Σάββατο, 21 Ιανουαρίου 2012

marilena: ΚΩΝΣΤΑΝΤΙΝΟΣ ΔΑΣΚΑΛΑΚΗΣ στο GAZARTE, Κυριακή 22/01...

marilena: ΚΩΝΣΤΑΝΤΙΝΟΣ ΔΑΣΚΑΛΑΚΗΣ στο GAZARTE, Κυριακή 22/01...: «Ένας λόγος παραπάνω» στο Gazarte ΑΘΗΝΑ 21/01/2012 « Ένας λόγος παραπάνω » είναι ο τίτλος μιας ενότητας συνεντεύξεων από ανθρώπους της Τέχν...

ΚΩΝΣΤΑΝΤΙΝΟΣ ΔΑΣΚΑΛΑΚΗΣ στο GAZARTE, Κυριακή 22/01/2012


«Ένας λόγος παραπάνω» στο Gazarte

ΑΘΗΝΑ 21/01/2012

«Ένας λόγος παραπάνω» είναι ο τίτλος μιας ενότητας συνεντεύξεων από ανθρώπους της Τέχνης και της Διανόησης στη Λίνα Νικολακοπούλου και τον Μάκη Προβατά. Μια πρόσκληση-πρόκληση κι ένας λόγος παραπάνω να διακόψουμε την παθητικότητακαι την ανία της καθημερινότητας.

Μια συζήτηση δίχως φόβο και με πάθος, που οι απόψεις των καλεσμένων έχουν ιδιαίτερη σημασία και βαρύτητα ειδικά στις μέρες που διανύουμε.

Τόπος συνάντησης, το Loft του πολυχώρου Gazarte, κάθε Κυριακή απόγευμα στις 18.30 με ζεστό μυρωδάτο καφέ και αγαπημένα κουλουράκια.

Η είσοδος είναι ελεύθερη για το κοινό. Στο τέλος κάθε συνέντευξης, πού διαρκεί μια ώρα, το κοινό έχει τη δυνατότητα να υποβάλλει ερωτήσεις στον καλεσμένο ή την καλεσμένη. Οι βραδιές θα εμπλουτίζονται με οπτικοαουστικό υλικό σχετικό με το κάθε θέμα.

Αυτή την Κυριακή, 22 Ιανουαρίου καλεσμένος είναι ο Κωνσταντίνος Δασκαλάκης. Τριαντάχρονος καθηγητής του τμήματος Ηλεκτρολόγων Μηχανικών και Πληροφορικής του Μ.Ι.Τ .

Τελείωσε το Εθνικό Μετσόβιο Πολυτεχνείο και συνέχισε τις μεταπτυχιακές του σπουδές στο Πανεπιστήμιο του Μπέρκλεϋ.

Έγινε ευρύτερα γνωστός όταν κατάφερε να λύσει τον γρίφο του Τζων Φόρμπς Νας, στα 26 του χρόνια.

Ο γρίφος αυτός παρέμενε άλυτος για 60 χρόνια… ας θυμηθούμε το φίλμ «Beautiful mind».  Αυτή η επιτυχία τον οδήγησε να γίνει καθηγητής στο Μ.Ι.Τ. 

ΚΩΣΤΑΣ ΔΑΣΚΑΛΑΚΗΣ στο GAZARTE, Κυριακή 22/01/2012


«Ένας λόγος παραπάνω» στο Gazarte

ΑΘΗΝΑ 21/01/2012

«Ένας λόγος παραπάνω» είναι ο τίτλος μιας ενότητας συνεντεύξεων από ανθρώπους της Τέχνης και της Διανόησης στη Λίνα Νικολακοπούλου και τον Μάκη Προβατά. Μια πρόσκληση-πρόκληση κι ένας λόγος παραπάνω να διακόψουμε την παθητικότητακαι την ανία της καθημερινότητας.

Μια συζήτηση δίχως φόβο και με πάθος, που οι απόψεις των καλεσμένων έχουν ιδιαίτερη σημασία και βαρύτητα ειδικά στις μέρες που διανύουμε.

Τόπος συνάντησης, το Loft του πολυχώρου Gazarte, κάθε Κυριακή απόγευμα στις 18.30 με ζεστό μυρωδάτο καφέ και αγαπημένα κουλουράκια.

Η είσοδος είναι ελεύθερη για το κοινό. Στο τέλος κάθε συνέντευξης, πού διαρκεί μια ώρα, το κοινό έχει τη δυνατότητα να υποβάλλει ερωτήσεις στον καλεσμένο ή την καλεσμένη. Οι βραδιές θα εμπλουτίζονται με οπτικοαουστικό υλικό σχετικό με το κάθε θέμα.

Αυτή την Κυριακή, 22 Ιανουαρίου καλεσμένος είναι ο Κωνσταντίνος Δασκαλάκης. Τριαντάχρονος καθηγητής του τμήματος Ηλεκτρολόγων Μηχανικών και Πληροφορικής του Μ.Ι.Τ .

Τελείωσε το Εθνικό Μετσόβιο Πολυτεχνείο και συνέχισε τις μεταπτυχιακές του σπουδές στο Πανεπιστήμιο του Μπέρκλεϋ.

