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Τρίτη 25 Νοεμβρίου 2014

ΑΝΑΤΟΛΙΤΙΚΕΣ ΙΣΤΟΡΙΚΕΣ ΣΥΝΤΑΓΕΣ



Tasty Ancient Recipes from Mesopotamia


Cover for "Delights from the Garden of Eden: A Cookbook and History of the Iraqi Cuisine."
Cover for “Delights from the Garden of Eden: A Cookbook and History of the Iraqi Cuisine.” (Photo, courtesy of Nawal Nasrallah.)
Mesopotamia (from the Greek, meaning “between two rivers”) was an ancient region in the Near East, which corresponds roughly to present-day Iraq. Widely regarded as the “cradle of civilization,” Mesopotamia should be more properly understood as a region that produced multiple empires and civilizations rather than any single civilization. Iraqi cuisine, like its art and culture, is the sum of its varied and rich past. Delights from the Garden of Eden: A Cookbook and a History of the Iraqi Cuisine, by independent scholar Nawal Nasrallah, offers more than 400 recipes from the distant past in addition to fascinating perspectives on the origins of Iraqi cuisine.
In this exclusive interview, James Blake Wiener of Ancient History Encyclopedia (AHE) speaks to Nawal Nasrallah about the research behind her unique, encyclopedic cookbook, the origins of Iraqi cuisine, and her passion for cooking ancient recipes.
JW: Ms. Nawal Nasrallah, I bid you the warmest welcome to Ancient History Encyclopedia (AHE)! Ahlan wa sahlan!
Nawal, I am very curious to know what motivated you to write this title, and what prompted your interest in ancient and medieval Iraqi cuisine? Before relocating to the United States in 1990, you were a professor of English and Comparative Literature at the Universities of Baghdad and Mosul. Have you always been interested in “food history” as a tangent to your other academic interests?
Babylonian stew recipes
Reverse of the Cuneiform tablet of Babylonian stew recipes, c. 1700 BCE. (Yale Babylonian Collection, Tablet 4644.)
NN: First of all I would like to thank you for giving me the chance to talk about Iraqi cuisine, unjustifiably little known and rarely acknowledged in the general discussion of culinary history. Now to your question; as you mention, my career in Iraq was that of a university professor. My interests back then were totally focused on research in English literature, but I loved cooking and reading the few English cookbooks I could lay my hands on. But never in my wildest dreams did it occur to me that within years of my arrival to the US in 1990, I would be calling myself a “food writer” with several food-related books under my belt. My previous training in research was indeed quite helpful in this respect. While in the US, Iraq was so much in the news, and I was often asked if I knew of any Iraqi cookbooks in English.
There were none that I knew of, and I personally felt that a cookbook on Iraq should be given a place among the international cuisine books on shelves of libraries and bookstores. It did not occur to me though, at the time, that I would be the one to do it. In 1996, after I suddenly lost my son at the age of 13, it was extremely painful for me to handle food; it was just loaded with memories, too painful to remember. To get around this, I gave myself a mission: Write a cookbook about the food we shared and loved, dedicating it to his memory.
JW: Something that I think will surprise many AHE readers is the fact that modern Iraqi cuisine has retained much in the way of its ancient Mesopotamian roots; from delicious breads to tasty stewssweet layered cakes and to grilled kebabs, the culinary history of Iraq reflects the palates of successive ancient civilizations. One should mention too that ancient Mesopotamian cuisine shaped the cuisine of the ancient Persians, medieval Arabs, and Ottoman Turks.
What specific challenges did you face in writing this book, and was it difficult to uncover the true provenance of the many dishes presented in Delights from the Garden of Eden?
A general map of Mesopotamia, covering the period from 2000-1600 BCE.  (©PL Kessler/The History Files. Republished with the author's permission. Original image by P L Kessler, 2012.)
A general map of Mesopotamia, covering the period from 2000-1600 BCE. (©PL Kessler/The History Files. Republished with the author’s permission. Original image by P L Kessler, 2012.)
NN: The challenge was writing a huge book like mine and spending about six long years working on it, hoping that at least when done and finished, I would succeed in convincing a publisher of its novelty and worthiness. This did not happen. I had to self-publish the first edition that came out in 2003, and boy, am I glad I followed my instinct and did it! After several years, it attracted the attention of a British publisher, Equinox Publishing, and I am thrilled that Delights from the Garden of Eden is now available in its second edition.
