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Your Story, Our Story features objects and traditions that tell personal stories of American migration and cultural identity. This national project uncovers patterns and differences of our experiences across the country. Explore stories from across the country, upload a story that carries meaning in your family, and join us in telling the stories of American migration and cultural identity.

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Your Story, Our Story features objects and traditions that tell personal stories of American migration and cultural identity. This national project uncovers patterns and differences of our experiences across the country. Explore stories from across the country, upload a story that carries meaning in your family, and join us in telling the stories of American migration and cultural identity.

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A few days ago I got a message from a priest like "do you wanna come and visit this church?" There was one odd thing about it though, he sent me the church name, and the post code - and that was it. No street name, no village, no... Nothing.

Then he sent me co-ordinates.

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A few days ago I got a message from a priest like "do you wanna come and visit this church?" There was one odd thing about it though, he sent me the church name, and the post code - and that was it. No street name, no village, no... Nothing.

Then he sent me co-ordinates.

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A few days ago I got a message from a priest like "do you wanna come and visit this church?" There was one odd thing about it though, he sent me the church name, and the post code - and that was it. No street name, no village, no... Nothing.

Then he sent me co-ordinates.
— Jay Hulme (@JayHulmePoet) August 20, 2020

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A few days ago I got a message from a priest like "do you wanna come and visit this church?" There was one odd thing about it though, he sent me the church name, and the post code - and that was it. No street name, no village, no... Nothing.

Then he sent me co-ordinates.

# data[].attributes.attachment_link.metadata.attachment_props.original_text
A few days ago I got a message from a priest like "do you wanna come and visit this church?" There was one odd thing about it though, he sent me the church name, and the post code - and that was it. No street name, no village, no... Nothing.

Then he sent me co-ordinates.

# data[].attributes.attachment_link.metadata.attachment_props.text
A few days ago I got a message from a priest like "do you wanna come and visit this church?" There was one odd thing about it though, he sent me the church name, and the post code - and that was it. No street name, no village, no... Nothing.

Then he sent me co-ordinates.

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When we think about the history of exploration, we often imagine it as the work of exceptional individuals in extraordinary circumstances. Men and women venturing forth on some incredible journey, surviving against all the odds - or perhaps being swallowed up, as Joseph Conrad once put it, by "the mystery their hearts were set on unveiling".

What we usually see is the individual explorers and their heroic deeds that come to mind. Other less visible aspects of this history, including explorers' dependence on local support and on intermediaries such as interpreters and guides, are often overlooked. In many different parts of the world, from the Arctic to Asia, and from Africa to the Americas, European explorers relied on local knowledge.

Research on the Collections of the Royal Geographical Society (with IBG), which include over two million maps, photographs, manuscripts, books and artefacts, offers a new perspective. Exploration has always been a fundamentally collective and shared experience. Sometimes hidden, sometimes visible, the role of locals and intermediaries in the history of exploration and travel deserves to be much better known.

This online exhibition draws on the AHRC-funded project Hidden Histories of Exploration by Professor Felix Driver and Dr Lowri Jones, which featured in a major exhibition at the Society in 2009. It contains images of exploration since 1800, alongside their original captions where available (indicated by the use of quotation marks). All are reproduced from the Society's Collections unless otherwise stated.

Note about captions

Within the Society's Photographic Collection there are some historical images (and image titles or captions) which are recognised as containing unacceptable forms of language, or present image content that is considered inappropriate. In such cases, as part of its Collections policy, the Society maintains access to those images and descriptors as a source of context and information for researchers, recognising that the historical language used or image subjects in themselves do not reflect the Society's contemporary position as an organisation wholly committed to principles of equality and diversity.

Acknowledgements

We thank the following for their advice and support:

Jan Faull, British Film Institute; Peter Funnell, National Portrait Gallery; Cliff Pereira, workshop facilitator and consultant; Professor Jane M. Jacobs and Chandan Mahal, external consultants Rohail Ahmad, Noorjehan Barmania, Malcolm Brown, Harbakhsh Grewal, Tanzin Norbu, Steven Nyunt, Kuldip Powar and Jessie Rayat, participants in consultative workshops; Janet Turner and colleagues, Foyle Reading Room; Joe Madeira and Sally Stiff, design consultants.

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Royal Geographical Society - Our Collections

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When we think about the history of exploration, we often imagine it as the work of exceptional individuals in extraordinary circumstances. Men and women venturing forth on some incredible journey, surviving against all the odds - or perhaps being swallowed up, as Joseph Conrad once put it, by "the mystery their hearts were set on unveiling".

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Curations are groups of artworks selected, arranged, and published by our community of users - including Exhibitions, made by our collection partners.

You can browse featured Curations below, use the search bar above, or explore every Curation published so far. Visit our help page for more tips.

