be built in Europe. For the first half century after its discovery, researchers believed that the Antikythera Mechanism had to be something simpler than it seemed, like an astrolabe. How could the Greeks have developed the technology needed to create something so precise, so perfect — only to have it vanish for 1,400 years?

    But then Derek de Solla Price, a polymath physicist and science historian at Yale University, traveled to the National Archaeological Museum in Athens to take a look at the enigmatic piece of machinery. In a 1959 paper in Scientific American, he posited that the Antikythera Mechanism was actually the world’s first known “computer,” capable of calculating astronomical events and illustrating the workings of the universe. Over the next two and a half decades, he described in meticulous detail how the mechanism’s diverse functions could be elucidated from the relationships among its intricately interlocked gears.

    “Nothing like this instrument is preserved elsewhere. Nothing comparable to it is known from any ancient scientific text or literary allusion,” he wrote.

    That wasn’t completely accurate — Cicero wrote of a instrument made by the first century BCE scholar Posidonius of Rhodes that “at each revolution reproduces the same motions of the Sun, the Moon and the five planets that take place in the heavens every day and night.” But it was true that the existence of the Antikythera Mechanism challenged all of scientists’ assumptions about what the ancient Greeks were capable of.

    “It is a bit frightening to know that just before the fall of their great civilization the ancient Greeks had come so close to our age, not only in their thought, but also in their scientific technology,” Price said.

    Still, the degree of damage to the ancient plates and gears meant that many key questions about the the instrument couldn’t be answered with the technology of Price’s day. Many of the internal workings were clogged or corroded, and the inscriptions were faded or covered up by plates that had been crushed together.

    Enter X-ray scanning and imaging technology, which have finally become powerful enough to allow researchers to peer beneath the machine’s calcified surfaces. A decade ago, a diverse group of scientists teamed up to form the Antikythera Mechanism Research Project (AMRP), which would take advantage of that new capability. Their initial results, which illuminated some of the complex inner workings of the machine, were exciting enough to persuade Jones to jump on board.

    Fluent in Ancient Greek, he was able to translate the hundreds of new characters revealed in the advanced imaging process.

    “Before, we had scraps of the text that was hiding inside these fragments, but there was still a lot of noise,” he said. By combining X-ray images with the impressions left on material that had stuck to the original bronze, “it was like a double jigsaw puzzle that we were able to use for a much clearer reading.”

    The main discovery was a more than 3,500-word explanatory text on the main plate of the instrument. It’s not quite an instruction manual — speaking to reporters, Jones’s colleague Mike Edmunds compared it to the long label beside an item in a museum display, according to the AP.

    “It’s not telling you how to use it. It says, ‘What you see is such and such,’ rather than, ‘Turn this knob and it shows you something,’ ” he explained.

    Other newly translated excerpts included descriptions of a calendar unique to the northern Greek city of Corinth and tiny orbs — now believed lost to the sandy sea bottom — that once moved across the instrument’s face in perfect simulation of the true motion of the five known planets, as well as a mark on the dial that gave the dates of various athletic events, including a relatively minor competition that was held in the city of Rhodes.

    That indicates that the mechanism may have been built in Rhodes — a theory boosted by the fact that much of the pottery uncovered by the shipwreck was characteristic of that city. The craftsmanship of the instrument, and the two distinct sets of handwriting evident in the inscriptions, makes Jones believe that it was a team effort from a small workshop that may have produced similar items. True, no other Antikythera Mechanisms have been found, but that doesn’t mean they never existed. Plenty of ancient bronze artifacts were melted down for scrap (indeed, the mechanism itself may have included material from other objects).

    It’s likely that this particular mechanism and the associated Antikythera treasures were en route to a Roman port, where they’d be sold to wealthy nobles who collected rare antiques and intellectual curiosities to adorn their homes.

    The elegant complexity of the mechanism – and the use its makers designed it for – are emblematic of the values of the ancient world: For example, a dial that predicts the occurrence of eclipses to the precision of a day also purports to forecast what the color of the moon and weather in the region will be that day. To modern scientists, the three phenomena are entirely distinct from one another — eclipses depend on the predictable movements of the sun, moon and planets, the color of the moon on the scattering of light in Earth’s atmosphere, and the weather on difficult-to-track local conditions. Astronomers may be able to forecast an eclipse years in advance, but there’s no scientific way to know the weather that far out (just ask our friends at the Capital Weather Gang).