I cannot really say that the process of uncovering the roots of many of the dishes in Delights was a hassle — it was not. I was fortunate to have at my disposal sources from ancient Mesopotamia and medievalBaghdad, which were instrumental in tracing not only sources of dishes, but also in deflating the commonly recycled notion that  Iraqi cooking has no character or roots of its own or that it is derivative, being heavily influenced by Persian, or Turkish, or Ottoman cuisine.
With the evidence we have today of ancient Mesopotamian cuisine, we can say with confidence that ancient Persian culinary culture had a lot to learn from the indigenous Mesopotamians whom they politically ruled. In fact, according to modern historical studies, the date when the Persians took over the region (539 BCE) was significant politically only because they “left most local traditions intact,” and employed native officials for most tasks, as Dr. Daniel Snell writes in his Life in the Ancient Near East 3100-332 BCE. He further adds that “although taxes flowed to the capital in what is now Iran, little in the way of cultural influence flowed the other way.” (pp. 99, 102.)
alwarraqfolio
Folios of Ibn Sayyar al-Warraq’s tenth century CE cookbook. (Fols 7v-8r. The National Library of Finland, signum Coll. 504.14 [Arb rf].)
Besides, it was in medieval Baghdad under the Abbasid Caliphate (756-1258 CE) that Arab cuisine developed and flourished. It partly drew on the Arabs’ native heritage but also on Iraq’s indigenous stock collectively called Nabat al-‘Iraq(“Nabateans of Iraq”), and indirectly on the Persians who inherited this tradition and refined it during their several centuries of dominance.
The impact of the Baghdadi Abbasid cuisine on the affluent Ottoman kitchens of Istanbul can no longer be downplayed given what we know today. Suffice it to say that the first Ottoman cookbook,Kitabu’t-Tabeeh, written in the 15th-century CE, was in fact mostly a translation of al-Baghdadi’s popular cookbook, Kitab al-Tabeekh. The Ottoman version was executed by Muhammed ibn Mahmud Şirvani (also Romanized as “Mehmet bin Mamoud Shirvani,” c. 1375-1450 CE), who was the court physician to Sultan Murad II (r. 1421-1444, 1446-1451 CE). In the centuries to follow, the Ottoman kitchen undoubtedly developed and refined such inherited traditions but from what I see of our cooking today, I doubt that it had a significant impact on Iraqi mainstream cooking. Names of dishes are not always dependable criteria.
image006
Cover image of al-Baghdadi’s cookbook from the 13th-century CE: “Kitab al-Tabeekh.” (1934 edited Arabic edition.)
JW: Nawal, you used rare Babylonian tablets, medieval Baghdadi cookbooks, and other primary source documents in order to researchDelights from the Garden of Eden.
Do you have a favorite source? If so, which one, and what makes it your favorite? How large are these surviving sources?
NN: Of the primary sources I used in my research forDelights, three were pivotal: the ancient Babylonian recipes written on three cuneiform tablets, the tenth century CE Baghdadi cookbook by Ibn Sayyar al-Warraq, and the 13th-century CE cookbook by Ibn al-Kareem al-Baghdadi. (Both of these cookbooks are titled Kitab al-Tabeekh or “Cookery Book” in English.) These were the sources that made me see a pattern of continuity in culinary practices of Iraqi cooks across millennia — a unique insight not to be encountered in other world cuisines — largely due perhaps to lack of evidence.
With these sources I found myself in an enviable position, which enabled me to see how Iraqi cuisine evolved and developed from ancient times, through the Middle Ages, to what I grew up on eating and cooking. Until I discovered these sources while researching for Delights, it never occurred to me that a staple like today’s marga (stew) has been a staple since ancient times. The Babylonian stew recipes — 25 of them — are an amazing testimony to its ancient roots; similarly, stew recipes loomed large in the two extant cookbooks from medieval Iraq .
moderndayokrastew
Delicious okra stew. (Photo, courtesy of Nawal Nasrallah.)
Without dispute, my favorite is al-Warraq’s cookbook. It is the earliest medieval cookbook, worldwide, to have survived. With its hugely extensive scope — consisting of 132 chapters with around 600 recipes — it is an unrivaled culinary treasure, and it was my privilege to be able to translate it into English and share its joys with non-Arabic readers.
