This gold aluminium cover was designed to protect the Voyager 1 and 2 ‘Sounds of Earth’ gold-plated records from micrometeorite bombardment, but also serves a double purpose in providing the finder a key to playing the record.
The explanatory diagram appears on both the inner and outer surfaces of the cover, as the outer diagram will be eroded in time. Flying aboard Voyagers 1 and 2 are identical ‘golden’ records, carrying the story of Earth far into deep space. The 12 inch gold-plated copper discs contain greetings in 60 languages, samples of music from different cultures and eras, and natural and man-made sounds from Earth. They also contain electronic information that an advanced technological civilization could convert into diagrams and photographs. Currently, both Voyager probes are sailing adrift in the black sea of interplanetary space, flying towards the outmost border of our solar system.

Source: Wikimedia Commons, Picture of the day 2012-09-05.

This gold aluminium cover was designed to protect the Voyager 1 and 2 ‘Sounds of Earth’ gold-plated records from micrometeorite bombardment, but also serves a double purpose in providing the finder a key to playing the record.

The explanatory diagram appears on both the inner and outer surfaces of the cover, as the outer diagram will be eroded in time. Flying aboard Voyagers 1 and 2 are identical ‘golden’ records, carrying the story of Earth far into deep space. The 12 inch gold-plated copper discs contain greetings in 60 languages, samples of music from different cultures and eras, and natural and man-made sounds from Earth. They also contain electronic information that an advanced technological civilization could convert into diagrams and photographs. Currently, both Voyager probes are sailing adrift in the black sea of interplanetary space, flying towards the outmost border of our solar system.

Source: Wikimedia Commons, Picture of the day 2012-09-05.

‘O du, Reisender nach Gao. / Nimm den Umweg über Timbuktu. / Flüstere den Freunden meinen Namen zu, / und bring ihnen den duftenden Gruss des Exilierten, / der nach dem Heimatboden seufzt, / wo seine Freunde, die Familie und die Nachbarn wohnen. / Tröste sie dort, die mir lieb sind, / über den Tod der Fürsten, / die zu Grabe getragen wurden.’ So schrieb der Jurist Ahmed Baba, der 1593 aus seiner Heimatstadt Timbuktu nach Marrakesch deportiert worden war. 1591 hatte der Sultan von Marokko nach jahrelangen vergeblichen Versuchen, durch politischen Druck in den Besitz der nördlich von Timbuktu gelegenen Salzminen zu gelangen, seine Truppen gegen das Reich der Songhay ausgesandt, das sich weit über die Grenzen des heutigen Mali hinaus erstreckte. Das Heer des Sultans bestand mehrheitlich aus iberischen Söldnern und war mit Feuerwaffen und Kanonen gerüstet; das entschied die Schlacht. Die imposante Armee des Herrschers von Songhay mit ihren Reitern und Bogenschützen wurde vernichtend geschlagen.

Doch laut den Berichten der Chronisten beherbergte Timbuktu nicht die sagenhaften Reichtümer, die der marokkanische Sultan dort vermutet hatte, und die Bewohner waren den fremden Eroberern alles andere als gewogen. Vier Monate nach der Besetzung begannen sie zu revoltieren, unterstützt von Würdenträgern und Intellektuellen des Landes; etliche von diesen wurden infolgedessen enteignet und nach Marokko deportiert. Ahmed Baba, damals noch keine 36 Jahre alt, hatte sich durch seinen scharfen Intellekt und seinen wütenden Widerstand gegen die marokkanischen Herrschaftsansprüche einen Namen gemacht. Mitsamt seiner Familie wurde er in Haft genommen, seine reichhaltige Bibliothek fiel Plünderern zum Opfer. 1593 führte man ihn nach Marrakesch über, und erst 1607 wurde er gemeinsam mit anderen Zwangsexilierten freigelassen.

Mohomodou Houssouba: Gefahr für die Schätze Timbuktus, in: NZZ Online, 2012-06-30.

Foto: Portrait de Mansa Moussa, empereur du Mali, sur une carte géographique de l’Europe et de l’Afrique du Nord, datant de 1375. Mansa Moussa tient une pépite d’or dans sa main. (Quelle: Wikimedia Commons)

Had the Brontë sisters been alive today, campaigners claim they would have been horrified by the plans to build giant wind turbines on the bleak and brooding moors that inspired their enduringly popular fiction.