Έγινε ευρύτερα γνωστός όταν κατάφερε να λύσει τον γρίφο του Τζων Φόρμπς Νας, στα 26 του χρόνια.

Ο γρίφος αυτός παρέμενε άλυτος για 60 χρόνια… ας θυμηθούμε το φίλμ «Beautiful mind».  Αυτή η επιτυχία τον οδήγησε να γίνει καθηγητής στο Μ.Ι.Τ. 

marilena: THE ARTIST.....και οι Έλληνες ARTISTS.....

marilena: THE ARTIST.....και οι Έλληνες ARTISTS.....: Βουβός κινηματογράφος, μαυρόασπρη εικόνα σε ένα story που είπε πολλά σε όσους το παρακολούθησαν. Ένας πρωταγωνιστής Γάλλος, ο ωραίος τη...

THE ARTIST.....και οι Έλληνες ARTISTS.....

Βουβός κινηματογράφος, μαυρόασπρη εικόνα σε ένα story που είπε πολλά σε όσους το παρακολούθησαν.



Ένας πρωταγωνιστής Γάλλος, ο ωραίος της εποχής του, καλλιτέχνης λαμπρός με μεγάλη επιτυχία και μια ζωή βγαλμένη από τα παραμύθια....

Από την άλλη μια νεαρή καλλιτέχνης, μια άσημη πρωτοεμφανιζόμενη κοπελιά, που ενώ το' χε, έπρεπε να βρεθεί κατά τύχη την σωστή ώρα, στο σωστό σημείο για να ανοίξουν οι ουρανοί και να διακριθεί.....

Και έτσι και έγινε....



Μια ιστορία βουβή που όμως είπε τόσα πολλά....
Μια Ελλάδα βουβή, που αγωνίζεται εδώ και πολύ καιρό να αντεπεξέλθει και να επιβιώσει.

Όπως η ζωή του πολυταλαντούχου πρωταγωνιστή κατέρρευσε....έτσι και η δική μας.
Από τα τρα λα λα και το χρώμα, βρεθήκαμε όπως κι αυτός να κοντεύουμε να πεινάσουμε.....

Μετά από μια εικοσαετή σχεδόν ονειρική περίοδο, γεμάτη επιλογές, καπρίτσια για τους περισσότερους και "ευημερία", βρεθήκαμε τώρα στον πάτο.

Στον ίδιο πάτο βρέθηκε και ο πρωταγωνιστής μας που "έχασε την μπογιά του" σιγά σιγά. Παραγκωνίσθηκε από την τεχνολογική θύελα που ήθελε νεωτερισμούς και εξέλιξη.   Στο περιθώριο βρέθηκε στα ξαφνικά, να ξεπουλά όλη του την περιουσία προκειμένου να μπορεί μόνο να αναπνέει.....




Σκληρή πραγματικότητα που δεν ήταν έτοιμος να δεχθεί και να αφομοιώσει τους κραδασμούς.

Μια εξέλιξη ραγδαία και σκληρή που τον αφήνει αποσβολωμένο να παρακολουθεί σαν θεατής την τροπή της ζωής του χωρίς να μπορεί να αντιδράσει και να τραβήξει φρένο......

Χάθηκαν τα φώτα της δημοσιότητας, η αναγνωρισιμότητα που τον συντηρούσε, η εργασία και οι προτάσεις στέρεψαν και η ζωή του μετατράπηκε σε μια καθημερινή κόλαση.

Εκεί λοιπόν που ο Έλληνας μπορεί να ταυτίσει την ζωή του με εκείνη του Artist,  εμφανίζεται ένας φύλακας άγγελος.



Η νεαρή ταλαντούχα κοπελιά τον ερωτεύεται και εν αγνοία του τον οδηγεί σιγά - σιγά προς την λύτρωση....

Μαζεύει τα συντρίμμια του, εκτιμά τις ικανότητές του και την εμπειρία ζωής του, το ταλέντο αλλά και την εργατικότητα του παρελθόντος και τον σπρώχνει πάλι μέσα στη ζωή.
Τον ανάστησε...
.

Οι Έλληνες αυτού του τόπου, μοιράζονται πολλά χαρακτηριστικά με τον Artist, είχαν και αυτοί παρασυρθεί από έναν έξαλλο τρόπο ζωής που δεν θα μπορούσε να κρατήσει για πολύ.  Ακολούθησαν ιδέες και προτάσεις που τους έφερναν καθημερινά προς την άκρη του γκρεμού.  Ασπάστηκαν επιρροές και τρόπο ζωής που δεν μπορούσαν να ακολουθήσουν και θεωρούσαν πως έτσι θα 'ταν για πάντα.
Μετέτρεψαν την εικόνα τους σχεδόν υπεροπτική.

Το ίδιο αισθανόταν και ο Artist όταν μεσουρανούσε.....

Ποτέ δεν είναι κάποιος έτοιμος για την καταστροφή του.  Πάντα όταν αυτή έρθει, μας βρίσκει απροετοίμαστους και ανώριμους να την διαχειριστούμε. Έτσι ήταν κι αυτός, έτσι είμαστε κι εμείς.



Και η δική μας λύτρωση θα έρθει,
θα έρθει σιγά - σιγά χωρίς να το καταλάβουμε και χωρίς να το αντιληφθούμε.

