Τρίτη, 31 Μαΐου 2011

ΣΤΟ ΙΔΡΥΜΑ ΒΟΥΡΟΥ-ΕΥΤΑΞΙΑ:Της Πόλης Ρωμιοί αρχιτέκτονες


Εφτασε και η ώρα της Αθήνας να δει την πολύ ενδιαφέρουσα έκθεση «Οι Ρωμιοί αρχιτέκτονες της Πόλης στην περίοδο του εκδυτικισμού», που πρωτοπαρουσιάστηκε στην Κωνσταντινούπολη και εν συνεχεία στη Θεσσαλονίκη.
Από σήμερα, στο Μουσείο της Πόλεως των Αθηνών -Ιδρυμα Βούρου-Ευταξία θα έχουμε κι εμείς την ευκαιρία να γνωρίσουμε τους Ελληνες αρχιτέκτονες που με τα κτίριά τους άφησαν ανεξίτηλα σημάδια στον αστικό χώρο της Πόλης. Στόχος της έκθεσης είναι να αναδείξει το αποτύπωμα της ελληνικής κοινότητας στο δομημένο περιβάλλον της Κωνσταντινούπολης παρουσιάζοντας στο ευρύ κοινό 104 διαφορετικά κτίρια 57 αρχιτεκτόνων, που έδρασαν από τα μέσα του 19ου έως τα μέσα του 20ού αιώνα, μέσα από φωτογραφίες και αρχειακό υλικό.

Το πρόγραμμα εμπνεύστηκε και ανέλαβε να υλοποιήσει ο Σύνδεσμος Αποφοίτων Ζωγραφείου σε συνεργασία με τον Οργανισμό «Istanbul 2010 Πολιτιστική Πρωτεύουσα της Ευρώπης» και χορηγό το Ιδρυμα Ιωάννη Σ. Λάτση.

Οι Ρωμιοί αρχιτέκτονες αποτέλεσαν ένα πολύ σημαντικό κομμάτι της ιστορίας του χτισμένου περιβάλλοντος, πολλά δε από τα έργα τους είναι ορατά και ευδιάκριτα μέχρι σήμερα. Οι ίδιοι εισήγαγαν νέους αρχιτεκτονικούς τύπους κτιρίων και μορφολογικά πρότυπα συμβάλλοντας καθοριστικά στον εξευρωπαϊσμό της οικοδομικής δραστηριότητας της Κωνσταντινούπολης και της διαμόρφωσης του σημερινού της προσώπου. Εχτισαν από εμπορικά κέντρα μέχρι πολυκατοικίες, από θρησκευτικούς ναούς μέχρι κοινοτικά κτίρια, ακόμα και ταφικά μνημεία απαράμιλλης καλλιτεχνικής αξίας.

Είναι η πρώτη φορά που συγκεντρώνονται έργα Ρωμιών αρχιτεκτόνων σε μια έκθεση, όπως ο Περικλής Φωτιάδης (Σχολή της Χάλκης, Ζωγράφειο Λύκειο), ο Βασίλης Κουρεμένος (Τράπεζα Αθηνών), ο Λύσανδρος Καυταντζόγλου (Ελληνικός Φιλολογικός Σύλλογος), ο Βασιλάκης Ιωαννίδης (Αγία Τριάδα), ο Κων/νος Κυριακίδης, ο Πάτροκλος Καμπανάκης κ.ά.

Τα έργα τους τα συναντούμε, μεταξύ άλλων, στη Μεγάλη Οδό του Πέρα, γνωστή σήμερα ως Istiklal caddesi, στο λαϊκό Tarlabasi, στο εμπορικό Eminonu και Γαλατά, στις γραφικές ακτές του Βοσπόρου και στα όμορφα Πριγκιπόννησα. Τα ονόματά τους, συχνά, τα διακρίνουμε στις γωνίες των κτιρίων, μεταξύ του ισογείου και του πρώτου ορόφου. Η έκθεση περιλαμβάνει εκτός από πρόσφατες φωτογραφίες των εναπομεινάντων έργων τους και πρωτότυπα σχέδια, καρτ ποστάλ και φωτογραφίες των ίδιων των αρχιτεκτόνων και βιογραφικά τους.

Συνοδεύεται από τρίγλωσσο κατάλογο (ελληνικά, τουρκικά, αγγλικά). Από τις 22 Νοεμβρίου, όταν και εγκαινιάστηκε στην Κωνσταντινούπολη, υπολογίζεται ότι την επισκέφτηκαν περισσότερα από 7.500 άτομα. Διάρκεια έως 10 Ιουλίου. (Μουσείο της Πόλεως των Αθηνών: Παπαρρηγοπούλου 5-7, πλατεία Κλαυθμώνος, σε συνεργασία με το ΤΕΕ).

ΠΗΓΗ:Enet.gr,Φ. ΜΠΑΡΚΑ

Αλλόκοτη ηλιακή έκλειψη ξεκινά την Πέμπτη και λήγει μια μέρα νωρίτερα


Μόνο οι πολικές αρκούδες και οι λιγοστοί άνθρωποι που ζουν βόρεια του Αρκτικού Κύκλου θα μπορέσουν να θαυμάσουν την επόμενη μερική ηλιακή έκλειψη, η οποία θα συμβεί κυριολεκτικά στη μέση της νύχτας, και μάλιστα θα τελειώσει πριν καν ξεκινήσει.