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Curations are groups of artworks selected, arranged, and published by our community of users - including Exhibitions, made by our collection partners. You can browse featured Curations below, use the search bar above, or explore every Curation published so far. Visit our help page for more tips.

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Anything But Silent- Series 1 of British Library Podcasts

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Anything But Silent- Series 1 of British Library Podcasts

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Today, we're going cycling!

When you see a bicycle today 'revolutionary' and 'radical' probably aren't the first thoughts which spring to mind but for women in the late 19th century hopping on a bike was transformative. They could travel where they wanted and when they wanted at speed. In this episode, curator Polly Russell is joined by cyclist, writer and blogger Jools Walker (AKA 'Lady Velo') as they pedal through the epic history of women on bikes and explore the politics of cycling today and why the sport is still so important for women. They get a pep talk from daredevil Olympian Victoria Pendleton, take a ride with Velociposse, an all-women's bike club and hear from cycling sociologist Kat Jungnickel about the pioneering Victorian women who designed new forms of cyclewear.

Unfinished Business podcast series is generously supported by Joanna and Graham Barker and The Eccles Centre for American Studies.

A Pixiu Production
S2 E3 "Excuse me, I haven't finished": Feminist Fightback
Actor and activist Jameela Jamil has unfinished business. She joins British Library curator Polly Russell to explore the intersecting realms of mental health and body image. Polly introduces Jameela to Susie Orbach who created the very first Women's Therapy Centre in the UK. What follows is a fascinating conversation between a frontline feminist waging war against the patriarchy since the 70s and a woman working against body shaming, oppression and injustice today. How have things changed? What's still the same? And why is women's mental health still an urgent conversation we should be having?

Unfinished Business podcast series is generously supported by Joanna and Graham Barker and The Eccles Centre for American Studies.

A Pixiu Production.
S2 E2 The politics of pleasure
Does pleasure exist outside of politics? Can we have feminist sex? And how has the online realm affected young people's views on the subject?

Professor Amia Srinivasan, a philosopher at The University of Oxford, is delving into these thorny questions with British Library curator Polly Russell. They're laying things bare with Laurie Nunn, the creator of TV drama Sex Education, examining some unusual objects from the past with historian Zoe Strimpel and heading to a school to hear from a group of 16 year old students.

Unfinished Business podcast series is generously supported by Joanna and Graham Barker and The Eccles Centre for American Studies.

A Pixiu Production.
S2 E1 Pants, pageants and protest
For generations women of colour were unable to buy nude lingerie to suit their skin tone. In 2014 entrepreneur Ade Hassan decided to fix this by setting up Nubian Skin, an underwear company catering to people of colour. Three years on Nubian Skin is going strong but Ade still has unfinished business. In this episode she's joining British Library curator Polly Russell to explore the relationship between race, beauty and feminism with Jennifer Hosten, the first black winner of Miss World and academic Dr Rochelle Rowe.

Unfinished Business podcast series is generously supported by Joanna and Graham Barker and The Eccles Centre for American Studies.

A Pixiu Production.
Trailer: Introducing Unfinished Business
Curator Polly Russell introduces Unfinished Business, a series exploring the fight for women's rights, from the British Library.

Series 1: Anything But Silent

Buzzing, creative, brave. Places of sanctuary, freedom, and the unexpected. Libraries don't just keep our stories safe; they're where new stories begin. Meet the people around the world making amazing things happen in them. Hosted by Cleo Laskarin from our exhibitions team.

Books are only the beginning. Libraries are alive, and they're anything but silent.

or wherever you get your podcasts.

Supported by the Eccles Centre for American Studies at the British Library.

Find other audio content from the British Library on SoundCloud.

S1 E23 Libraries under lockdown
Amid the pandemic, we hear from the British Library team ensuring crucial documents are delivered to public health services, a library that has exchanged books for food parcels, and a bridal studio, supported by our Business & IP Centre, that pivoted to 'something new' when the crisis hit.

S1 E22 Joining the library: Steve Berry
New York Times best-selling author Steve Berry joins us to talk about one of his favourite books, The Twisted Claw, No. 18 in the Hardy Boys series by Franklin W. Dixon.

S1 E21 Uncovering mysteries and secrets
Hear how a librarian solved a 33-year cold case, why the British Library is currently researching some mysterious toilet paper and how a library in Manchester is helping its patrons uncover the secrets of their own past.

S1 E20 Joining the library: Anne Fine
The award-winning writer of Madame Doubtfire and Goggle-Eyes, Anne Fine OBE, joins us to discuss The Man Who Loved Children (1940) by Christina Stead.