    But to an ancient Greek, the three concerns were inextricably linked. It was believed that an eclipse could portend a famine, an uprising, a nation’s fate in war.

    “Things like eclipses were regarded as having ominous significance,” Jones said. It would have made perfect sense to tie together “these things that are purely astronomical with things that are more cultural, like the Olympic games, and calendars, which is astronomy in service of religion and society, with astrology, which is pure religion.”

    That may go some way toward explaining the strange realization Price made more than 50 years ago: The ancient Greeks came dazzlingly close to inventing clockwork centuries sooner than really happened. That they chose to utilize the technology not to mark the minutes, but to plot out their place in the universe, shows just how deeply they regarded the significance of celestial events in their lives.

    In a single instrument, Jones said, “they were trying to gather a whole range of things that were part of the Greek experience of the cosmos.”

    (www.washingtonpost.com)

  • Athens Open Air Film Festival 2016

    Athens Open Air Film Festival 2016

    ΠολιτισμόςΟπως κάθε χρόνο την τελευταία πενταετία, μαζί με το καλοκαίρι στην Αθήνα έρχεται και το Athens Open Air Film Festival, με δωρεάν προβολές ταινιών σε θερινά σινεμά και εξωτερικούς χώρους της πόλης.

    Φέτος το πρόγραμμα περιλαμβάνει από μιούζικαλ μέχρι γουέστερν και από κλασικές ταινίες τρόμου μέχρι κλασικά αριστουργήματα, συν cult ταινίες που αξίζει να ανακαλύψετε και ένα αφιέρωμα στις εναλλακτικές κινηματογραφικές μεταφορές έργων του Γουίλιαμ Σαίξπηρ από σπουδαίους σκηνοθέτες και ακόμη πιο σπουδαίους ερμηνευτές, με αφορμή την επέτειο των 400 χρόνων από το θάνατό του.

    Οι προβολές του Athens Open Air Film Festival πραγματοποιούνται με την ευγενική υποστήριξη του ΕΟΤ και συνδιοργανωτής της μεγαλύτερης υπαίθριας κινηματογραφικής γιορτής στην πόλη είναι ο Οργανισμός Πολιτισμού, Αθλητισμού & Νεολαίας του Δήμου Αθηναίων.

    Στην μεγάλη κινηματογραφική γιορτή συμμετέχει και η Fischer, η μπίρα που αγαπάει τον καλό κινηματογράφο και συμπληρώνει ιδανικά τις ξεχωριστές στιγμές του 6ου Athens Open Air Film Festival, δροσίζοντας απολαυστικά και κερνώντας το κοινό των προβολών.

    ΠΡΟΓΡΑΜΜΑ

    Τρίτη 21 Ιουνίου / Εορτασμός της Ευρωπαϊκής Γιορτής Μουσικής / «Purple Rain» (1984) του Aλμπερτ Μαγκνόλι / Πλατεία Αυδή (Λεωνίδου 35, Αθήνα)

    H σχεδόν αυτοβιογραφική ταινία που εκτόξευσε το αστέρι του Prince στην κορυφή, αποτέλεσε μια από τις μεγαλύτερες εισπρακτικές επιτυχίες στα ταμεία της δεκαετίας του ’80 και γέννησε ένα από τα κορυφαία σάουντρακ όλων των εποχών.

    Παρασκευή 24 Ιουνίου / Αφιέρωμα «Shakespeare in the City» / «Ριχάρδος o 3ος» (Richard III, 1995) του Ρίτσαρντ Λονκρέιν / Aλσος Μπαρουτάδικο (Ιερά Οδός 290, Αιγάλεω)

    Ο Iαν ΜακΚέλεν παραδίδει μαθήματα υποκριτικής στην εκμοντερνισμένη, εντυπωσιακή σκηνογραφικά και πιο ανορθόδοξη διασκευή του βίαιου σαιξπηρικού έργου.

    Τρίτη 28 Ιουνίου / Επίσημη Πρεμιέρα (είσοδος μόνο με προσκλήσεις και δελτία εισόδου) / «West Side Story» (1961) των Τζερόμ Ρόμπινς και Ρόμπερτ Γουάιζ / Ναός Ολυμπίου Διός (είσοδος από Λεωφ. Βασιλίσσης Όλγας & από Λεωφ. Αμαλίας για ΑμεΑ)

    Ο μουσικοχορευτικός θρίαμβος των 10 Όσκαρ με τις αξέχαστες μελωδίες του Λέοναρντ Μπέρνσταϊν και το ιδιοφυές λιμπρέτο του Στίβεν Σόντχαϊμ, σε μία επετειακή προβολή 55 χρόνων από την πρώτη κυκλοφορία του ριζοσπαστικού αυτού φιλμ.