But campaigners who want to prevent the development are regrouping after losing the first stage of their fight to oppose four wind turbines on Thornton Moor, west of Bradford. Planning permission was granted on Wednesday to house a 200ft high wind monitoring mast on the site, a move that they fear will pave the way for future approval of the turbines.

Residents had hoped they would be able to prevent the development going ahead by lobbying councillors during the meeting in Shipley, west Yorkshire. Outside the meeting, they held up placards which said: ‘No to the Turbines.’

Thornton Moor is close to the famous parsonage at Howarth, where the Brontë sisters lived with their family, and where their father was the village clergyman. It’s now preserved as a museum, which attracts tourists from all over the world who are fans of the Brontë’s work and retrace their steps on the moors.

Please reblog: ‘No to the Turbines!’

Helen Carter: Windmast to be built on moors that inspired Wuthering Hights, in: guardian.co.uk, 2012-04-11.

Zum 50. Todesjahr des Schriftstellers Hermann Hesse soll auf dem Grundstück seines damaligen Anwesens im Tessin gebaut werden. Die Besitzer planen im Garten des Anwesens den Bau von zehn kleinen Villen und einem Appartementhaus.

SF DRS, Tagesschau, 2012-04-11

The thought, for example, of teenagers choosing to incorporate the greatest surviving work of early Mesopotamian literature into their vernacular (‘Gilgamesh: Something or someone epic beyond words, such as Gilgamesh himself. Something or someone worthy of having an epic written about them/it. Ex: Those shoes are just gilgamesh’) makes me wildly happy. That, to me, seems the very opposite of reductive.
Hermione Hoby: Urban dictionary redefines literature’s biggest names, in: guardian.co.uk, 2012-03-13.

This recent rediscovery is believed to be the earliest surviving film inspired by the work of Charles Dickens, in this case the character of Jo the crossing sweep from ‘Bleak House’. ‘The Death of Poor Joe’ was almost certainly made by pioneer filmmaker G.A. Smith and predates his 1901 adaptation of ‘A Christmas Carol’, ‘Scrooge, or Marley’s Ghost’ (Source: Youtube / BFI films)


(sda): 111 Jahre alter Dickens-Film entdeckt, tagesanzeiger.ch, 2012-03-09.

But if we are to achieve gender equality in the arts then we all share a responsibility to make it happen.

Cara Courage: Women in the arts: Some questions, in: guardian.co.uk, 2012-03-05.

Don’t miss: Live chat: quiz the arts women, on: http://bit.ly/zDG6Ue

ITINERARI - Venezia - Il carnevale dei carnevali
La sezione Itinerari rende omaggio alla magica atmosfera del Carnevale di Venezia con un filmato realizzato negli anni ‘80 dalla redazione multimediale dellEnciclopedia Treccani.

Source: Youtube


Colosseum drawing, saec. XV (Salzburg, university library)

Colosseum drawing, saec. XV (Salzburg, university library)

UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2010
URL: http://www.unesco.org/culture/ich/RL/00442
Description: Falconry is the traditional activity of keeping and training falcons and other raptors to take quarry in its natural state. Originally a way of obtaining food, falconry is today identified with camaraderie and sharing rather than subsistence. Falconry is mainly found along migration flyways and corridors, and is practised by people of all ages, men and women, amateurs and professionals. Falconers develop a strong relationship and spiritual bond with their birds, and commitment is required to breed, train, handle and fly the falcons. Falconry is transmitted from generation to generation as a cultural tradition by a variety of means, including mentoring, learning within families, or formalized training in clubs. In Mongolia, Morocco, Qatar, Saudi Arabia and the United Arab Emirates, for example, falconers take their children to the desert and train them to handle the bird and build a relationship of trust with it. While falconers come from different backgrounds, they share common values, traditions and practices such as the methods of training and caring for birds, the equipment used and the bonding between falconer and the bird, which are similar throughout the world. Falconry forms the basis of a wider cultural heritage, including traditional dress, food, songs, music, poetry and dance, all of which are sustained by the communities and clubs that practise it.
Country(ies): United Arab Emirates; Belgium; Czech Republic; France; Republic of Korea; Mongolia; Morocco; Qatar; Saudi Arabia; Spain; Syrian Arab Republic
©2009 International Wildlife Consultants (UK) Ltd
 (Source: YouTube)