Δεν χωράει βέβαια σε μια ταινία μόνο..... Θα περάσουν πολλά χρόνια με πολλές αναταράξεις και απώλειες μέχρι να το δούμε με τα μάτια μας και να το "απολαύσουμε".  Δεν μπορεί να μην συμβεί.

Η νέα γενιά, αυτή, με την δυναμικότητα και την Ελληνική φιλοδοξία και ικανότητα, που τώρα παρακολουθεί τις εξελίξεις και καταγράφει τα κακώς κείμενα των δικών μας ετών, αυτή η νέα γενιά που θα αγωνιστεί με νύχια και με δόντια, όπως αγωνίστηκε και η ταλαντούχα ηθοποιός της ταινίας, αυτή θα μας λυτρώσει.
.
Θα λυτρώσει όλη την πατρίδα, το όνομά της, την εικόνα της και την ίδια την ζωή. Θα γράψει νέα σενάρια πάνω στα οποία οι Ελλάδα θα βγει από την παρακμή της.



Οι Έλληνες δεν μπορούν παρά μόνο να μεγαλουργήσουν.  Μια μικρή ώθηση, και ένα δυνατό χέρι βοήθειας χρειάζονται από το νέο αίμα της Ελλάδας, από τους αυριανούς πολίτες αυτής της πατρίδας, που όπως η νεαρή artist της ταινίας, με τα ιδιαίτερα λαμπρά χαρακτηριστικά της, την σωστά κατανεμημένη ενέργειά της και τις σωστές αποφάσεις της, έτσι κι αυτοί, θα κατακτήσουν την ζωή και θα αποκαταστήσουν το όνομα όλων των Ελλήνων.

Των σημερινών Ελλήνων Artists......





marilena: Δύο αδελφές.....με τελείως διαφορετική τύχη..........

marilena: Δύο αδελφές.....με τελείως διαφορετική τύχη..........: The cruise ship Costa Serena sails as its sister ship Costa Concordia cruise ship lays on its side after it ran aground off the west coast...

Δύο αδελφές.....με τελείως διαφορετική τύχη.......

The cruise ship Costa Serena sails as its sister ship Costa Concordia cruise ship lays on its side after it ran aground off the west coast of Italy at Giglio island, January 18, 2012. REUTERS-Stringer
The cruise ship Costa Serena sails as its sister ship Costa Concordia cruise ship lays on its side after it ran aground off the west coast of Italy at Giglio island, January 18, 2012. 

Παρασκευή, 20 Ιανουαρίου 2012

marilena: NESTLÉ ACCUSED OF EXPLOITING WATER SUPPLIES FOR BO...

marilena: NESTLÉ ACCUSED OF EXPLOITING WATER SUPPLIES FOR BO...: A new documentary film takes food giant Nestlé to task for its water bottling practices. Critics say the multinational is busy extracting ...

marilena: NESTLÉ ACCUSED OF EXPLOITING WATER SUPPLIES FOR BO...

marilena: NESTLÉ ACCUSED OF EXPLOITING WATER SUPPLIES FOR BO...: A new documentary film takes food giant Nestlé to task for its water bottling practices. Critics say the multinational is busy extracting ...

NESTLÉ ACCUSED OF EXPLOITING WATER SUPPLIES FOR BOTTLED BRANDS

In the village of Sindh, Pakistan, obtaining clean local water is a precious achievement.
A new documentary film takes food giant Nestlé to task for its water bottling practices. Critics say the multinational is busy extracting ground water for its bottled brands and leaving locals, often in poor corners of the world, with the dirty remains.