Οι μεταμεσονύχτιες ηλιακές εκλείψεις γίνονται ορατές μόνο στην Αρκτική και την Ανταρκτική, όπου ο ήλιος δεν δύει ποτέ στη διάρκεια του καλοκαιριού.

Η επόμενη μεταμεσονύχτια έκλειψη θα ξεκινήσει τα ξημερώματα της Πέμπτης 2 Ιουνίου, οπότε θα γίνει ορατή στη βόρεια Κίνα και τη Σιβηρία. Η σκιά της Σελήνης θα περάσει στη συνέχεια πάνω από την Αρκτική διασχίζοντας τη λεγόμενη Γραμμή Αλλαγής Ημερομηνίας στον Ειρηνικό.

Οι περιοχές που βρίσκονται εκατέρωθεν αυτής της γραμμής έχουν 24 ώρες διαφορά, δηλαδή ακολουθούν την ίδια ώρα αλλά με διαφορά μίας ολόκληρης ημέρας.

Αυτό σημαίνει ότι θα είναι απόγευμα της Τετάρτης όταν η έκλειψη θα τελειώσει στο βορειοανατολικό Καναδά.

Αόρατη έκλειψη

Η μεταμεσονύχτια έκλειψη στην Αρκτική δεν θα είναι η μόνη αστρονομική παραξενιά το φετινό καλοκαίρι.

Ακριβώς ένα μήνα αργότερα, την 1η Ιουλίου, μια παρόμοια έκλειψη θα συμβεί στην Ανταρκτική. Επειδή όμως στο νότιο ημισφαίριο έχει ξεκινήσει ο σκοτεινός χειμώνας, ο Ήλιος θα βρίσκεται κάτω από τον ορίζοντα την ώρα της έκλειψης.

Με άλλα λόγια, η έκλειψη θα είναι «αόρατη», ή τουλάχιστον σχεδόν: θα είναι ορατή μόνο σε ένα μικρό τμήμα του Νότιου Ωκεανού, νότια της Νοτίου Αφρικής, μια περιοχή που κατοικείται μόνο από πιγκουίνους και θαλασσοπούλια.

Και κάτι που θα δούμε

Ακριβώς ανάμεσα στις δύο αλλόκοτες ηλιακές εκλείψεις, την Τετάρτη 15 Ιουνίου, οι κάτοικοι της Ευρώπης θα μπορέσουν να θαυμάσουν μια ολική έκλειψη Σελήνης.

Το φαινόμενο θα ξεκινήσει λίγο μετά την ανατολή του φεγγαριού το απόγευμα και θα είναι επίσης ορατό στην Αφρική, τη Μέση Ανατολή και τη νοτιοδυτική Ασία.

ΠΗΓΗ: ΤΑ ΝΕΑ

Beneath Jerusalem, An Undergound City that Existed 2,000 Years Ago Takes Shape




In this May 17, 2011 photo, a view of Zedekiah's Cave is seen in Jerusalem's Old City. Underneath the stone buildings and crowded alleys of old Jerusalem, hundreds of people are moving at any given moment through tunnels, vaulted medieval chambers and Roman sewers in a rapidly expanding subterranean city invisible from the streets above. AP Photo/Bernat Armangue.

By: Matti Friedman, Associated Press
JERUSALEM (AP).- Underneath the crowded alleys and holy sites of old Jerusalem, hundreds of people are snaking at any given moment through tunnels, vaulted medieval chambers and Roman sewers in a rapidly expanding subterranean city invisible from the streets above.

At street level, the walled Old City is an energetic and fractious enclave with a physical landscape that is predominantly Islamic and a population that is mainly Arab.

Underground Jerusalem is different: Here the noise recedes, the fierce Middle Eastern sun disappears, and light comes from fluorescent bulbs. There is a smell of earth and mildew, and the geography recalls a Jewish city that existed 2,000 years ago.

Archaeological digs under the disputed Old City are a matter of immense sensitivity. For Israel, the tunnels are proof of the depth of Jewish roots here, and this has made the tunnels one of Jerusalem's main tourist draws: The number of visitors, mostly Jews and Christians, has risen dramatically in recent years to more than a million visitors in 2010.

But many Palestinians, who reject Israel's sovereignty in the city, see them as a threat to their own claims to Jerusalem. And some critics say they put an exaggerated focus on Jewish history.

A new underground link is opening within two months, and when it does, there will be more than a mile (two kilometers) of pathways beneath the city. Officials say at least one other major project is in the works. Soon, anyone so inclined will be able to spend much of their time in Jerusalem without seeing the sky.

On a recent morning, a man carrying surveying equipment walked across a two-millennia-old stone road, paused at the edge of a hole and disappeared underground.

In a multilevel maze of rooms and corridors beneath the Muslim Quarter, workers cleared rubble and installed steel safety braces to shore up crumbling 700-year-old Mamluk-era arches.

Above ground, a group of French tourists emerged from a dark passage they had entered an hour earlier in the Jewish Quarter and found themselves among Arab shops on the Via Dolorosa, the traditional route Jesus took to his crucifixion.

South of the Old City, visitors to Jerusalem can enter a tunnel chipped from the bedrock by a Judean king 2,500 years ago and walk through knee-deep water under the Arab neighborhood of Silwan. Beginning this summer, a new passage will be open nearby: a sewer Jewish rebels are thought to have used to flee the Roman legions who destroyed the Jerusalem temple in 70 A.D.

The sewer leads uphill, passing beneath the Old City walls before expelling visitors into sunlight next to the rectangular enclosure where the temple once stood, now home to the Al-Aqsa Mosque and the gold-capped Dome of the Rock.