JW: For those of us who have very little aptitude in the kitchen, how difficult would you say it is to master the art of Iraqi cooking? In terms of the key ingredients found in ancient and medieval Iraqi recipes, Iraqi cuisine seems to be far less demanding than I had initially thought.
NN: Quite right. Most of the ingredients required to create Iraqi dishes may easily be obtained from mainstream supermarkets, with few exceptions such as our special spice-mix of baharatnoomi Basra(dried lime), and the favorite Iraqi spicy condiment of amba (pickled mango).
For more information on these uniquely Iraqi ingredients, I would ask readers to visit this linkconcerning ingredients via my website.
It is the cooking techniques that make the difference, and they vary from the basic to the complex. I should expect cooks with basic cooking experience to easily master the Iraqi staple dishes of marga wa timman (stew served with a side of rice), the many side dishes offered (both with meat and vegetarian), salads, some desserts. But some of the stuffed dishes — which distinguish Iraqi cuisine — can indeed be somewhat challenging, but I am sure with enough practice even these can be done with great success.
    Nawal Nasrallah's "Pregnant Chicken" dish. (Photo, courtesy of Nawal Nasrallah.)
Nawal Nasrallah’s “Pregnant Chicken” dish. (Photo, courtesy of Nawal Nasrallah.)
JW: In the 11 years since its first publication,Delights from the Garden of Eden has become an underground bestseller. During this time, you have written two more books: Annals of the Caliphs’ Kitchens (2007) and Dates: A Global History (2011).
May I inquire as to the projects you are currently undertaking? Can we expect more cookbooks or culinary histories in the near future?
NN: Well, right now I am working on a book about history of Arab food and an English translation of a 14th-century CE anonymous Egyptian cookbook entitled Kanz al-Fawa’id fi Tanwi’ al-Mawa’id, which I translate as Infinite Benefits of Variety at the Table. This is an important culinary document because it is the only one that came down to us from medieval Egypt. So as you see, I have my hands full right now. It is my ambition, though, to translate into English the rest of the medieval Arabic cookbooks and pamphlets — five to six volumes — which will fill a wide gap in our knowledge of the world material culture in which the impressive Arab contribution remains unknown. Once published, I am sure Western researchers in this most vital and interesting aspect of material culture will have at their fingertips the much-needed tools to explore the field with more solid and dependable results, giving credit where credit is due.
The favorite Iraqi spicy condiment of amba (pickled mango). (Photo, courtesy of Nawal Nasrallah.)
The favorite Iraqi spicy condiment of amba (pickled mango). (Photo, courtesy of Nawal Nasrallah.)
Hopefully, I will have the time and energy to follow up on these as soon as I am done with what I am working on now. It would definitely have been helpful to have had luck in securing a research grant for this kind of colossal task. I have been trying, but no luck as of yet.
JW: I purposefully arranged our interview to coincide with the US Thanksgiving holiday and upcoming seasonal festivities in the Americas and Europe. To conclude our interview, could you share or recommend a suitable dish for the holiday season?
NN: I would recommend the “Pregnant Chicken.” While I was still living in the northern Iraqi city of Mosul, I was once invited to dinner, and a delightful huge bird roasted to beautiful crispness attracted my attention. At first, I thought it was a large duck, but it turned out to be just a regular chicken stuffed in the cavity as well as underneath the skin with an aromatic spicy mixture of cooked rice and diced vegetables, raisins, and almonds. It looked splendidly huge and puffed up, so my kids nicknamed it the “Pregnant Chicken.” It has been a staple for our festive occasions ever since; it’s really the perfect dish for Thanksgiving. It is really scrumptious and definitely worth trying!
JW: Nawal, I thank you so much for your time and consideration. On behalf of everyone at AHE, I wish you many adventures in research and a happy holiday season.
NN: You are most welcome, James. It was a pleasure to speak with you. I wish you all a happy holiday season, and hopefully this interview will encourage your readers to try some of the wonderful dishes of Iraq!
Please read our book review of Delights from the Garden of Eden: A Cookbook and a History of the Iraqi Cuisine.