    Παρασκευή 1 Ιουλίου / «The Innocents» (1961) του Τζακ Κλέιτον / Aλσος Πετραλώνων (εντός γηπέδου μπάσκετ, Πετράλωνα)

    Ο Τζακ Κλέιτον διασκευάζει εκπληκτικά το «Στρίψιμο της Βίδας» του Χένρι Τζέιμς σε ένα αριστούργημα ατμόσφαιρας και υποβολής, που το Περιοδικό ΣΙΝΕΜΑ αναγόρευσε σε καλύτερη ταινία τρόμου όλων των εποχών.

    Τρίτη 5 Ιουλίου / «Αγκίρε, η Μάστιγα του Θεού» (Aguirre, der Zorn Gottes, 1972) του Βέρνερ Χέρτζογκ / Ανοιχτό Θέατρο Κολωνού (Λόφος Ιππείου Κολωνού, Αθήνα)

    Μία εξερευνητική αποστολή στον Αμαζόνιο καταλήγει σε μια συγκλονιστική πραγματεία πάνω στην τρέλα του μεγαλείου η οποία δονείται από τη δαιμονική, παροξυσμική παρουσία του Κλάους Κίνσκι. Το αδιαφιλονίκητο καλλιτεχνικό αποκορύφωμα του Βέρνερ Χέρτζογκ.

    Πέμπτη 7 Ιουλίου / Aφιέρωμα «Shakespeare in the City» / «Μάκβεθ» (The Tragedy of Macbeth, 1971) του Ρόμαν Πολάνσκι / Πειραιώς 260 (Πειραιώς 260, Άγιος Ιωάννης Ρέντης)

    Ο Πολάνσκι παρουσιάζει μια εφιαλτική εκδοχή της περίφημης σεξπηρικής τραγωδίας πάνω στις αιματηρές συνέπειες του ασίγαστου πόθου για εξουσία, με φόντο το τραχύ τοπίο της βόρειας Ουαλίας.

    Παρασκευή 8 Ιουλίου / «Η Απειλή» (The Thing, 1982) του Τζον Κάρπεντερ / Θέατρο Αττικού Αλσους (Περιφερειακός Γαλατσίου, είσοδος από Καρπενησιώτη)

    Σε μια από τις πιο κλασικές πλέον δημιουργίες του sci-fi είδους, ο σκηνοθέτης του «Halloween» προσκαλεί σε μία μαζική άσκηση φαντασίας, αγωνίας και ανείπωτης φρίκης που θα σας παγώσει το αίμα.

    Δευτέρα 11 Ιουλίου / «Φιλιά εις τα Παιδιά» (Children in Hiding, 2011) του Βασίλη Λουλέ / Πεζόδρομος Ερμού (Ερμού 150, απέναντι από την είσοδο του Μουσείου Κεραμεικού)

    Πέντε ηλικιωμένοι Ελληνοεβραίοι αφηγούνται στον φακό τις δοκιμασίες τους, ως παιδιά, από την Ελλάδα της γερμανικής κατοχής. Ο Βασίλης Λουλές ανασύρει μνήμες από την εισβολή των ναζί, την απεγνωσμένη φυγή, τη σωτηρία των παιδιών σε φιλόξενα σπίτια άλλων Ελλήνων και το βάρος της προσωπικής απώλειας σε ένα από τα πιο συγκινητικά ελληνικά ντοκιμαντέρ των τελευταίων χρόνων. Η ταινία θα προβληθεί στις 11 Ιουλίου, την ημέρα που ξεκίνησε ο επίσημος μαζικός διωγμός των Εβραίων της Θεσσαλονίκης το 1942, στην πλατεία Ελευθερίας. Έχει μείνει στην ιστορία ως το «Μαύρο Σάββατο».