From there, it's a short walk to a third passage, the Western Wall tunnel, which continues north from the Jewish holy site past stones cut by masons working for King Herod and an ancient water system. Visitors emerge near the entrance to an ancient quarry called Zedekiah's Cave that descends under the Muslim Quarter.

The next major project, according to the Israel Antiquities Authority, will follow the course of one of the city's main Roman-era streets underneath the prayer plaza at the Western Wall. This route, scheduled for completion in three years, will link up with the Western Wall tunnel.

The excavations and flood of visitors exist against a backdrop of acute distrust between Israeli Jews and Palestinian Muslims, who are suspicious of any government moves in the Old City and particularly around the Al-Aqsa compound, Islam's third-holiest shrine. Jews know the compound as the Temple Mount, site of two destroyed temples and the center of the Jewish faith for three millennia.

Muslim fears have led to violence in the past: The 1996 opening of a new exit to the Western Wall tunnel sparked rumors among Palestinians that Israel meant to damage the mosques, and dozens were killed in the ensuing riots. In recent years, however, work has gone ahead without incident.

Mindful that the compound has the potential to trigger devastating conflict, Israel's policy is to allow no excavations there. Digging under Temple Mount, the Israeli historian Gershom Gorenberg has written, "would be like trying to figure out how a hand grenade works by pulling the pin and peering inside."

Despite the Israeli assurances, however, rumors persist that the excavations are undermining the physical stability of the Islamic holy sites.

"I believe the Israelis are tunneling under the mosques," said Najeh Bkerat, an official of the Waqf, the Muslim religious body that runs the compound under Israel's overall security control.

Samir Abu Leil, another Waqf official, said he had heard hammering that very morning underneath the Waqf's offices, in a Mamluk-era building that sits just outside the holy compound and directly over the route of the Western Wall tunnel, and had filed a complaint with police.

The closest thing to an excavation on the mount, Israeli archaeologists point out, was done by the Waqf itself: In the 1990s, the Waqf opened a new entrance to a subterranean prayer space and dumped truckloads of rubble outside the Old City, drawing outrage from scholars who said priceless artifacts were being destroyed.

This month, an Israeli government watchdog released a report saying Waqf construction work in the compound in recent years had been done without supervision and had damaged antiquities. The issue is deemed so sensitive that the details of the report were kept classified.

Some Israeli critics of the tunnels point to what they call an exaggerated emphasis on a Jewish narrative.

"The tunnels all say: We were here 2,000 years ago, and now we're back, and here's proof," said Yonathan Mizrachi, an Israeli archaeologist. "Living here means recognizing that other stories exist alongside ours."

Yuval Baruch, the Antiquities Authority archaeologist in charge of Jerusalem, said his diggers are careful to preserve worthy finds from all of the city's historical periods. "This city is of interest to at least half the people on Earth, and we will continue uncovering the past in the most professional way we can," he said.


ultra-orthodox Jewish men pray in the Western Wall tunnel in Jerusalem's Old City. AP Photo/Bernat Armangue.


Copyright 2011 The Associated Press.
Artdaily.org

Mary Moorman, JFK Assassination Photographer, Tells Where She Stood and What She Saw




One of three remaining Polaroid photos taken by Mary Moorman at the assassination of President John F. Kennedy in Dallas on Nov. 22, 1963. Photo: Mary Moorman.
NEW YORK, NY (BUSINESS WIRE).- If you were alive on Nov. 22, 1963, you remember, or have been told, where you were when President John F. Kennedy was killed.

Perhaps no one remembers better than Mary Moorman, who was just 15 feet from JFK’s motorcade when gunshots rang out. Ms. Moorman, then 31 years old, stood poised with her Polaroid camera as the presidential limousine passed by and captured the most famous image of that most infamous day: the president being shot.

Where exactly Ms. Moorman stood is a key piece of information that has been debated for nearly five decades. The answer has ramifications for a number of theories, including one that opines there are frames missing from the film shot by Abraham Zapruder.

In contrast to her friend, Jean Hill, who leveraged her presence at the assassination into a career as a consultant to conspiracy theorists, including Oliver Stone, Ms. Moorman shied away from the press, never giving a comprehensive interview, until now. Despite having a piece of critical evidence, Ms. Moorman was not interviewed by the Warren Commission.

Ms. Moorman, 78, will finally break her silence at the Brass Armadillo® Antique Mall in Wheat Ridge, Colo., during a live interview on iAntique®.com, an Internet news and social networking community for dealers, collectors and antiques enthusiasts.

Gary Stover, an iAntique® host, will interview Ms. Moorman for more than an hour. The interview, which starts at 6 p.m. MDT on Tuesday, May 24, will stream live at iAntique.com as part of The Stover Hour. A full-length, professional souvenir video will be produced with additional information and commentary from Mr. Stover, audience members and other authorities.

NEW INFORMATION FROM ONE OF THE LAST LIVING WITNESSES
Among the questions Mr. Stover will tackle is Ms. Moorman’s precise position when she took the photograph of JFK slumping over. That positioning is a key factor in many theories about the assassination.

“The popular view is that Mary was standing on the grass,” Mr. Stover said. “While there are photos that might indicate she was on the grass at one point, her exact location when she snapped the photograph has long been a matter of debate. We believe Mary plans to set the record straight with this interview.”