Nawal Nasrallah

Κυριακή 23 Νοεμβρίου 2014

STRONG IMAGES: Sádica execution at the hands of Syrian Sunni Islamic State


STRONG IMAGES: Sádica execution at the hands of Syrian Sunni Islamic State
Published: November 23, 2014 | 9:15 GMT Last Updated: November 23, 2014 | 9:32 GMT






© Screenshot from video isis

The Islamic State has issued a recording in which the savage execution of Sunnis in Syria is seen, the last sample of sadism of the jihadists, this time seem to have outdone themselves.

With each new video publishing, the Islamic State (EI) seems to go a little further into sadism and brutality. The video of the beheading of a Syrian who appeared on the Internet on Sunday can now be described as the most chilling of the so far released by the jihadists. In the recording decapitation seen with machete of a Syrian Sunni among several beheaded bodies piled in background. The stage is bathed in blood due to the beheadings that allegedly took place before the recorded performance.





© Screenshot from video isis
As described by the anonymous author who climbed Network video, those executed are Sunni Syrians accused by the US of wanting to join the Syrian army, loyal to President Bashar Al Assad . The execution took place in the city of Al-Bab, in the Governorate of Aleppo. Al-Bab, controlled by the US, has been the focus of heavy fighting between the Syrian army and the jihadists. The killing is provided by different individuals, some of whom carry weapons, while others seem unarmed civilians. Among them there are also some children. As part of their propaganda war, the Islamic State published a week ago one of his wildest executions of 18 Syrian soldiers . Despite being directed, filmed and edited as if it were a movie, the video is no longer reflects the barbaric nature of EI and its adherents. The video is available on the website ' Vidme '. We caution that the images are very strong and they may find upsetting.




Texto completo en: http://actualidad.rt.com/actualidad/view/148092-video-ejecucion-sunitas-sirios-estado-islamico

Παρασκευή 21 Νοεμβρίου 2014

NASA's Swift Satellite Marks 10 Years of Game-changing Astrophysics

ΕΝΑ ΔΕΥΤΕΡΟΛΕΠΤΟ ΑΠΟ ΤΗΝ ΑΙΩΝΙΩΤΗΤΑ!
NASA's Swift Satellite Marks 10 Years of Game-changing Astrophysics
November 20, 2014
Over the past decade, NASA's Swift Gamma-ray Burst Explorer has proven itself to be one of the most versatile astrophysics missions ever flown. It remains the only satellite capable of precisely locating gamma-ray bursts -- the universe's most powerful explosions -- and monitoring them across a broad range of wavelengths using multiple instruments before they fade from view.  
"Swift" isn't just a name -- it's a core capability, a part of the spacecraft's DNA. Gamma-ray bursts (GRBs) typically last less than a minute and Swift detects one event about twice a week. Once Swift observes a GRB, it automatically determines the blast's location, broadcasts the position to the astronomical community, and then turns toward the site to investigate with its own sensitive telescopes.
"This process can take as little as 40 seconds, which is so quick we sometimes catch the tail end of the GRB itself," said John Nousek, the director of mission operations and a professor of astrophysics at Penn State University in University Park, Pennsylvania. "Because Swift autonomously responds to sudden bursts of high-energy light, it also provides us with data on a wide range of short-lived events, such as X-ray flares from stars and other objects."
From colliding asteroids to a star shredded by a monster black hole, this video showcases highlights from NASA Swift's decade of discovery.