By Romeo RegenassTAGES-ANZEIGER/Worldcrunch
ZURICH - In the small Pakistani community of Bhati Dilwan, a former village councilor says children are being sickened by filthy water. Who's to blame? He says it's bottled water-maker Nestlé, which dug a deep well that is depriving locals of potable water. “The water is not only very dirty, but the water level sank from 100 to 300 to 400 feet,” Dilwan says.
The testimony is a key moment in the new documentary film “Bottled Life” by Swiss filmmaker Urs Schnell and journalist Res Gehriger. The film opens in Swiss theaters on Jan. 26. The village councilor interviewed in the film says Nestlé refused the village’s request for clean water to be piped in.
The notoriously bad drinking water in Pakistan and elsewhere is the reason for the success of the Pure Life brand. A good 10 years ago, the Swiss food company began adding minerals to ground water and bottling it. Today, Pure Life Purified Water Enhanced With Minerals is the largest water brand in the world – “a jewel in our portfolio,” according to John Harris, head of Nestlé Waters.
In view of the fact that every day more children die from drinking dirty water than AIDS, war, traffic accidents and malaria put together, Maude Barlow, a former UN chief advisor for water issues, states: “When a company like Nestlé comes along and says, Pure Life is the answer, we’re selling you your own ground water while nothing comes out of your faucets anymore or if it does it’s undrinkable – that’s more than irresponsible, that’s practically a criminal act.”
In response to questions put to it by Tages Anzeiger, Nestlé communicated in writing that it had built two water filtering facilities that were providing over 10,000 people in Pakistan’s Sheikhupura with clean drinking water. Construction of a further facility was planned for 2012. The company said they had also built two schools in Sheikhupura.
Nestlé is not the only company to create a huge business with big profit potential by bottling ground water -- Danone and Coca-Cola do it too. However, the way Nestlé goes about it, as depicted in the film, is in stark contrast to the image the company seeks to project. Nestlé likes to see itself as a global problem solver out not only for profits but to “create shared values.” In 2007, when Schnell and Gehriger began working on the movie, then Nestlé spokesman François-Xavier Perroud called it "the wrong film at the wrong time." Several times between 2007 and 2009 the company denined requests for interviews with company managers. It also refused to allow visits to bottling facilities.
The company’s present spokesperson, Melanie Kohli, told the Tages Anzeiger that Nestlé had reached the conclusion that the project would reflect a one-sided and unfair view of company activity and those who worked for Nestlé. “Consequently, we declined to work with the filmmakers. Our carefully considered decision was the right one at the time.”
Tracking the company's record, from Ethiopia to Nigeria
Undeterred, journalist Gehriger visited a refugee camp in Ethiopia where, in 2003, Nestlé had installed a water treatment facility for $750,000. Two years later, the company pulled out. Since then the facility has not been functioning properly, and water shortages have returned.
In Lagos, Nigeria, Gehriger discovered that families have to spend up to half their household budget on water in canisters, and that only those who can afford it drink Pure Life. Then there are the communities in the U.S. state of Maine who are fighting Nestlé because it pumps ground water and spring water in huge quantities – which it can do legally: whoever owns land can pump as much water as they like.
Nestlé pumps several million cubic meters annually and transports the water in tanker trucks to bottling plants. “They’re using our water to make profits, a litre doesn’t even cost them a cent,” one woman complains. “They’re selling the water we use to flush toilets and wash our hands as expensive spring water,” says another. But since Nestlé brings the communities tax dollars, officials welcome the company, which is supported by an armada of lawyers and PR people.
Read the original story in German 

marilena: ΙΤΑΛΙΚΑ ΑΛΑ ΓΑΛΛΙΚΑ....ακούστηκαν στον ασύρματο......

marilena: ΙΤΑΛΙΚΑ ΑΛΑ ΓΑΛΛΙΚΑ....ακούστηκαν στον ασύρματο......: "Get back on board, for fuck's sake!" Giovanni de Falco, a member of the Italian Coast Guard, yelled at the captain of the Costa Concord...

ΙΤΑΛΙΚΑ ΑΛΑ ΓΑΛΛΙΚΑ....ακούστηκαν στον ασύρματο....

"Get back on board, for fuck's sake!" Giovanni de Falco, a member of the...

"Get back on board, for fuck's sake!" Giovanni de Falco, a member of the Italian Coast Guard, yelled at the captain of the Costa Concordia, who had abandoned ship after it capsized. An Italian newspaper has taken the now popular catch-phrase and applied it to a caricature of German Chancellor Angela Merkel, seen rowing swiftly away from the "MS Europa Discordia."


Since the phone conversation between the captain of the  Costa Concordia ,...
Since the phone conversation between the captain of the Costa Concordia, Francesco Schettino, and the Coast Guard became public Tuesday, the sentence has take on a life of its own. T-shirts like this one have been printed and several groups have popped up on Facebook under name: "Capitano Schettino, vada a bordo, cazzo!"



marilena: Greece's ancient sites to play starring role in re...

marilena: Greece's ancient sites to play starring role in re...: Archaeological treasures including the Acropolis and the temple of Delphi will be available as backdrops for filming and photographic shoots...

Greece's ancient sites to play starring role in recovery

Archaeological treasures including the Acropolis and the temple of Delphi will be available as backdrops for filming and photographic shoots for as little as €1,600 (£1,339) a day.


Ancient Parthenon temple, Athens, Greece
The move to make more money from Greece's ancient sites follows intense pressure from the EU and IMF. Photograph: Petros Giannakouris/AP