S1 E19 Choose your own adventure
Hear how Minecraft is opening up literary worlds, meet the young writers powering up their imaginations at Plymouth's Plymstock library, and settle down for a read with the library that comes to you.

S1 E17 Do librarians dream of electric cranes?
To start the new year, we take a look into the future. Meet the British Library's robot assistants, get coding at Oxfordshire County Library and take the long view with Norway's Future Library. Plus we visit our Flashback Project in Boston Spa, which ensures digital content is preserved and accessible even after the original technology has become obsolete.

S1 E15 Libraries of the unexpected
Encounter Willard Library's Lady in Grey, be spellbound by the British Library's collection and meet a druid from a library in the heart of spiritual south-west England. Who you gonna call? A librarian, obviously.

S1 E13 'An embassy for humanity'
Libraries are good company. This month we borrow some people from the Human Library, join the Little Free Library book-sharing movement and visit a sports academy working with young people which received support from our Business & IP Centre.

S1 E11 Rebel rebel
Playwright Joe Orton's 'malicious damage', salvaged cardboard and roller derby. This month we hear stories of libraries as sites of creative rebellion. Contains some explicit language and imagery.

S1 E9 'The soul needs books'
Libraries can be places of creative and intellectual sanctuary, refuge, hope and companionship. We step into the British Library's Reading Rooms, visit a hidden library in Syria and meet people in Swansea forming connections through reading.

S1 E7 Have library, will travel
Don't be a numpty: have a skeg at our latest episode and get your lugholes around some UK accents and dialects, join bookmobile Booky McBookface on the Scottish islands of Orkney, and discover the library boldly going where no library has gone before.

S1 E5 [Redacted]
We open up 'the world's best collection of forbidden books' and consider current restrictions on free expression, plus two librarians talk weeding and Awful Library Books.

S1 E3 Love is love
Journey to New York for a milestone 50th anniversary, hear stories of love and identity in wartime Britain as we dip into the British Library's oral history collection, and meet the drag queens and kings making library story hours fabulous.

S1 E1 The library is open
'The freedom to dream. That's the most beautiful thing about a library. No matter who you are, there's a book for you.' We take a look at a world-famous document that's a powerful symbol of liberty, hear how the prison library at HMP Nottingham is working with those who've lost their freedom, and travel to Nepal where a library in a remote village is helping women vulnerable to human trafficking.

Trailer Introducing the British Library's new podcast

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Today, we're going cycling! When you see a bicycle today 'revolutionary' and 'radical' probably aren't the first thoughts which spring to mind but for women in the late 19th century hopping on a bike was transformative. They could travel where they wanted and when they wanted at speed.

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Set in an imagined Yorkshire forest, we invite you to explore a vast online interactive experience rooted in real life natural environments.

Part of Light Night Leeds, an annual free multi-arts and light festival, Faint Signals is a British Library commission with Yorkshire-based interactive arts studio Invisible Flock.

About Faint Signals

Using sounds from wildlife, weather and nature from our own extraordinary collection, Faint Signals is a digital experience that reflects the diversity and complexity of Yorkshire's natural world. Using just your keyboard arrow keys move through the landscape yourself.

Scroll over the landscape and unlock a rich variety of different sounds. Learn more about them through a simple narrative as you playfully bring to life a vivid and complex ecosystem.

While the forest is imagined, the flora, fauna and wildlife you will discover is all scientifically accurate and native to Yorkshire - though some of it is now sadly extinct. There are thousands of combinations to explore so you'll never have the same experience twice.

The pandemic has slowed transport and industry and given some landscapes an unprecedented absence of human contact. We've seen sea eagles return to the Yorkshire Moors and deer taking over corners of East London. And, for the first time in many years, city-dwellers have heard birdsong all day long.

As we contemplate how we live in a world impacted so much by COVID-19, Faint Signals considers our relationship with shared spaces and the natural world, as well as with sound, and how human impact has changed this over time.

Faint Signals is a British Library commission with Yorkshire-based interactive arts studio Invisible Flock. This digital work looks at how, over 50 years, natural sound has changed and highlights the sounds we've lost. Launching on 10 November 2020 to mark World Science Day, it highlights the significant role of science in society and the need to engage the wider public in debates on emerging scientific issues.

Part of Light Night Leeds, an annual free multi-arts and light festival, Faint Signals is part of our growing culture and learning programme in and around Leeds, where we have had a presence for over 50 years at Boston Spa.

Invisible Flock

Invisible Flock are an award-winning interactive arts studio based at the Yorkshire Sculpture Park operating at the intersection of art and technology. They create highly sensory installations and environments asking us to renegotiate our emotional relationship to the natural world. Their aim is to open up critically important ways of thinking about how we live, how we connect and share to live better together in a global society.