Image Credit: 
NASA's Goddard Space Flight Center
To date, Swift has detected more than 900 GRBs. Its discoveries include a new ultra-long class, whose high-energy emissions endure for hours; the farthest GRB, whose light took more than 13 billion years to reach us; and the "naked-eye" GRB, which for about a minute was bright enough to see with the naked-eye despite the fact that its light had traveled 7.5 billion years. Early in the mission, Swift observations provided the "smoking gun" that validated long-standing theoretical models suggesting that GRBs with durations under two seconds come from mergers of two neutron stars, objects with the mass of the sun that have been crushed to the size of a city.
In addition to its studies of GRBs, Swift conducts a wide array of observations of other astrophysical phenomena. A flexible planning system enables astronomers to request Swift "target-of-opportunity" (TOO) observations, which can be commanded from the ground in as little as 10 minutes, or set up monitoring programs to observe specific sources at time intervals ranging from minutes to months. The system can schedule up to 75 independent targets a day.
"These characteristics make Swift a pioneer in a burgeoning field we call 'time-domain' astronomy," said Neil Gehrels, the mission's principal investigator at NASA's Goddard Space Flight Center in Greenbelt, Maryland. "Just as we extended telescopic astronomy from visible light to other wavelengths, we are now beginning to study how the properties of astronomical objects change across a wide range of timescales, from less than a second to decades."  
diagram of gamma-ray burst components
In the most common type of gamma-ray burst, illustrated here, a dying massive star forms a black hole (left), which drives a particle jet into space. Light across the spectrum arises from hot gas near the black hole, collisions within the jet, and through the jet's interaction with its surroundings.


Image Credit: 
NASA's Goddard Space Flight Center
Some projects require years of observations, such as long-term monitoring of the center of our galaxy -- and its dormant supermassive black hole -- with Swift's X-Ray Telescope (XRT). Astronomers also are using the spacecraft's Burst Alert Telescope to conduct a continuing survey of more than 700 active galaxies, where monster black holes devour large amounts of gas and shine brightly in X-rays and gamma rays.
Shorter-term projects included observations to map the nearest galaxies in the ultraviolet. The most demanding object was the Large Magellanic Cloud, a small satellite galaxy orbiting our own at a distance of about 163,000 light-years. Swift's Ultraviolet/Optical Telescope (UVOT) captured 2,200 overlapping "snapshots" to cover the galaxy, producing the best-ever view in the UV. "The UVOT is the only telescope that can produce high-resolution wide-field multicolor surveys in the ultraviolet," said Michael Siegel, who leads the UVOT instrument team at Penn State.
Swift scientists discuss the mission, the science, and recall their personal experiences as members of the team.


Image Credit: 
NASA's Goddard Space Flight Center
In 10 years of operation, Swift has made 315,000 individual observations of 26,000 separate targets, supporting nearly 6,200 TOO requests by more than 1,500 scientists. Its observations range from optical and ultraviolet studies of comets and asteroids to catching X-rays and gamma-rays from some of the most distant objects in the universe.
Another major highlight of Swift's studies of some 300 supernovae was the 2008 discovery of X-ray signals produced by a star caught in the act of exploding. Shockwaves breaching the surface of the dying star produced this brilliant flash.
Swift rocketed into orbit on Nov. 20, 2004. Managed by NASA Goddard, the mission is operated in collaboration with Penn State, the Los Alamos National Laboratory in New Mexico, and Orbital Sciences Corporation in Dulles, Virginia. Other partners include the University of Leicester and Mullard Space Science Laboratory in the United Kingdom, Brera Observatory and the Italian Space Agency in Italy, with additional collaborators in Germany and Japan.
Earlier this year, Swift ranked highly in NASA's 2014 Senior Review of Operating Missions and will continue its enormously productive scientific work through at least 2016.