Crisis-hit Athens has turned to the glory that was Greece to help its ruined economy.
The debt-choked nation has taken the dramatic step of deciding to exploit some of its past majesty by utilising the Acropolis and other antiquities, cultural gems until now considered too sacred to besmirch with commerce.
Under a scheme revealed this week, foreign film crews, advertising agencies and other commercial enterprises will be allowed to photograph 5th century BC Periclean masterpieces, such as the Parthenon, in the hope that it will help boost the country's coffers and image abroad.
Archaeological treasures including the temple of Delphi, the most popular site after the Acropolis, will be available as backdrops for filming and photographic shoots for as little as €1,600 (£1,339) a day.
But acutely aware of the sensitivity surrounding the move officials cautioned that the opening of sites would still be strictly controlled. Following uproar in the Greek media, the culture minister himself, Pavlos Geroulanos, tweeted that any suggestions the relics would be "rented out" were simply "untrue". No company or individual would be given "exclusive rights" to them, officials said.
The move follows intense pressure from the EU and International Monetary Fund, the foreign lenders keeping the nation afloat. With fears of Greece defaulting on its debt mounting by the day, EU officials stepped in saying the time had come for some of its cultural treasures to be put to work. Culture ministry officials agreed to legislation that will facilitate access to sites by lowering the costs of permits.
Policymakers both in and outside Greece have long contended that the country's classical masterpieces have been under-utilised despite being "the greatest brand name on earth".
"It will be to our benefit if what we have to show is shown," said former finance minister Stefanos Manos.
Previously the country's central council of archaeology, one of the nation's most powerful bodies, had steadfastly refused to grant access to the treasures for anything other than scientific research.
Filming requests were either rebuffed or granted only in return for an astronomical fee. With professional photographers unable to access sites, international book publishers had stopped printing contemporary pictures.
In its 2,500-year history the Acropolis has only ever been rented out for filming to Francis Ford Coppola and to Nia Vardalos, the Greek-American star of My Big Fat Greek Wedding, for her sequel My Life in Ruins. At the time Vardalos complained that she had spent "an awful lot of energy and time" trying to convince Greece that the move would be to its benefit.
Forced to survive on a mere 0.7% of the national budget, the culture ministry hopes the fees will help boost its ability to look after monuments that have been badly hit by Greece's economic crisis. Lack of maintenance funds have meant that workers could only start building a new staircase in Delphi this week.
All the revenues will be used by the ministry, whose funds have been cut by more than 30% since 2010.
"This is a very big step and we are not going to stand idly by if we feel the monuments are being used improperly," said one archaeologist. She said many of her colleagues were "not happy".


Ideas4Greece - Respond!

marilena: http://www.reuters.com/video/2012/01/18/reuters-to...

marilena: http://www.reuters.com/video/2012/01/18/reuters-to...: http://www.reuters.com/video/2012/01/18/reuters-today-greece-goes-head-to-head-w?videoId=228734442&newsChannel=Greece

marilena: Swiss 'contract children' speak out.....

marilena: Swiss 'contract children' speak out.....: A dark chapter of Swiss history is getting increased attention, with the release of a feature film about "Verdingkinder" or "contract child...

Swiss 'contract children' speak out.....


A dark chapter of Swiss history is getting increased attention, with the release of a feature film about "Verdingkinder" or "contract children" and an exhibition about them which is touring the country.
Two "contract children" at work (Paul Senn Archive, Bern)
A common feature of Swiss life until the mid-1950s, Verdingkinder were primarily children from poor families in the cities, forcibly removed from their parents by the authorities and sent to work on farms.
There, many of them were regularly beaten and even sexually abused. They had little education and consequently, as adults, little chance of making careers for themselves.
Many also found that the abuse experienced in their childhood made it difficult to establish relationships as adults - former Verdingkinder have high rates of divorce and many now live alone.
Peter Weber was a Verdingkind. Now 55, he lives in a small flat in Basel, and he has never forgotten the day, over 50 years ago, when his childhood ended.
"One morning, when I was four," Peter remembers, "my mother took me on a train way out into the country, to a farm."
"Then she said, you have to stay here now. I think that was the moment I lost my faith in people, I had to work from the start, they hit me almost every day, it was bad."
Child labour
Peter, who eventually ran away from the farm aged 17, shared his fate with tens of thousands of other Swiss children. The authorities, explains historian Ruedi Weidmann, always insisted they were acting in the best interests of the child.
"Up to the 1950s there were regions in Switzerland that were really poor," he explains. "The Verdingkinder were taken from poor families in the cities.
The 'poverty inspector' examines a contract girl's teeth (Paul Senn Archive, Bern)
"Families were deprived of custody if they didn't live according to a middle-class family model - unmarried mothers, or divorced people, or people who weren't able to keep their money together.
"The authorities took away a lot of children and placed them in agricultural environments where they had to work really hard."
Some children were lucky enough to stay in farming families who cared for them, but by and large they were used as child labourers, in an era when, as Mr Weidmann points out, Swiss agriculture was not mechanised, and a great deal of work had to be done by hand.
Worse though was the way many children were treated. Often they were not accepted by the families they were placed with. They were not allowed to eat at the same table, were given very little food, and some were even forced to sleep in the cellar. Beatings were a daily event.
The exhibition "Verdingkinder Reden" or "Contract Children Speak", contains first-hand testimonies from former Verdingkinder, memories they have now shared with Ruedi Weidmann and his colleagues to draw attention to what happened.
In one room of the exhibition (on show in Zurich until April), the walls are painted with quotes from contract children:
  • "In winter they sewed my trouser pockets up (so I couldn't put my hands in them). They said, if you work, you'll stay warm" - Werner
  • "I wasn't allowed to talk. They talked about me, but never to me" - Clara
  • "I had to eat in a little windowless shed next to the stable. I was never allowed to eat in the kitchen at the table with them" - Johann
  • "I was so happy when I could go to school, because no one hit me there" - Alice
Brutality
Other rooms show a variety of farm implements - rakes, wooden shoes, leather straps, cast iron pans. These, explains Mr Weidmann, were things the contract children mention regularly because they were used to hit them.
A group of "contract children" (Paul Senn Archive, Bern)
Other exhibits include small toys, and letters and postcards sent to the children by their real parents.
"These were nearly always taken away - presents for Christmas they were not allowed to have… to interrupt the contact with the real family," says Mr Weidmann.
The exhibition depicts cruelty on an institutional scale. There are ledgers and files showing how the authorities removed children from parents, and turned them into Verdingkinder.
Nevertheless, despite all the documentation, it is a period in Switzerland's past which even historians find hard to comprehend.
"We can explain many things when we remember that it was a poor country," says Ruedi Weidmann.
"And some of it was moral, a way to discipline the lower classes. But the aggression against these children, that I can't understand."
Waiting for an apology
Many Swiss historians are calling for more research into the way Switzerland's fledgling welfare state operated, in the hope of understanding how the authorities could have condemned so many children to such terrible lives.
Meanwhile the feature film Der Verdingbub (The Contract Boy) is bringing what was once a taboo subject to a wider public. The film has been number one at the Swiss box office for weeks.
"It's time to talk about it," says Mr Weidmann. "Since we began working on this exhibition we talk about it, we tell our friends, and I would say every third or fourth person we talk to says 'yes, my mother', or 'yes, my grandfather was a Verdingkind'."
"It's something that affects a large part of Swiss society in one way or another."
For surviving Verdingkinder however, life can be very difficult. Peter Weber lives alone - his best friend is his dog. Still he takes comfort from the fact that what happened to him is now, at last, a matter of public record.
Contract boy at work, Sonnenberg, 1944 (Paul Senn Archive)
"My childhood was stolen from me", he says. "Imagine it, someone takes your four-year-old child away and gives it to strangers - imagine.
"It's very important that this is addressed openly. It's not about money, it's [so] that we are believed, and that the government says sorry. That would do us good. "
It is thought the Swiss government is now considering some form of apology to the Verdingkinder, although no financial compensation seems likely.
Meanwhile Peter's neighbour Magda, who only learned of the history of contract children by talking to Peter, points out that some things can never be put right with words or money.
"I think the worst was that no-one ever told them a bedtime story, never took them in their arms, never a hug - I can't imagine the loneliness.
"I think the worst wasn't the work, it was the beating, and no love, no nothing."