Ms. Moorman’s interview at the Brass Armadillo® is open to the public, but viewing space is limited. As The Stover Hour streams the event live, members of iAntique® will be able to watch the interview online and interact on the site’s live chat room. The interview will focus on what Ms. Moorman saw the day of the assassination, her relationship with parade police officers who afforded her unequaled access and whether she plans to sell the historic photographs.

In conjunction with the interview, an online drawing will be held featuring authentic vintage cameras used during the Kennedy era. The prizes include a Polaroid Highlander 80A, similar to the camera Ms. Moorman used to shoot her famous photos; a Bell & Howell Zoomatic 8 mm movie camera, similar to the camera Zapruder held when shooting his moving pictures of the assassination, and the Minox Type III “Spy Camera,” like the one found among Lee Harvey Oswald’s possessions. Interested participants can enter the drawing at http://www.iantique.com/pages/camera-contest.

The Brass Armadillo®, featuring more than 3,000 dealers in the Midwest and West, is the leader among antiques and collectible retail merchants in the United States, operating malls in Denver; Des Moines, Iowa; Kansas City, Mo.; Omaha, Neb., and Phoenix.

iAntique® is an antiques social networking site that brings together a community of knowledgeable antiques and collectibles enthusiasts, dealers and collectors to share information. Currently free to join, iAntique® features live chats, workshops, seminars, training events, web casts and an online antiques marketplace.

Copyright © 2011 SYS-CON Media, Inc. — All Rights Reserved.
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Unpublished Fayum Portraits Come to Life at the National Archaeology Museum in Madrid




A couple looks at portraits displayed during the exhibition 'Without a Visible Future Fayum's Portraits + Adrian Paci' held at the National Archaeological Museum of Madrid, Spain, 30 May 2011. The exhibition features thirteen Fayum mummy portraits, commonly painted in this Egyptian region during the Roman occupation between the 1st and 3rd centuries AD, alongside the Albanian artist's video Centro di Permanenza temporanea. This exhibition is part of the 14th annual 'PhotoEspana Festival' that will be held in Madrid from June 1 to July 24. EPA/BALLESTEROS.
MADRID.- The Fayum Mummy Portraits continue to surprise to this day with their modern sensibility and vitality. Made between the first and fourth centuries A.D. they come from the tomb of Al- Fayum as well as from other places across Egypt, and they are borne of a mixture of Greek encaustic painting, Roman realism, and Egyptian funerary rituals. The exhibition Fayum Portraits + Adrian Paci: No Visible Future, organized by the Ministry of Culture, National Archeology Museum and PHotoEspaña posits these paintings as the earliest antecedent of photography since, in a manner similar to ID photos, the painters portray with the greatest possible exactitude the characteristics of their subjects so that the souls of the dead could recognize them – hence the portraits’ simplicity and accuracy.

John Berger dedicated one of his most elegant texts to these works; in it, he relates them to the migrations of our time. This exhibition seeks to pay them homage, bringing together 13 portraits that are shown along with the video Centro para la permanencia temporal (Center for Temporal Permanence), by Adrian Paci, a work in which time stops, and its protagonists – possible emigrants seek to depart but do not move – are subtly fashioned like the living-dead of Fayum.

The exhibition features works that, due to their concept and function, rather than their technique, They were painted by Greek artists on wooden panels and canvases that covered the face, as part of the mummy’s wrappings. These are the oldest two-dimensional portraits in existence, and the only example of Classical easel painting to have come down to us. These paintings for death, which were made to be buried rather than put on display, seem so incredibly alive, just like a good photographic portrait, which captures both the subject and the moment.

Adrian Paci (Albania, 1969) studied at the Academy of Arts in Tirana. He has shown individually at the Kunsthaus in Zurich, the Istanbul Museum of Modern Art, the Kunstverein Hannover, and P.S. 1 Contemporary Art Center in New York. His work has also been part of collections shown at the Centre Georges Pompidou in Paris, the Fundació Caica in Barcelona, the Moderna Museet in Stockholm, the Miami Museum of Contemporary Art, and the MoMa in New York. Paci represented his country in the first pavilion of Albania at the Venice Biennial.


Visitors look at the portrait titled 'A woman portrait' displayed during the exhibition 'Without a Visible Future Fayum's Portraits + Adrian Paci' held at the National Archaeological Museum of Madrid, Spain, 30 May 2011. The exhibition features thirteen Fayum mummy portraits, commonly painted in this Egyptian region during the Roman occupation between the 1st and 3rd centuries AD, alongside the Albanian artist's video Centro di Permanenza temporanea. This exhibition is part of the 14th annual 'PhotoEspana Festival' that will be held in Madrid from June 1 to July 24. EPA/BALLESTEROS.
Artdaily.org

31 Μαΐου, 1859:Big Ben goes into operation in London


The famous tower clock known as Big Ben, located at the top of the 320-foot-high St. Stephen's Tower, rings out over the Houses of Parliament in Westminster, London, for the first time on this day in 1859.

After a fire destroyed much of the Palace of Westminster--the headquarters of the British Parliament--in October 1834, a standout feature of the design for the new palace was a large clock atop a tower. The royal astronomer, Sir George Airy, wanted the clock to have pinpoint accuracy, including twice-a-day checks with the Royal Greenwich Observatory. While many clockmakers dismissed this goal as impossible, Airy counted on the help of Edmund Beckett Denison, a formidable barrister known for his expertise in horology, or the science of measuring time.