Τετάρτη 19 Νοεμβρίου 2014

3D-imaging the Assyrian reliefs at the British Museum: from the 1850s to today

3D-imaging the Assyrian reliefs at the British Museum: from the 1850s to today

Matthew Cock, Head of Web, British Museum
In August this year, a team from CyArk scanned the British Museum’s collection of Assyrian reliefs displayed on the Ground floor, using three different techniques: LiDAR,structured-light and photogrammetry.
Detail of relief from the North Palace of Ashurbanipal, Nineveh, northern Iraq. The king is in his chariot shooting arrows at succession of lions (ME 124867)
Detail of relief from the North Palace of Ashurbanipal, Nineveh, Iraq. The king is in his chariot shooting arrows at succession of lions (ME 124867).
The reliefs were originally commissioned by powerful Assyrian kings between the 9th and 7th centuries BC for their palaces, at a time when the small kingdom of Assyria, in what is now northern Iraq, expanded through conquest to dominate the Middle East, from the Persian Gulf to the Nile. The carved images range from symbolic scenes of royal achievements to scenes of conquest and hunting that all serve to glorify the Assyrian monarch.
Reception of Nineveh sculptures at the British Museum, The Illustrated London News 1852, p. 184. Etching and engraving.
Reception of Nineveh sculptures at the British Museum, The Illustrated London News 1852, p. 184. Etching and engraving.
The reliefs were acquired by the Museum in the late 1840s and 1850s as a result of the Treasury-sponsored archaeological expeditions of Sir Austen Henry Layard, who began his excavations at the North-West Palace of Ashurnasirpal at Nimrud in 1845. The first reliefs arrived in London in June 1847, followed soon by the monumental human-headed winged bulls. To accommodate them, the Assyrian galleries were created – between the Egyptian sculpture and Greek sculpture galleries – where they remain today.
As well as contributing to CyArk’s archive of cultural heritage, the scans provide a fantastic resource that we can use to help people better understand and engage with these objects. The carved panels work like modern comic books, starting the story at one end and following it along the walls to the conclusion. They were designed as a narrative, to be ‘read’ by the king, court and visitors to the royal palaces. It is incredibly difficult to get a good sense of that narrative, or their scale or presence through still images or even video.