Πέμπτη, 19 Ιανουαρίου 2012

marilena: The art of the app: works made on iPads and iPhone...

marilena: The art of the app: works made on iPads and iPhone...: David Hockney is not the only artist using an iPad to create new work. Here is a selection of art sent in ...

The art of the app: works made on iPads and iPhones !!!!!

App Art: Art App on iPad - Xi Chen

App Art: Art using an iPad app - Helene Goldberg

App Art: Art using an iPhone & iPad - Brendan Kelly

App Art: Art using an iPhone & iPad - Brendan Kelly

App Art: Art App on iPad and iPhone - Peter S Smith

App Art: Art App on iPad - Fraser Scarfe

App Art: Art App on iPad - Amanda McIvor

App Art: Art using an iPad app - Michael John Michael

App Art: Art App on iPad & iPhone - James London-Webb

App Art: Art using an iPad App - Loreto Valenzuela



David Hockney is not the only artist using an iPad to create new work. Here is a selection of art sent in by our readers that was created using various apps on the iPhone and iPad.

marilena: IL CAPITANO TRAVOLTA.......

marilena: IL CAPITANO TRAVOLTA.......

IL CAPITANO TRAVOLTA.......

Captain Francesco Schettino in an undated photo. REUTERS-Stringer

marilena: SOFT GREEK DEFAULT STILL POSSIBLE.....

marilena: SOFT GREEK DEFAULT STILL POSSIBLE.....: LONDON - Europe still has a chance of safely shepherding Greece through an increasingly inevitable default and could restore faith that i...

SOFT GREEK DEFAULT STILL POSSIBLE.....

A homeless woman begs on an Athens street October 27, 2011.  REUTERS/ Yannis Behrakis

LONDON - Europe still has a chance of safely shepherding Greece through an increasingly inevitable default and could restore faith that investors can protect themselves against governments not repaying debt.


reuters

the paper - Γέφυρα στη ζωή | www.athensvoice.gr

the paper - Γέφυρα στη ζωή | www.athensvoice.gr

Hollywood Stars Talk Greece and Send Love to the Crisis-Hit Country from...

marilena: WHERE EUROPE BEGINS: A GREEK RIVER CROSSING MARKED...

marilena: WHERE EUROPE BEGINS: A GREEK RIVER CROSSING MARKED...: Along the river Evros, at the Turkish border, the Greek town of Nea Vyssa has become the first point of arrival for immigrants coming from...

WHERE EUROPE BEGINS: A GREEK RIVER CROSSING MARKED ON SO MANY IMMIGRANT MAPS

The river Evros forms most of the Greek-Turkish border (ggia)
Along the river Evros, at the Turkish border, the Greek town of Nea Vyssa has become the first point of arrival for immigrants coming from all points east. Nowhere can you see better both the hopes and futility of the waves of immigration that continue to land in Europe.