    Τετάρτη 13 Ιουλίου / Στο πλαίσιο του Φεστιβάλ Αθηνών & Επιδαύρου και του αφιερώματος «Shakespeare in the City» / «Η Τρικυμία» (The Tempest, 1979) του Ντέρεκ Τζάρμαν / Πειραιώς 260 (Πειραιώς 260, Άγιος Ιωάννης Ρέντης)

    Ο Τζάρμαν αναμετριέται με το κύκνειο άσμα του Σαίξπηρ και βάζει την αιρετική υπογραφή του σε μία από τις πιο γοητευτικά παράδοξες μεταφορές έργου του Βρετανού βάρδου στη μεγάλη οθόνη.

    Πέμπτη 14 Ιουλίου / «Ντίβα» (Diva, 1981) του Ζαν-Ζακ Μπενέξ / Σινέ Δεξαμενή (Πλατεία Δεξαμενής, Αθήνα)

    Από τις πιο αγαπημένες ταινίες των θεατών της δεκαετίας του ’80, αυτός ο μαγευτικός συνδυασμός νουάρ και ρομάντζου απέδωσε με έξοχους κινηματογραφικούς όρους αυτό που μέχρι σήμερα εξακολουθούμε να αποκαλούμε μοντέρνο σινεμά.

    Τρίτη 19 Ιουλίου / «Aliens» (1986) του Τζέιμς Κάμερον / Τρένο στο Ρουφ (Επαρχιακή Οδός Καλλιθέας-Ολυμπιάδας, Αθήνα)

    Εντυπωσιακά εφέ, καταιγισμός δράσης, σκηνές δυσβάσταχτης αγωνίας και ανελέητοι ρυθμοί σε ένα ένδοξο σίκουελ που στέκεται επάξια πλάι στην πρωτότυπη ταινία του Ρίντλεϊ Σκοτ και εκτοξεύει την ηρωίδα του στη λίστα με τις πιο διαχρονικές φιγούρες του σινεμά.

    Τετάρτη 20 Ιουλίου / Στο πλαίσιο του Φεστιβάλ Αθηνών & Επιδαύρου και του αφιερώματος «Shakespeare in the City» / «Βασιλιάς Ληρ» (King Lear, 1970) του Πίτερ Μπρουκ / Πειραιώς 260 (Πειραιώς 260, Άγιος Ιωάννης Ρέντης)

    Δυο ιερά τέρατα του αγγλικού θεάτρου, ο σκηνοθέτης Πίτερ Μπρουκ και ο ηθοποιός Πολ Σκόφιλντ, μεταμορφώνουν την τραγωδία του «Βασιλιά Ληρ» σε κινηματογραφικό θέαμα υψηλής ποιότητας.

    Παρασκευή 22 Ιουλίου / «Η Ετυμηγορία» (The Verdict, 1982) του Σίντνεϊ Λουμέτ / Σινέ Τριανόν (Οδός Κοδριγκτώνος 21, Αθήνα)

    Με έναν εξαιρετικό Πολ Νιούμαν στον πρωταγωνιστικό ρόλο, ένας από τους μέγιστους δημιουργούς του αμερικανικού σινεμά υπογράφει μια από τις καλύτερες ταινίες του: Ενα συγκλονιστικό δικαστικό δράμα το οποίο στάθηκε σημείο αναφοράς για αμέτρητα φιλμ που ακολούθησαν.

    Δευτέρα 25 Ιουλίου / Σινεμά μετά μουσικής / «Dementia» (1955) του Τζoν Πάρκερ συνοδεία μουσικής επένδυσης από τον The Boy / Ταινιοθήκη της Ελλάδος (Ιερά Οδός 48, Αθήνα)

    Η νυχτερινή οδύσσεια μιας μοναχικής γυναίκας στους δρόμους της μεγαλούπολης την οδηγεί σε σκοτεινά μονοπάτια σεξουαλικής απόγνωσης και παράνοιας, σε αυτό το πραγματικά αλλόκοτο και ακόμη ανεξερεύνητο από το ευρύ κοινό νουάρ που δεν έχει καθόλου διαλόγους, αφήνοντας να μιλήσει η εξπρεσιονιστική γλώσσα των εικόνων.