With the help of the 3D models created from the scans, we have the potential to develop interpretative media in the galleries, online and through mobile and wearable technology. There are many potential approaches, from delineating the carved scenes where the stone has deteriorated to reconstructing the original architectural scheme, complete with colour paint, and torch-lit ambience as they might have appeared to the Assyrians in their original setting. The video above shows an early trial developed by CyArk using scans from the Siege of Lachish reliefs in Room 10b.
Reconstruction of the interior of an Assyrian palace.
Imaginative reconstruction of the interior of an Assyrian palace. A H Layard, The Monuments of Nineveh, London, 1849, plate 2.
Computer 3D technology is being increasingly adopted in museums to aid with conservation, curatorial research and interpretation. When the Assyrian reliefs first arrived in the Museum almost exactly 160 years ago, the latest imaging technology of the time – photography – was in its infancy. Interestingly, it grew up closely connected with the developing discipline of archaeology. Indeed, the main players in the early histories of archaeology, photography and philology (the study of language, but particularly the decipherment of ancient languages) moved in the same social and scholarly circles in London, meeting, corresponding and collaborating.
The early pioneer of photography William Henry Fox-Talbot was also fascinated with archaeology and convinced of the usefulness of his invention to museum and archaeological practices. He had visited the British Museum Trustees in 1843 to demonstrate his invention, but failed to persuade Charles Fellows, then excavating in Lycia, in what is now southern Turkey, to take the bulky and fragile equipment on his next expedition.
But by the 1850s, the equipment and processes were simpler, and interest at the Museum had grown. Edward Hawkins, Keeper of the Department of Antiquities, responsible for the Assyrian objects, was keen for photographs to be made of the growing collection of cuneiform tablets (arriving from Assyria at the same time as the reliefs) to help allow Edward Hincks, an Irish scholar and expert in cuneiform, and others (including Fox-Talbot himself) to translate them.
Collotype print photograph of Roger Fenton, taken by an unknown photographer
Collotype print photograph of Roger Fenton, taken by an unknown photographer, c. 1860. © National Media Museum / Science & Society Picture Library (2003-5001/2/22878).
Hawkins talked to Lord Rosse, scientist and President of the Royal Society, and British Museum Trustee, and soon after the Trustees instructed the Museum to employ a photographer. The advice of another scientist, Charles Wheatstone, was sought. Wheatstone had invented stereoscopy, creating the first stereoscopic viewer in 1838 which created the illusion of 3D. This early model used illustrations, but photography provided a far more suitable medium. Wheatstone had been collaborating with the photographer Roger Fenton, and recommended him for the job.
Roger Fenton, The Assyrian Gallery, British Museum. stereoscopic pair of photographs, c.1850s
Roger Fenton, The Assyrian Gallery, British Museum. stereoscopic pair of photographs, c. 1850s.
Part of Fenton’s early work at the Museum was a series of stereoscopic photographs of galleries, which survive as part of Wheatstone’s collection now in the archives of King’s College, London. One of those shows a tantalising view of the newly opened Assyrian Gallery.
Stereo viewer, with view of Edinburgh Castle and Grassmarket. Photo by kind permission of Peter Stubbs
Stereo viewer, with view of Edinburgh Castle and the Grassmarket. This viewer is an example of the more portable development of the technology that followed Wheatstone’s earlier ‘desktop’ models. Photo © Peter Stubbs.
Stereoscopy became a huge craze in the late 1850s and 1860s, and persisted well into the 20th century. Today’s virtual reality wearable technology, such as Oculus Rift and Google Cardboard echo their forerunners in intention (an immersive experience) and appearance.
First in the series of Roger Fenton's photographs of the Kuyunjik Collection of cuneiform tablets. Albumen prints on card. Archives of the Middle East Department at the British Museum
First in the series of Roger Fenton’s photographs of the Kuyunjik Collection of cuneiform tablets. Albumen prints on card. Archives of the Middle East Department at the British Museum
Cuneiform Clay Tablet, a salt paper print photograph by Roger Fenton
Cuneiform clay tablet, a salt paper print photograph by Roger Fenton, c. 1854. © National Media Museum / Science & Society Picture Library (1937-4093).
As well as experimenting with this new 3D technology in the galleries, Fenton also made photographs of the objects, as was his brief. Between 1853 and 1854 he systematically photographed the series of cuneiform tablets known as the Kuyunkjik Collection. One of Fenton’s greatest challenges was lighting. He had a glass studio built on the roof of the Museum, based on his own studio in his home in North London. Portable objects such as the cuneiform tablets were brought there to be photographed. By May 1856, Fenton and his assistants had made more than 8,000 prints in the galleries and his rooftop studio.
Standing in the gallery watching CyArk’s scanners spinning and collecting millions of points of data, I reflected on how the British Museum and the Assyrian objects that so fascinated scholars and public alike in the late 19th century were once again the site of a new technology in its early years. Museum technologists have to make difficult decisions on what to adopt and when. Soon after the period discussed above, the British Museum’s early interest in photography waned, likely mainly due to the high cost of the equipment and materials. Fenton’s employment was ended in 1859, and many of his negatives were transferred to the South Kensington Museum, now the Victoria and Albert Museum, where they form part of the UK’s national collection of the art of photography. But still, of course, that doesn’t mean it never happened: 160 years on, and the British Museum now has over 1.2 million images of objects in thecollection online.
CyArk have enabled us to investigate the possibilities of 3D with a significant group of objects from the collection, and I am optimistic that this is just the beginning. It doesn’t take much to imagine a time when 3D scans become the de facto method of recording objects in the collection. I believe that this project – and once again the Assyrian reliefs – are remembered as a key moment in that change.
The Assyrian reliefs are on display in Rooms 6-10 on the Ground floor of the British Museum.