By Kai Strittmatter
TAGES-ANZEIGER/Worldcrunch
NEA VYSSA - "You see that? Right across there, that's Europe. That's where everything is simple. There you will be happy, so happy.” That was what the smuggler said, before pushing their boat into the river. Jawed's boat circled a few times before he figured out how to dip the oars into the water. It was simple. In fact, only ten minutes later, he was on the other side. In Europe.
The river is the Evros, and it is the border of Europe. Surrounded by plowed fields and bare, black clay, a straight road leads to Nea Vyssa, the first village after the border. Here and there a naked tree, huddled houses, or a hunchbacked woman waiting at a garden fence. It feels like the end of a dream world. Or the beginning. This is where Europe is fought for, day after day.
More than 7,000 people used to live in Nea Vyssa. Now, it's barely 2,000. Even the Greeks have fled to Germany and Switzerland.
Giorgos, who wears an earring and a tracksuit, is 30 years old and still here. He pushes firewood in the makeshift stove that warms his coffee house. It's half past seven, and soon the regular customers will shuffle in to order Nescafé, medium sweet. They watch the night recede, and stare at the neon installation of the gas station next door. Only the old people have remained. Giorgos sighs, “What can I do?”
But lately the whole world seems to be coming to him, to his coffee shop. For two years, a steady stream of migrants has flown past the astonished farmers of Nea Vyssa. “Where do they go?” Giorgos is whispering now. “I don't know, but I help them. They often come in soaking wet – mothers with babies. I give them milk, tea, something to eat, but people in the village are afraid.  What if they bring in diseases?”
After a few moments, they begin to arrive from across the railway tracks: a group of ten, with messy hair and grass stains on their clothes. They are shy, and speak broken English, “Is here Yunan?” they ask. It's the old Persian-Arabic word for Greece. “Greece, Greece is here.” A short pause. “Aah.... Greece is the name?”
The men, four from Pakistan and six from Afghanistan, are happy to have arrived. The youngest, Abdulmobeen, is 17 years old. They have been on the road for five weeks, and have not eaten for two days. Abdulmobeen worked in Kabul, in a shop that sold soap. His father sent him away with $5,000. “Here, there is no fear,” he says. “In Afghanistan, people fight. They kill. In Europe, there are good people, they do not fight. Here, life is good.”
A big bus pulls up; it's the police. The ten men stand still. They will be brought to a detention center and then let go again. A policeman says: “I feel bad. But we need to solve the problems in Afghanistan. Otherwise we will soon turn into Afghanistan.”
The bus drives away. The station attendant laughs, and says, “In the summer we stop counting at 150 a day. Some of them even come hobbling across the border on crutches.”
A time bomb
A few years ago, Evros was a forgotten part of the world. Today, it is the gateway to Europe. Spain, France, Italy, have sealed off their borders so successfully that few other smuggling routes remain. The majority of illegal immigrants now come to Europe through Greece.
In 2009, 3,500 illegal migrants were arrested in the Evros region. In 2010, there were more than 47,500 – almost half of the total number of arrests across the EU. In October 2011, the EU border protection agency Frontex announced a new record: 9,600 illegal border crossings at the Evros river in just one month. “That's two new villages a day,” says the civil protection minister in Athens. “This is a time bomb.”
Frontex officer Sylvester Dieteren, a former policeman from Holland, says he has never seen a border like this one. “People in Europe do not know what's going on here, but they should. All of these people want to come join us.”
For many, it's about finding a life without hardship. For others, it's all about the money. And migrants are not the enemy for the border guards, their smugglers are. Like Murat, who barrels through the Turkish border town of Edirne in his Renault. “Arabs, Iranians, Iraqis, Palestinians – all of them want to come to Europe,” he says. “We get them UN refugee passports from an internet shop in Istanbul. You simply throw away your passport, show the police your UN papers, and you can stay in Turkey for two years.” Murat then takes the migrants up to the Greek border.
“I do not get why the police do not stop them,” says a farmer in the Turkish border town of Karaagac. “And if they are caught, nothing happens to them. The police fill out forms that they throw away.”
Some smugglers charge up to $1,000 for a border crossing. “It's worth it,” says Murat, who was an electrician and taxi driver before he entered the trafficking trade. He was caught once in 2003, but only spent 42 days in prison. Today, the penalty is much higher – at least three years in prison. 
Soon, the fence that has already caused so many headlines will come to Evros. From Nea Vyssa to Kastanies, it will span the entire 12.5-kilometer land border. “In the spring we will build it,” says Giorgo Salamangas, police chief of Orestiada. “Despite the crisis.”
The fence is a Greek project, and the EU is not paying one cent. Bishop Anthimos of Alexandroupoli has called the idea “inhuman.” In 2010, politicians in Athens called for the fence, after 26,000 people passed through the 12-kilometer strip.  But in 2011, after Frontex began patrolling the strip, there were only 800, and smugglers have resorted to river crossings. But the fence will go up, if only as a symbol.
No sending back
“The EU has left us by ourselves,” says Evangelos Maraslis, mayor of Nea Vyssa. “These people do not want to come to Greece. They want to go to Europe, but we are being overrun here.”
But Europe has indeed started sending policemen, like Sylvester Dieteren. Yes, says the Dutchman, many of his colleagues feel like Sisyphus. But he feels he is making progress. “We are here to protect Europe,” he says.
But how? They are not allowed to send migrants back across the river. Everyone who sets foot on Greek soil remains. They are taken to a camp, registered,  interrogated, and because the camps are overcrowded, released. Then they move on to Athens. Police will not solve the problem, argues Dieter. “This is a policy issue,” he says. 
Many people who cross the border here are strong, and willing to take on many risks to find a better future. Like Jawed Mesavi, the 17-year-old Afghan boy who saw many of his friends killed when he tried to take refuge in Pakistan. He never attended school, and his father died when he was four. He hopes to find work in Europe in order to help his younger siblings go to school.
In Iran, he was shot at by border guards. When he finally made it to Greece, he landed in a refugee camp in Filakio, where he shared a bed with two others and brackish water spilled over from the toilet into the bedroom. He grimaces: “It was sooo dirty.” Civil rights activists are up in arms over the camp conditions, and the EU is frustrated that Athens has not built new camps.
For now, Jawed is living in "Arsis," a home in Alexandroupoli, that takes care of minors without parents who are caught by the police. Some 250 children have arrived in the last three months, among them Somali teens sold into prostitution.
Where Jawed will go next is unclear. “For a trip to Italy,” he says, “the smugglers would want another $4,000.” If he had his wish, he would go to Norway: “People say, Norway is good.” And would he advise his friends at home to make the trip? Without hesitation. “In Pakistan, we live a dangerous life. This is nothing compared to that. I tell all my friends: If you can raise the money, then come.”