NB Faint Signals is available through modern browsers (such as Chrome or Firefox) but is not currently optimised for mobile devices.

Please take a couple of minutes to tell us what you thought about Faint Signals.
If you would like to find out more about the audio recordings used in Faint Signals you can download a full list (PDF Format).

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Set in an imagined Yorkshire forest, we invite you to explore a vast online interactive experience rooted in real life natural environments. Part of Light Night Leeds, an annual free multi-arts and light festival, Faint Signals is a British Library commission with Yorkshire-based interactive arts studio Invisible Flock.

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Once Upon a Time… Artists & Storytelling 

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Once Upon a Time… Artists & Storytelling 

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Once Upon a Time... brings together an unusual range of work, from nineteenth-century illustrations to contemporary video art, to explore artists' enduring need to tell stories.

The first section, Childhood Stories, explores the complex relationship between illustration and text. Some of the works on display illustrate existing stories, while others present new ones. In both cases, these images can transform our understanding of children's stories, such as fairy tales and nursery rhymes, by either masking or accentuating their darker features.

The second section, Personal Mythologies, considers artists who manipulate personal stories, blurring the line between autobiography, confession and fantasy. Even when interpreting other people's words, the artists can reveal much about themselves. The stories in this section push accepted boundaries of what can be shared openly.

In contrast, the audio work Trance by Fiona Banner, playing in this room, exposes the limitations of storytelling. Its fast pace and monotonous tone prevent the listener from grasping the meaning of the story or empathising with its characters.

This exhibition invites you to reconsider storytelling as a means of communication. Is telling a story always a form of fabrication?

This section brings together illustrations, or visual stories, which are rarely as straightforward as they seem.
Renowned nineteenth-century illustrators Walter Crane, George Roland Halkett and George Cruikshank create visual translations of well-known fairy tales. They use easily identifiable characters that reappear in multiple frames forming a sequential narrative. Such picture books were intended not only to entertain, but also to teach Victorian children morals and values. The violence and sexuality common in earlier versions of these fairy tales has been softened to suit the tastes of the Victorian public.
Arthur Boyd Houghton and Paula Rego's unsettling images, though separated by over a century, move beyond illustrating existing children's stories. Houghton depicts childhood scenes, while contemporary artist Rego provides a subversive reinterpretation of popular English nursery rhymes. Neither derives their images directly from texts. Rather, they take inspiration from personal experiences and memories, openly embracing the haunting and disconcerting aspects of childhood. Both abandon sequential narrative, condensing meaning into a single frame.

Selected works from this section

George Cruikshank was the first major English artist to make a living by illustrating stories. A renowned caricaturist and reformed alcoholic, he wove a temperance message into a series of illustrated fairy tales entitled George Cruikshank's Fairy Library (1853-4). In the illustration shown here, the drunken Ogre from Hop-o'my-Thumb has fallen asleep while pursuing the tiny protagonist Hop. In the earliest written version of this tale, Hop escapes the Ogre's hut by tricking the Ogre into accidentally slitting the throats of his own children. In Cruikshank's sanitized version, Hop merely steals a key. Further still, Cruikshank's happy ending involves the King of Hop's kingdom establishing gambling taxes, prohibition, and universal education. Cruikshank has incorporated his political views into the story and removed its most violent elements to suit Victorian tastes. Curiously, his illustrations are considerably less moralizing than his text, suggesting two different audiences: the text for adults, the pictures for children.

Walter Crane
Illustration from the Frog Prince

Walter Crane was one of the most popular Victorian illustrators of children's books. Between 1864 and 1876 he published colour-illustrations of many fairy tales as a collection of Toy Books; these were made up of six pages of text and six pages of illustration. Priced cheaply with huge print runs, the books were immensely successful and were still being issued 25 years after their first appearance. The image to the left, from The Frog Prince, depicts the moment when the handsome Prince is released from his bewitchment. Although the six illustrations that make up the series follow a sequential narrative, in this image multiple scenes are also condensed into one frame, showing the Princess throwing the frog against her bedroom wall and the different stages of his transformation. Crane illustrates the theme of the enchanted bridegroom again in the other Toy Book on display in this exhibition - The Beauty and the Beast.

Paula Rego
Nursery Rhyme Series - Three Blind Mice 1989

Three Blind Mice is part of the Nursery Rhyme Series by Paula Rego - a set of 30 prints depicting scenes from 30 English nursery rhymes. Initially conceived as a gift for her granddaughter, the series evolved from ink drawings into sinister etchings, five of which are on show in this exhibition. In Three Blind Mice (to the left), Rego has not set out to illustrate a narrative in a conventional sense, but has used our shared familiarity with this popular nursery rhyme to explore themes of childhood and memory. The story of the Three Blind Mice is not told here through sequential images, as we might expect, but is contained within a single moment of heightened drama - the farmer's wife has just cut off the first mouse's tail and is poised ready to strike again. With the Nursery Rhyme Series, Rego forces us to reconsider these supposedly childish tales by drawing out their darker undertones and allowing the ending of the story to unfold in the viewer's imagination.