    Παρασκευή 29 Ιουλίου / «Αμαντέους» (Amadeus, 1984) του Μίλος Φόρμαν (ο χώρος θα επιβεβαιωθεί τις επόμενες ημέρες)

    Το βραβευμένο με 8 Οσκαρ κομψοτέχνημα του Μίλος Φόρμαν για τον Βόλφγκανγκ Αμαντέους Μότσαρτ είναι μία ταινία που ξεπέρασε τα όρια της μουσικής βιογραφίας. Βασισμένη στο ομώνυμο θεατρικό έργο του καταξιωμένου Πίτερ Σάφερ, έγινε μία οξυδερκή σπουδή για το χάσμα ανάμεσα στο θεϊκό ταλέντο και την ανθρώπινη μετριότητα.

    Παρασκευή 19 Αυγούστου / «Προετοιμασία για Eγκλημα» (Dressed to Kill, 1980) του Μπράιαν Ντε Πάλμα / Ταινιοθήκη της Ελλάδος (Ιερά Οδός 48, Αθήνα)

    Προκλητικός αισθησιασμός, σοκαριστική βία, ατσαλένιο σασπένς και ραδιούργες σεναριακές εκπλήξεις σε ένα διεστραμμένα απολαυστικό ψυχολογικό θρίλερ που ο Ντε Πάλμα σκηνοθετεί με απερίγραπτη μαεστρία και απροκάλυπτη ηδονή.

    Παρασκευή 26 Αυγούστου / Αφιέρωμα «Shakespeare in the City» / «Ερρίκος ο 5ος» (Henry V, 1944) του Λόρενς Ολίβιε / Πεζόδρομος Δ. Αρεοπαγίτου (απέναντι από το Μουσείο της Ακρόπολης)

    Πόλεμος, διαφθορά, ρομαντισμός και …Λόρενς Ολίβιε. Ο ηθοποιός που αποτέλεσε συνώνυμο της σαιξπηρικής αναπαράστασης σε θέατρο και σινεμά, αναλαμβάνει το ρόλο του Ερρίκου του 5ου και ενορχηστρώνει ως σκηνοθέτης μερικές από τις πιο επικές (και αιματηρές) σκηνές μάχης της 7ης τέχνης.

    Δευτέρα 29 Αυγούστου / Αφιέρωμα «Shakespeare in the City» / «Το Θέατρο του Αίματος» (Theatre of Blood, 1973) του Ντάγκλας Χίκοξ / Νομισματικό Μουσείο (Πανεπιστημίου 12, Αθήνα)

    Γκραν γκινιόλ τρόμος, ακαταμάχητο μαύρο χιούμορ και ένας σαρδόνιος Βίνσεντ Πράις που δεν χορταίνεις να βλέπεις πρωτοστατούν σε αυτή την εκκεντρική παρωδία, όπου ένας ηθοποιός εκδικείται τους κριτικούς θεάτρου που τον απαξίωσαν, έχοντας ως εγχειρίδιο φόνου τα έργα του Σαίξπηρ!

    Τετάρτη 31 Αυγούστου / «Κάποτε στη Δύση» (Once Upon a Time in the West, 1968) του Σέρτζιο Λεόνε / Ακαδημία Πλάτωνος (Μοναστηριού 137, Αθήνα)

    Οι αξεπέραστες μουσικές παρτιτούρες του Ενιο Μορικόνε, το κοφτερό σαν μαχαίρι βλέμμα του Χένρι Φόντα, η μεγαλειώδης σκηνοθεσία του Σέρτζιο Λεόνε, η Κλαούντια Καρντινάλε να σκορπίζει την ομορφιά της σε ένα σκληρό κόσμο αντρών και η μυθολογία της Αγριας Δύσης συνηγορούν στο να γεννήσουν ένα από τα ανυπέρβλητα γουέστερν έπη του κινηματογράφου.

    Παρασκευή 2 Σεπτεμβρίου / «Οι Αταίριαστοι» (Misfits. 1961) του Τζον Χιούστον (ο χώρος θα επιβεβαιωθεί τις επόμενες ημέρες)

    Eνα μελαγχολικό και ελεγειακό ρέκβιεμ για τους υπέροχους losers αυτού του κόσμου με πρωταγωνιστές τους Κλαρκ Γκέιμπλ, Μέριλιν Μονρό και Μοντγκόμερι Κλιφτ στις τελευταίες κινηματογραφικές παρουσίες τους.

    Δευτέρα 5 Σεπτεμβρίου / Προβολή έκπληξη για τα 40 χρόνια του περιοδικού «Αθηνόραμα» (Ο χώρος και οι λεπτομέρειες της προβολής θα ανακοινωθούν σύντομα)

    (news247.gr)