Τετάρτη, 18 Ιανουαρίου 2012

marilena: Auschwitz Museum Publishes Prisoner Sketchbook.......

marilena: Auschwitz Museum Publishes Prisoner Sketchbook.......: "The Sketchbook from Auschwitz" includes 32 sketches by an unknown prisoner at Birkenau. They depict detailed scenes from the exterminat...

Auschwitz Museum Publishes Prisoner Sketchbook.....



"The Sketchbook from Auschwitz" includes 32 sketches by an unknown prisoner at...
"The Sketchbook from Auschwitz" includes 32 sketches by an unknown prisoner at Birkenau. They depict detailed scenes from the extermination camp in 1943. Here prisoners are seen arriving by train.


Families in the death camp were often separated, as depicted in this scene.  The ...
Families in the death camp were often separated, as depicted in this scene. The recently published sketches are "the only work of art that depict made in Birkenau Extermination," according to Pawel Sawicki, a spokesman for the museum.


A prisoner is seen stepping forward for a roll call. "You can clearly see that...
A prisoner is seen stepping forward for a roll call. "You can clearly see that the author was determined in presenting the largest number of details," said art historian with the museum and author of the study, Agnieszka Sieradzka, in a statement. "Badges of functionary prisoners, number plates of the trucks, train cars on the ramp as well as block numbers are carefully depicted. The author of the sketchbook hoped that someone would find his work so that it would became a witness to extermination."


The crematorium, where more than a million people were killed, is seen here in. ..
The crematorium, where more than a million people were killed, is seen here in the prisoner's sketches.


The publication of the Polish-English book is part of the Auschwitz Memorial...


Found hidden away in a bottle, the Auschwitz Memorial Museum has published sketches drawn by a prisoner at the Birkenau extermination camp. They provide a rare first-hand glimpse of life and death inside. The book is part of the museum's plans to launch a catalogue of 6,000 artworks in its archives.

The sketches are chilling -- prisoners arriving at a concentration camp, children being torn from their parents' arms, a guard casually smoking outside a gas chamber as bodies are loaded into a truck. The images, recently published in a book by the Auschwitz Memorial Museum, were taken from a unique sketchbook drawn around 1943 at the Birkenau camp. A former prisoner working as a watchman discovered the 32 sketches in a bottle near the death camp's crematorium in 1947.

"The Sketchbook from Auschwitz" includes the 22 pages of drawings from an unknown prisoner whose initials were apparently MM. They represent a rare first-hand historical account of the Holocaust. "These sketches are the only work of art made in Birkenau that depict exterminations," museum spokesman Pawel Sawicki told SPIEGEL ONLINE.
While the circumstances make it hard to identify or trace the author, details in the images themselves provide several clues as to when they were created. The main gate at Birkenau, for example, is depicted before an extension was added.
"The second wing of the main gate was built between 1943 and 1944, but is absent from the sketches. Thus we concluded that the sketches were drawn in 1943 or before. From our records we believe that the author would have worked in the hospital sector or gathering luggage from the ramp," Sawicki explained.
'Witness to Extermination'

The most striking aspects of the sketches in the book are the minute detail and the artist's emphasis on presenting documentary evidence. "You can clearly see that the author was determined to present the largest number of details," Agnieszka Sieradzka, an art historian with the museum and the author of the book wrote in a statement. "Badges of functionary prisoners, number plates of the trucks, train cars on the ramp as well as block numbers are carefully depicted. The author of the sketchbook hoped that someone would find his work so that it would become a witness to extermination."
The Polish-English publication, launched by the Auschwitz archives on Jan. 16, is part of a larger commemorative project being undertaken by the museum. "The publication of the sketchbook is part of the museum's efforts to make more and more material from our archives available online," Sawicki said. The images were released to mark this year's 70th anniversary of the start of exterminations in the gas chambers at Birkenau.
This spring the museum, which received a record 1.4 million visitors in 2011, is also planning to publish a catalogue containing images from the 6,000 or so works of art preserved in its archive collection.