The works in this section, rather than illustrating existing or familiar texts, have new tales to tell. Contemporary video-works and drawings are juxtaposed with early twentieth-century prints to explore personal storytelling as the source of artists' inspiration. The audience has no way of knowing whether any of the personal narratives are real or artifice or set out simply to mythologise the storyteller.

In their striking print series, Oskar Kokoschka and Paul Gauguin both mythologise episodes from their personal lives. Kokoschka was commissioned to illustrate a children's picture book, but instead produced an autobiographical 'picture-poem' recording his adolescent fantasies. Gauguin embellished his experiences of Tahiti by inserting himself into the mythology he developed for the French colony.

This compulsion of artists to share their own stories or the confessions of others is echoed in the contemporary work on display. Olivia Plender satirises artists' obsessions with personal mythologies in her complex comic-book fiction. Through first-person spoken narrative, the videos of Tracey Emin and Gillian Wearing conform to the traditions of oral storytelling. Using explicit language and candid themes, they address the complexities of contemporary life through storytelling.

Selected works from this section

Disillusioned with the West, Paul Gauguin left Paris for Tahiti in 1891. The colony was not the unspoiled native society he had imagined, so he quickly set about reinventing its mythology. Upon returning to France, Gauguin found that the Parisian public did not grasp the personal symbolism and fantasy of his Tahitian paintings. To explain, he co-wrote a romanticised account of his journey, Noa Noa, for which he also created ten coloured illustrations. The text and images were never published together. In 1921, his son printed eight of the illustrations as black-and-white engravings. In the first print, Te Po (to the left), Gauguin actually inserts himself into his Tahitian mythology: he is in the background at the left, presiding over a covered figure terrorized by the Spirit of the Dead or tupapau. The tupapau appears in many of Gauguin's works and symbolises the Tahitian terror of the night.

Oskar Kokoschka
The Dreaming Youths - Sleeping Girl 1907

The Dreaming Youths began as a commission to illustrate a children's picture book, but Kokoschka abandoned his brief after the first page (to the left) to evolve a new form of visual storytelling. The resulting series of eight colour lithographs form a complex 'picture-poem', combining striking imagery with fragmented verse written by the artist. Kokoschka referred to this work as a love letter, dedicated to a girl called Lilith Lang, who also attended The School of Applied Arts in Vienna and who appears in the story as Li. The Dreaming Youths was considered highly controversial when it was published in 1908 by the Vienna Workshop, not only because of its radical design and innovative typography, but because it explored themes of adolescent sexuality.

Gillian Wearing Confess all on video. Don't worry you will be in disguise. Intrigued? Call Gillian... 1994

Contemporary artist Gillian Wearing works primarily with photography and video to explore the fears, anxieties, hopes and moral viewpoints of her subjects and in turn, those of the spectator. She often adopts methods similar to television documentary for her 'fly-on-the-wall' view of people's lives. The artist placed an advertisement in Time Out magazine, which read Confess all on video. Don't worry you will be in disguise. Intrigued? Call Gillian... The resulting video documents strangers' confessions. Disguised in grotesque masks, her participants are free to tell the truth about things they would never admit in daily life. At the same time, they can invent flamboyant lies without being caught. By bringing together these confessions, Wearing becomes a kind of storyteller, but by constructing the piece as a whole, she inevitably adds her own bias and becomes part of it.

Tracey Emin
Why I Never Became a Dancer 1995

Tracey Emin achieves notoriety in the art world and the popular press for her starkly confessional work, based on an unorthodox upbringing and turbulent private life. In this moving video, Why I Never Became a Dancer, Emin documents her vivid adolescent memories of growing up in Margate. She asks the viewer to look beyond the superficial and peripheral into what can be deeply felt, even if we find it painful. Whilst explicitly addressing the intimacies and complexities of contemporary life, the work is delivered in a traditional oral first-person narrative. This is a story about humiliation, abuse, hope, and ultimately survival and triumph - a modern fairy tale perhaps?

This exhibition has been jointly curated by students on the MA Curating the Art Museum course at The Courtauld Institute of Art. The programme, now in its second year, is led by Martin Caiger-Smith and is aimed at art curators of the future. The exhibition project is the culmination of the practical side of this twelve-month course. The eleven students, from the UK, Europe and the United States, were asked to mount a public exhibition in the Embankment Galleries at Somerset House, taking responsibility for everything from the initial selection of works to designing, lighting and managing the gallery space. After exploring the collections of The Courtauld Gallery and Arts Council Collection, the students arrived at the idea of an exhibition on the theme of storytelling, which is realised here as Once Upon a Time... Artists & Storytelling.