Denison's design, built by the company E.J. Dent & Co., was completed in 1854; five years later, St. Stephen's Tower itself was finished. Weighing in at more than 13 tons, its massive bell was dragged to the tower through the streets of London by a team of 16 horses, to the cheers of onlookers. Once it was installed, Big Ben struck its first chimes on May 31, 1859. Just two months later, however, the heavy striker designed by Denison cracked the bell. Three more years passed before a lighter hammer was added and the clock went into service again. The bell was rotated so that the hammer would strike another surface, but the crack was never repaired.

The name "Big Ben" originally just applied to the bell but later came to refer to the clock itself. Two main stories exist about how Big Ben got its name. Many claim it was named after the famously long-winded Sir Benjamin Hall, the London commissioner of works at the time it was built. Another famous story argues that the bell was named for the popular heavyweight boxer Benjamin Caunt, because it was the largest of its kind.

Even after an incendiary bomb destroyed the chamber of the House of Commons during the Second World War, St. Stephen's Tower survived, and Big Ben continued to function. Its famously accurate timekeeping is regulated by a stack of coins placed on the clock's huge pendulum, ensuring a steady movement of the clock hands at all times. At night, all four of the clock’s faces, each one 23 feet across, are illuminated. A light above Big Ben is also lit to let the public know when Parliament is in session


HISTORY CHANNEL

Άνοιξε από το «Διάζωμα» ο κουμπαράς για την ανάδειξη του αρχαίου θεάτρου της Δήλου


Το αρχαίο θέατρο της Δήλου, ενός από τους σπουδαιότερους λατρευτικούς τόπους της αρχαιότητας, άνοιξε τον κουμπαρά του. Το «Διάζωμα», το σωματείο για την αποκατάσταση και ανάδειξη των αρχαίων θεάτρων, πραγματοποίησε το βράδυ της Δευτέρας εκδήλωση στο Μέγαρο «Υπατία», όπου όπως ανακοινώθηκε το σωματείο θα διαθέσει από τις συνδρομές των μελών του τις πρώτες 10.000 ευρώ, ώστε να ξεκινήσει αμέσως η κινητοποίηση για τη συγκέντρωση των απαιτούμενων χρημάτων.

Παράλληλα, τιμήθηκε ο Ντομινίκ Μιλιέ, διευθυντής της Γαλλικής Αρχαιολογικής Σχολής Αθηνών, η οποία από το 1873 πραγματοποιεί ανασκαφές στο ιερό νησί της Δήλου.

«Ακούω συχνά τη φράση ‘χωρίς λεφτά πολιτισμός δεν γίνεται’. Συμφωνώ, έτσι είναι. Η ανάδειξη της πολιτιστικής κληρονομιάς μας και η προβολή της είναι επένδυση για τη χώρα και τον ρόλο της στον κόσμο. Και ως επένδυση θέλει πόρους. Όλα αυτά είναι στοιχεία που χτίζουν την ταυτότητα της χώρας μας και της δίνουν το δικαίωμα να συμβάλει σε έναν παγκόσμιο διάλογο πολιτισμών. Όμως η ταυτότητα αυτή οφείλει να είναι πολύπλευρη και να εκπροσωπεί ολόκληρη την κοινωνία. Άρα και για το χτίσιμό της δεν αρκεί η συμμετοχή του κράτους» δήλωσε ο υπουργός Πολιτισμού και Τουρισμού Παύλος Γερουλάνος που παραβρέθηκε στην εκδήλωση.

Ο υπουργός αναφέρθηκε επίσης στον πρόεδρο του «Διαζώματος», Σταύρο Μπένο, τον επίμονο, ακούραστο και μεθοδικό άνθρωπο, ο οποίος -όπως είπε- αποτελεί απόδειξη ότι δεν πρέπει και δεν μπορεί ο πολιτισμός να βασίζεται μόνο σε κρατικά κονδύλια.

«Για να κάνεις πολιτισμό θέλει πολύ περισσότερα από χρήματα. Θέλει αγάπη, πίστη, ενθουσιασμό, συναίσθημα και μια βαθιά αίσθηση συνεργασίας. Για όλα αυτά που εκπροσωπεί, ευχαριστώ τον κ. Μπένο και το 'Διάζωμα' εκ μέρους του ΥΠΠΟΤ αλλά και ως πολίτης αυτής της χώρας» κατέληξε.

«Πρόκειται για ένα μνημείο παγκόσμιας κληρονομιάς και πρέπει να αναστηλωθεί. Είναι καθήκον μας για την Ελλάδα και μόνο έτσι θα δικαιούται η χώρα αλληλεγγύη και σεβασμό από τους Έλληνες» δήλωσε ο Κωνσταντίνος Ρουτζούνης, πρόεδρος του Ινστιτούτου «Υπατία», ο οποίος τόνισε ότι στη βραδιά δέσποζαν δύο συμμαχίες: η συμμαχία της αρχαίας Δήλου και η νεότερη ελληνογαλλική συμμαχία.

«Από την ανασκαφή της Δήλου το 1873, από τη Γαλλική Αρχαιολογική Αθηνών, ξεκίνησε μια ανώτερη ποιοτική σχέση της Γαλλίας με την αναμόρφωση του νέου ελληνικού κράτους. Πιστεύω ότι σ’ αυτές τις δύο συμμαχίες πρέπει να προσθέσουμε σήμερα μια τρίτη, μια μικρή συμμαχία ψυχής, για να αναστηλώσουμε αυτό το θέατρο» κατέληξε.