If you are interested in stereoscopy, visit the BP Spotlight: ‘Poor man’s picture gallery’: Victorian Art and Stereoscopic Photography at Tate Britain from 13 October 2014 – April 2015

A selection of 3D models of British Museum objects can be viewed, embedded and downloaded from our Sketchfab channel.

Αποκάλυψη για τις νέες Χ5 Μ και Χ6 Μ BMW

Η μεγάλη στιγμή της BMW στο προσεχές σαλόνι αυτοκινήτου του Λος Άντζελες θα είναι αναμφίβολα η παγκόσμια πρεμιέρα των Χ5 M και Χ6 Μ. Τα μεγάλα SUV της γερμανικής μάρκας αποκαλύφθηκαν διαδικτυακά, πριν εμφανιστούν στην πόλη της Καλιφόρνια στις 18 Νοεμβρίου. Η BMW θέλει να πάει ένα βήμα πιο μπροστά τις κορυφαίες εκδόσεις των Χ5 και Χ6, στους τομείς των επιδόσεων και της οδικής συμπεριφοράς.

Τη δύναμη στα δύο μοντέλα της BMW M χαρίζει ο V8 TwinPower Turbo των 4.395 cc. Είναι όμως αναβαθμισμένος ώστε να αποδίδει 575 PS (έναντι 555 PS στα προηγούμενα μοντέλα) και 76,5 kgm ροπής (από 69,3 kgm), η οποία είναι διαθέσιμη από τις 2.200 έως τις 5.000 rpm. Η κίνηση περνά σε όλους τους τροχούς μέσω του στάνταρ 8τάχυτου αυτόματου Steptronic κιβωτίου.
Όλα τα παραπάνω μαζί με την τετρακίνηση επιτρέπουν στα αυτοκίνητα βάρους σχεδόν 2.300 kg να επιταχύνουν από στάση στα 100 km/h σε μόλις 4,2 sec! Η τελική ταχύτητα περιορίζεται ηλεκτρονικά στα 250 km/h. Η BMW ανακοινώνει μεικτή κατανάλωση (θεωρητική βέβαια σε αυτοκίνητα ανάλογου χαρακτήρα) που είναι κοινή τόσο στη Χ5 Μ όσο και στην coupe Χ6 Μ: 11,1 lt/100 km και εκπομπές CO2 στα επίπεδα των 258 g/km.
Η X5 M και η X6 M ξεχωρίζουν οπτικά από το body kit με τις μεγάλες εισαγωγές αέρα στον εμπρός προφυλακτήρα, την τετραπλή απόληξη της εξάτμισης, την πίσω αεροτομή (στη Χ6), τους τροχούς των 20 ιντσών (προαιρετικά 21 ιντσών) και τους αποκλειστικούς εξωτερικούς καθρέπτες. Στην καμπίνα των επιβατών η πολυτέλεια συνυπάρχει με τις sport πινελιές στο τιμόνι, τον πίνακα οργάνων, τα ηλεκτρικά ρυθμιζόμενα δερμάτινα καθίσματα με το λογότυπο της «Μ» κ.α.

Japan Tests Its Own Hover Train 500ΚΜ

Japan Tests Its Own Hover Train
Posted 18 hours ago




The Central Japan Railway Company is testing a magnetically levitating train that can go up to 311 mph (500km/h). That’s more than twice the speed of the fastest bullet train currently operating in the United States.




The train’s maglev technology reduces friction and helps them go faster than your average speeding bullet train. Shanghai, China also uses maglev train technology. This train can go 268 mph at top operational speed, but has been clocked at 311 mph before.


The first passengers hopped on board the Shinkansen train test track in Yamanashi Prefecture to test out what it’s like to float along at breakneck speeds.




According to the BBC, The Central Japan Railway Company will be testing the trains over eight days, with a total of 2,400 passengers.

The trains will eventually run from Tokyo to Nagoya by 2027. The trip will take about 40 minutes between stations.