Once Upon a Time... Artists & Storytelling has been curated by:

Christine Faber
Amanda Hajjar
Anna Harnden
Rebecca Lewin
Miriam Lloyd-Evans
Katerina Marcou
Caroline New
Monserrat Pis Marcos
Alice Tunmore
Viktorya Vilk
Meghan Weeks

Installing the exhibition

Below are selected images of the students from the MA Curating the Art Museum course installing their exhibition Once Upon a Time... Artists & Storytelling in the Embankment Galleries at Somerset House.

Hanging the Exhibition
The curating students and their course tutor, Martin Caiger-Smith, discuss the optimum height at which to hang the series of prints by Paula Rego.

Painting Mirror-Plates
Two curating students paint the mirror plates on the frames to match the vivid blue of the walls.

The Wall Panels Arrive
First glimpse of one of the wall panels as they arrive back from the printers.
Surveying the Exhibition
Seen from above, the curating students, along with Courtauld Gallery curator Dr Barnaby Wright, survey the series of lithographs by Oskar Kokoschka.

The Exhibition

The Exhibition Poster
Publicity material produced for Once Upon a Time... Artists & Storytelling is displayed near The Courtauld Gallery.

The Entrance to the Exhibition
The reception desk and entrance to the exhibition.

View of Section One - Childhood Stories
Close up of Arthur Boyd Houghton's Home Thoughts and Home Scenes, displayed in the centre of Section 1 - Childhood Stories.

View of Noa Noa by Paul Gauguin
View of Paul Gauguin's 'Noa Noa' series, as displayed in Room 2 - Personal Mythologies.

View of The Masterpiece by Olivia Plender
View of Olivia Plender's The Masterpiece, made up of 40 drawings, displayed in Section 2 - Personal Mythologies.

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Once Upon a Time... Artists and Storytelling - The Courtauld Institute of Art

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Once Upon a Time... brings together an unusual range of work, from nineteenth-century illustrations to contemporary video art, to explore artists' enduring need to tell stories. The first section, Childhood Stories, explores the complex relationship between illustration and text. Some of the works on display illustrate existing stories, while others present new ones.

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Set visually in a warehouse-like space through which the visitor could wander at will, The Gallery of Lost Art presented the stories of loss through documents and films laid out on different tables (or, when the scale of the missing works warranted it, on the floor). Alongside these materials were captions, sound clips and links to other resources. The virtual space thus offered the visitor a place for engagement, private study and reflection. Digital images were transformed into likenesses of research material of the sort that might have been accumulated by someone investigating what had happened to the missing artworks. Photographs and computer printouts were shown lightly crumpled or mounted on dog-eared paper; press cuttings were arranged casually spread or out stacked in untidy piles; and throughout the site were signs of research under way: people bent over the various tables, card files and folders with bulldog clips and yellow Post-It notes, and open laptops (a home for the project's films made by Tate Media). The invitation to new visitors to join these researchers as they studied documents and read associated texts, or while they listened to audio tracks and viewed films about the missing works was clear.

Although the online exhibition presented itself as a site for restoring to consciousness particular examples of modern art that had been lost, the project also explored the subject of cultural loss more generally. The conventional ways in which artworks can be lost - fire, war, attacks and neglect, for example - were all examined. But loss was also seen as varied in nature: both temporary (in the case of stolen works) and permanent; intentional as well as accidental; and the result of deliberate decisions made by artists and not just of events beyond their control. Loss was seen as a matter of deep regret, but also sometimes as a source of creativity, with damaged or destroyed works taking on a second life as 'relics' or documents of their existence that inspired artists to create new art. Some of the works featured were well know in part because they were lost, though most were at risk of being forgotten.

Museums such as Tate normally tell stories through the objects they have in their collections. This project posed the challenge of focusing on works that a museum could never own - they were after all destroyed, or missing, or even, in two cases, never completed - but that are nonetheless part of the narratives that such institutions, with their aim of presenting the different histories of modern and contemporary art, could and arguably should tell. With its specially commissioned films and texts, the website, which lasted for only one year before, fittingly, becoming 'lost' itself was one response to this challenge; a full length book (Jennifer Mundy, Lost Art, Tate Publishing 2013), with expanded narratives about the forty case studies, was another.