«Ούτε στα πιο τρελά μας όνειρα δεν θα μπορούσαμε να φανταστούμε ότι αυτό το όνειρο που υφαίναμε μέσα μας τουλάχιστον για μια δεκαετία θα έπαιρνε σάρκα και οστά τόσο γρήγορα και με τόσο όμορφο τρόπο. Έχουν ήδη ανοίξει 40 κουμπαράδες. Είναι οι κουμπαράδες των πολιτών, οι εναλλακτικές μορφές που αναζητά και ψηλαφίζει στην κοινωνία το 'Διάζωμα' και δεν μπορώ να σας περιγράψω τι κοιτάσματα καθημερινά βρίσκουμε σ’ αυτή την όμορφη χώρα» δήλωσε με συγκίνηση ο Σταύρος Μπένος.

Κατά τον ίδιο, το «Διάζωμα», από την πρώτη στιγμή που γεννήθηκε, δεν ήθελε μόνο να υποδηλώσει την αγάπη του για τα αρχαία θέατρα. Επιθυμούσε να βοηθήσει αποτελεσματικά και αποφασιστικά τη μεγάλη προσπάθεια αυτής της σύγχρονης εποποιίας της χώρας, το σώμα των Ελλήνων αρχαιολόγων.

«Ήδη φέτος θα ξεκινήσουν εργασίες σε 30 αρχαία θέατρα σε όλη τη χώρα. Ένα σπουδαίο δείγμα γραφής είναι αυτό που γίνεται σήμερα εδώ» τόνισε, συμπληρώνοντας ότι το σωματείο έχει ήδη ανταλλάξει με τη Γαλλική Σχολή μια σύμβαση παραχώρησης και συνεργασίας της επιστημονικής δουλειάς που έχει ήδη συντελεστεί και η οποία θα συνεχιστεί από δω και πέρα από το «Διάζωμα».

«Έχουμε ήδη παραλάβει την επιστημονική δουλειά που έχει γίνει στους Δελφούς και στη Δήλο και σύντομα -την επόμενη εβδομάδα- θα αναθέσουμε τις μελέτες αναστήλωσης για τα δύο αυτά μνημεία» δήλωσε με ενθουσιασμό. Ήδη, το «Διάζωμα» θα διαθέσει από τις συνδρομές των μελών του τις πρώτες 10.000 ευρώ στον κουμπαρά της Δήλου, ώστε να ξεκινήσει αμέσως η κινητοποίηση για τη συγκέντρωση των απαιτούμενων χρημάτων.

Στην εκδήλωση μίλησαν επίσης ο Βασίλης Λαμπρινουδάκης, ομότιμος καθηγητής Κλασικής Αρχαιολογίας, ο Ζαν-Σαρλ Μορέτι, πρόεδρος Έρευνας στο Ινστιτούτο Έρευνας για την Αρχαία Αρχιτεκτονική, και η επίτιμη έφορος Αρχαιοτήτων Φωτεινή Ζαφειροπούλου. Χαιρετισμό απηύθυναν ο διευθυντής της Αρχαιολογικής Σχολής Ντομινίκ Μιλιέ και ο δήμαρχος της Μυκόνου Αθανάσιος Κουσαθανάς - Μέγας.
Newsroom ΔΟΛ, με πληροφορίες από ΑΠΕ-ΜΠΕ

'I didn't want any wobbling': how to dance naked

What's it like to dance naked on stage? And how does it feel if the audience walk out? Seasoned nude performers talk to Judith Mackrell.

guardian.co.uk,Judith Mackrell




Fears and fantasies … Un Peu de Tendresse Bordel de Merde! Photograph: Dave St-Pierre


When Sally Marie was told she had to strip off in the name of contemporary dance, she was happy to oblige – in theory, anyway. The British dancer had been cast in Dear Body, a 2009 work by Luca Silvestrini that satirised the hard dieting, gym-bound madness of body beautiful obsessives. Marie approved of the work's politics, which she felt applied to her own profession, too. "I'd been arguing for ages that we needed a greater variety of bodies and ages in dance," says Marie, who readily admits to being a stone heavier and a decade older than most of the other dancers. "It felt like an important statement to be on stage showing my tits."
But in practice, when it came to getting naked, Marie was petrified. "When you're in a sauna, it feels completely natural. But on stage, you're really exposed." Ironically, by the time she came to perform Dear Body, she was much slimmer. "I'd been too frightened to eat."

Javier de Frutos, the Venezuelan-born choreo-grapher, understands her terror. In the 1990s, his own compact buttocks and bobbing penis became a familiar sight to audiences, in works such as the solo Gypsy and the trio Grass. Yet at first, De Frutos found crossing over into nudity traumatic. "When I was young, I was the guy at the gym who had to wait until the changing room was empty before I could take off my clothes." His mentor, the US dancer and choreo-grapher Sara Rudnor, persuaded him to change. "Sarah told me I needed to explore as many emotions as possible on stage. She told me to do what I feared most. For me, that was being naked."

De Frutos and Marie may feel some sympathy with the cast of Un Peu de Tendresse Bordel de Merde!, which arrives in Britain this week. A Little Tenderness for Crying Out Loud!, in its English translation, was created by Canadian choreographer Dave St-Pierre. It's a work exploring the fears and fantasies of 22 characters as they search for love in a brutal world. But it's also a work in which the dancers have to perform naked for much of the time; in fact, even more exposingly, they have to bring their nakedness right down into the auditorium, clambering over the stalls and fighting in the aisles – with their breasts, genitals and buttocks in wobblingly close proximity to the audience.

What's the justification for such aggressive nudity? St-Pierre, who is fascinated by taboos and the breaking of them, is trying to create a raw physical intimacy between dancer and audience, and he wants to make us laugh, too. Michael Watts, one of his dancers, says most people find the naked scenes funny. But, he adds, "we're being very childlike – we're behaving like six-year-old boys, and we get a lot of taps on the bottom from old ladies". They do occasionally encounter angry resistance, though. "One woman just hid her face completely," recalls Watts. "She put her jacket over her face. Another man got up and tried to run away. And a few dancers have got hit or pushed."

Choreographers may have many serious motives for nudity – be they political, aesthetic or psychological – but what some people find beautiful and expressive, others will inevitably find titillating or arousing, and others embarrassing or disgusting. What is certain, though, is that the issue of how much flesh a dancer shows has always been controversial. In 1725, when ballerina Marie Camargo shortened her skirts to ankle length to gain extra freedom of movement, there were many who went to the Paris Opera not to applaud her virtuosity but to catch a flash of calf or thigh. Camargo was credited with inventing an early form of knickers to preserve some modesty as she danced.

For Isadora Duncan, the American who began performing her radiant, radical dance recitals around 1900, the body was sacred. When she abandoned corsets, danced barefoot and occasionally let a bare breast spill out of her loosely draped tunic, Duncan wasn't simply serving the cause of dance, she was celebrating the human spirit. And her inspiration, as well as her notoriety, led to more dancers stripping off in the name of high art. Canadian Maud Allan became a superstar of Edwardian Britain thanks her near-naked Salomé routine, and Josephine Baker was dubbed the Ebony Venus when she danced in Paris wearing nothing but a belt of pink feathers or a tiny skirt of fake bananas.

When stage censorship laws were relaxed during the 1960s, however, even a coy veil could be dispensed with. The cast of musicals such as Oh! Calcutta! paraded their bodies with joy, while avant-garde choreographers began to explore the gamut of what nudity could signify. Yvonne Rainer, in 1970s New York, danced naked in front of a US flag to protest against the Vietnam war. And veteran British dancer Diana Payne-Myers developed an entire second career when choreo-graphers such as Lloyd Newson started to explore the potential of putting a much older, naked dancer on stage.

Since the late 1990s, Payne-Myers's tiny, wrinkled, supple form has evoked images of survival, defenselessness and even the joy of supposedly inappropriate elderly behaviour.

For De Frutos, as he explored the feelings of vulnerability created by dancing naked, other issues arose. He became fascinated by his audiences' natural voyeurism and by the ways he could deflect it. "I wanted to take their attention away from my genitalia to all the small muscles in the body, and show how eloquent they are. There is something irreplaceable about the sensual reality of skin, and the beauty of light falling on skin. I was always thinking how that could best be achieved."

Visually, De Frutos was inspired by none other than Caravaggio and El Greco. But in real life, the human body can be an unruly beast: it gets rashes and bruises, it's subject to weight gain, hairiness and menstrual cycles – as well as other kinds of normally private activity. De Frutos swears he never worried about getting an erection on stage when performing with other nude dancers: "Dancing naked," he says, "is the least sexy thing I've ever done." And Sally Marie was convinced that all the men in Dear Body were "very anxious. During contact, everyone was trying to keep a distance between their pelvises. It was very funny. "

For Arthur Pita, the London-based choreographer of the pastoral comedy Camp, the issue was simply his own vanity. He hadn't expected to dance in Camp, but when he had to take over from an injured cast member he went straight into an intensive regime of "squats and press-ups" to prepare for his naked scene. "I really didn't want anything to be wobbling for the audience."

Pita envies the lack of self conscious-ness shown by Payne-Meyers, with whom he has worked. "She knows full well she is an 83-year-old woman, but she is completely committed to her art and completely unembarrassed. Her body is amazing to look at. It's only skin and bone and muscle, but it's very old skin and bone and muscle. I admire that healthy, honest approach; it's something all dancers should be inspired by."

Tendresse comes with a guidance rating of 18, and all its publicity contains warnings of "explicit adult material". What's more, Michael Watts is keen to point out that if anyone in the audience obviously hates what the dancers are doing, they won't get picked on. "We can usually tell how people are feeling," he says. "They won't actually have a hairy man in a wig clambering over them."

30 χρόνια Φεστιβάλ Βιβλίου Θεσσαλονίκης


Το Φεστιβάλ Βιβλίου Θεσσαλονίκης, που φέτος συμπληρώνει 30 χρόνια ζωής, ανοίγει την αυλαία του στις 3 Ιουνίου και αυτοσαρκάζεται: εκτός των άλλων η διοργάνωση έχει συνδεθεί στη συνείδηση των Θεσσαλονικέων με τις καθιερωμένες... βροχές κατά τη διάρκεια της λειτουργίας του. Στο πλαίσιο των εορτασμών για τα 30χρονα του θεσμού, η οργανωτική επιτροπή του Φεστιβάλ Βιβλίου διοργανώνει κάλεσμα στους φίλους και στις φίλες του με θέμα «Το Φεστιβάλ και η βροχή». Οι ενδιαφερόμενοι μπορούν να συμμετάσχουν στέλνοντας ανέκδοτα, γνωμικά, ευθυμολογήματα με e-mail στο festivalvivliou@gmail.com και θέμα «Το Φεστιβάλ και η Βροχή», μαζί με το ονοματεπώνυμό τους έως τις 19 Ιουνίου. Οι συμμετοχές θα συμπεριληφθούν σε ανθολόγιο που θα εκδοθεί μετά τη λήξη του 30ού Φεστιβάλ Βιβλίου.
ΠΗΓΗ: agelioforos.gr

Wildlife 'crash' in the Mara region of Kenya, Africa

By Matt Walker

Editor, BBC Nature



African buffalo are all but gone
Populations of wildlife species in the world-renowned Masai Mara reserve in Kenya have crashed in the past three decades, according to research published in the Journal of Zoology.