The exhibition generated over nine hundred features in print and online media, built and sustained through the steady release of additional 'tables' each week for the project's first twenty weeks (the project launched with only half the site revealed). It received 102,182 unique visits, leading to 616,049 page views, by people living in 153 countries and 6,700 cities. It has been estimated that 3.4 million people were potentially aware of the exhibition through the proliferation of reviews and mentions. In 2013 the site won an Honourable Mention at the Webby Awards, and the following international awards:

SXSW: Interactive Art Award

Best of Web: Digital Exhibition Prize

Museums and Heritage: Innovation Award

Design Week Awards: Interactive Design Award

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The Gallery of Lost Art - Project | Tate

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Set visually in a warehouse-like space through which the visitor could wander at will, The Gallery of Lost Art presented the stories of loss through documents and films laid out on different tables (or, when the scale of the missing works warranted it, on the floor).

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Las hilanderas. Una historia en imágenes

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Las hilanderas. Una historia en imágenes

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Realizado en la etapa final de la carrera de Velázquez, hacia 1655-1660, este cuadro fue propiedad de don Pedro de Arce, montero del rey Felipe IV, y no entró en las colecciones reales hasta el siglo XVIII. Formó parte del selecto grupo de obras colgadas en el Real Museo del Prado en el momento de su apertura al público en 1819.

Volver al inicio

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Las hilanderas. Una historia en imágenes@es|||

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Realizado en la etapa final de la carrera de Velázquez, hacia 1655-1660, este cuadro fue propiedad de don Pedro de Arce, montero del rey Felipe IV, y no entró en las colecciones reales hasta el siglo XVIII. Formó parte del selecto grupo de obras colgadas en el Real Museo del Prado en el momento de su apertura al público en 1819.

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https://www.youtube.com/watch?v=f2cSeFcYKfI

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I wish to remain anonymous. I am 24 years old and I came from Syria with my wife. I am married and my daughter was born here.
When we arrived in Greece, it was the 22nd of July, 2016. Continue reading ""My daughter was born here""

Dublin Core: Language: en, el Subject: A Million Stories, Syria, Greece, Refugee

My name is Mohamed Azimi Asef Ostadazim. I am 39 years old and I have come to Greece with my family. My wife and our three children.
We have been in Greece for almost three years. We came here in order to go to Germany. We went near the borders of FYROM but, because they were closed, we came to Athens.
At first, we were staying in Elliniko's refugee centre. In there, I started giving lessons to refugees. I was teaching them how to draw. I was staying in Elliniko's camp for one year and a half. Almost 180 students participated in my class. After a while, we conducted an exhibition inside the Elliniko's refugee centre. Some politicians and many journalists visited the exhibition. I was interviewed by many media, as well as Al Jazeera. One year and six months later, my family and I went to Thiva's refugee centre for the next four months. Afterwards, we came back to Athens. Continue reading ""A story that I will never forget""

Dublin Core: Language: en Subject: A Million Stories, Afghanistan, Greece, Refugee

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I wish to remain anonymous. I am 24 years old and I came from Syria with my wife. I am married and my daughter was born here. When we arrived in Greece, it was the 22nd of July, 2016.

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Tom Scott vs Irving Finkel: The Royal Game of Ur | PLAYTHROUGH | International Tabletop Day 2017

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Tom Scott vs Irving Finkel: The Royal Game of Ur | PLAYTHROUGH | International Tabletop Day 2017

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Tom Scott vs Irving Finkel: The Royal Game of Ur | PLAYTHROUGH | International Tabletop Day 2017

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The Museum of English Rural Life - There is a bat in the library Twitter Thread

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The Museum of English Rural Life - There is a bat in the library Twitter Thread

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So, we found a live bat in our rare book store.

🦇a thread 🦇

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So, we found a live bat in our rare book store.

🦇a thread 🦇

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Something went wrong, but don’t fret — let’s give it another shot.

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So, we found a live bat in our rare book store.

🦇a thread 🦇
— The Museum of English Rural Life (@TheMERL) February 24, 2019

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So, we found a live bat in our rare book store.

🦇a thread 🦇

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So, we found a live bat in our rare book store.

🦇a thread 🦇

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So, we found a live bat in our rare book store.

🦇a thread 🦇

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Time Tales: the Etruscans is an entertaining educational adventure, funded by Toscana Promozione Turistica , which takes the player back in time in the middle of the Etruscan era. Children thus have the opportunity to learn and deepen the historical information they study at school while having fun.

With the scientific advice of ArcheoKids and of the Association M(u)ovimenti , that have been dealing for years with heritage education intended for children, the goal of as a game is to help children to understand abstract concepts remote from their everyday life, with the help of tools in step with the times.

, therefore, aims to encourage cultural heritage education. With this project specifically designed for children, EGA wants to make young people and families aware of the rich historical and artistic heritage in Italy and Tuscany, where traces of past civilizations are still visible, in particular, the Etruscan one.