Numbers of impala, warthog, giraffe, topi and Coke's hartebeest have declined by over 70%, say scientists.

Even fewer survive beyond the reserve in the wider Mara, where buffalo and wild dogs have all but disappeared, while huge numbers of wildebeest no longer pass through the region on their epic migration.

However, numbers of cattle grazing in the reserve have increased by more than 1100% per cent, although it is illegal for them to so do.

Continue reading the main story

Start Quote
The status of Masai Mara as a prime conservation area and premier tourist draw card in Kenya may soon be in jeopardy”
End Quote
Dr Joseph Ogutu

Senior statistician in the Bioinformatics unit of the University of Hohenheim

This explosion in the numbers of domestic livestock grazing in the Mara region of south-west Kenya, including within the Masai Mara national reserve, is one of the principal reasons wildlife has disappeared, say the scientists who conducted the research.

Dr Joseph Ogutu, a senior statistician in the Bioinformatics unit of the University of Hohenheim, Germany conducted the study with colleagues there and at the International Livestock Research Institute in Nairobi, Kenya.

They already knew that populations of some large mammals were declining in the Masai Mara, based on an earlier study published in 2009.

But this only examined seven species, over a 15 year period, using limited sampling techniques.

So to get a fuller picture, the team looked at data gathered since aerial monitoring of Kenya's wildlife began in 1977.

This covered 12 species of large mammal, ostriches and livestock, and allowed the team to calculate trends in wildlife numbers over a 33-year period across the entire reserve, and in the Masai pastoral ranches adjoining the reserve.

The data also allowed the scientists to investigate whether numbers of migratory wildebeest and zebra coming into the Mara each year have reduced.

"We were very surprised by what we found," Dr Ogutu told the BBC.

"The Mara has lost more than two thirds of its wildlife."

Of the 13 large species studied, only ostriches and elephants had not fared badly outside of the reserve, while inside the Masai Mara only eland, Grant's gazelle and ostrich showed any signs of population recovery in the past decade.

The declines are particularly surprising, say the scientists, as they had expected animal populations to have recovered since 2000-2001.

That is when major conservancy efforts, and an increase in local policing, began in an attempt to protect the wildlife there.

"But to our great surprise, the extreme wildlife declines have continued unabated in the Mara," says Dr Ogutu.

"The great wildebeest migration now involves 64% fewer animals than it did in the early 1980s," he adds.


That is despite numbers of wildebeest on the Serengeti, where the migratory animals that cross the Mara come from, staying relatively unchanged.
African buffalo are the only wild cattle species, and bonds between females are strong. If one individual is under attack from a predator, the herd will rush to the victim's defence
Giraffes are the world's tallest animal. Their first experience of life is a two metre drop to the ground, because female giraffes give birth standing up.

During the wet season, when there is no migration, resident wildebeest in the reserve have all but disappeared, falling by 97%.

Zebra numbers residing inside the reserve have also fallen by three-quarters.

There appear to be three main causes of these dramatic declines: the activities of poachers, changing land use patterns in ranches within the Mara, and an increase in the number and range of livestock held on these ranches.

According to Dr Ogutu, over 1500 poachers have been arrested within the Mara conservancy between 2001 and 2010, with more than 17,300 snares collected by rangers in the same period.

"Poaching continues to be a major menace," he says.

But the boon in livestock numbers can be just as damaging.

"Not only have numbers of cattle, sheep and goats increased but their distribution has widened, with the density of cattle increasing more than three-fold and that of sheep and goats more than seven fold up to 5km inside the reserve.



Zebra numbers are falling

"Sadly though, wildlife distribution has contracted throughout the entire Mara region in the same period."

Heavy grazing by these livestock is thought to be displacing the natural fauna.

It may also be making the larger species more vulnerable to starvation during the recurrent severe droughts that have struck the Mara in recent decades.

This competition may be what has already driven out the buffalo, say the scientists.

The expansion of settlements, fences and livestock numbers need to be regulated if these declines in wildlife are to be arrested, they propose, as well as bringing down poaching levels.

"Otherwise, the status of Masai Mara as a prime conservation area and premier tourist draw card in Kenya may soon be in jeopardy," says Dr Ogutu.


Vast numbers of wildebeest once travelled through the Masai Mara

Δευτέρα, 30 Μαΐου 2011

ΤΑΞΙΔΙ ΣΤΗ ΤΖΙΑ ΜΕ ΦΟΥΣΚΩΤΟ

ΑΠΟ ΤΗ ΣΥΝΤΑΞΗ


29-5-2011, η ημέρα ηλιόλουστη και μποφόρ 3 με 4, ευκαρία για μια βόλτα και μια δοκιμή πριν από το μεγάλο ταξίδι.

Η ημέρα να μην πάει χαμένη.
Ξεκινήσαμε από Πόρτο-Ράφτη, ως συνήθως, με τη παρέα.

Βάλαμε την πορεία για Τζια.



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