Through an avatar selected at the beginning of the game, the child will experience first hand the proposed story. The starting point of the narrative is the invitation from the virtual parents to visit a museum. Once reluctantly arrived at the gallery, the protagonist-player will be attracted by the glint coming from a showcase: the shining object is a , an ancient Etruscan vase. This light will then virtually envelop the player, throwing him back into the past, to an Etruscan city. The purpose will be to recover the vase in order to return to the present. To help in this venture there will be , an Etruscan girl who will accompany the little player throughout the journey, giving him suggestions in times of difficulty.

Time Tales: The Etruscans has been conceived as the first episode of a series of chapters dedicated to ancient history and made for children.

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Time Tales: the Etruscans - Entertainment Game Apps, Ltd.

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Time Tales: the Etruscans Time Tales: the Etruscans is an entertaining educational adventure, funded by Toscana Promozione Turistica, which takes the player back in time in the middle of the Etruscan era. Children thus have the opportunity to learn and .. continue

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Our words and pictures explore the connections between science, medicine, life and art. Dive into a story no matter where in the world you are.

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The Shtetl Routes travel package includes:

- The guidebook: Shtetl Routes. Travels Through the Forgotten Continent

- A map of the Jewish heritage objects located in the borderland of Poland, Belarus, and Ukraine

- A USB card with the Shtetl Routes app containing a pdf version of the guidebook as well as 3D digital models of historical towns and synagogues from the borderland of Poland, Belarus, and Ukraine

- A tote bag with the Ośrodek „Brama Grodzka - Teatr NN" logo

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The Shtetl Routes travel package includes: - The guidebook: Shtetl Routes.

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Zrzut ekranu jednej z makiet dostępnych do pobrania, przedstawiający panoramę Lublina w XVIII wieku

Makiety 3D Lublina: kliknij, aby pobrać
Aplikacja 3D do pobrania na komputery z systemem Windows. Rozmiar pliku: 570 MB (pobieranie pliku może spowodować naliczenie dodatkowych opłat przez Twojego operatora.) Minimalne wymagania sprzętowe: Windows 7 lub nowszy, 4 GB RAM, karta graficzna 128 MB RAM.

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Makiety 3D Lublina - Rozwój przestrzenny Lublina - Teatr NN

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Makiety 3D Lublina: kliknij, aby pobraćAplikacja 3D do pobrania na komputery z systemem Windows. Rozmiar pliku: 570 MB (pobieranie pliku może spowodować naliczenie dodatkowych opłat przez Twojego operatora.) Minimalne wymagania sprzętowe: Windows 7 lub nowszy, 4 GB RAM, karta graficzna 128 MB RAM.

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In May 2014, the "Grodzka Gate - NN Theatre" Centre began the implementation of the "Wooden Treasure. Preserving Heritage Design Future" project. The project has been centred on documenting and promoting the traditional wooden architecture of small towns in the Lublin region.

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Lublin. Story of a City - Stories of Lublin - NN Theatre

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As part of the project, select oral history accounts were developed and made available in the form of stories integrated with textual and photographic material, creating digital narratives.

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As the world pours out its love for Beirut after the port explosion on Aug. 4, Lebanese Jews know all too well what it means to have fallen in love with the country once upon a time. To have cried again and again over its never-ending calamities. After a sad departure, Lebanese Jews have done what every Lebanese in exile does: Safeguarding the memory of that "lost paradise" by creating a "Little Lebanon" wherever they go. Here is a story of a community that is forgotten by the mother country; a country so close, yet so far away...
In 2014, when the Magen Abraham Synagogue reopened in Beirut, Lebanese politicians from across the spectrum were present, bathed in the glare of TV cameras. They all reiterated their support for a community they said they cherished as much as the other 17 sects that make up the Lebanese government.

Former prime minister Fouad Siniora declared: "We respect Judaism. Our only problem is with Israel."

Even Hezbollah chief Hassan Nasrallah weighed in: "This is a religious place of worship and its restoration is welcome."

On the outside, it looked as if the stage was set for the return of the Jewish community into Lebanon's public life. The renovation of the Magen Abraham was nothing short of an open door for Lebanese Jews to come back. But the pomp of the opening ceremony did nothing to halt the decline of this community.

In the 1950s and 1960s there were 16 synagogues in Lebanon, and they were always full. The only place in the Arab world where the number of Jews increased after 1948 was Lebanon. But the 1967 war and the gruesome civil war that followed gradually drove Lebanese Jews away.

Today, there are 29 Jews left in Lebanon. The story has it that a Jewish woman from Beirut who was keen to meet other Jews heard of a coreligionist living in the town of Zahle, 50km east of the capital. She went there and searched for her. It was difficult as the woman had changed her name, something many Jews have done for safety reasons. But when she finally found her, the Zahle woman met her with a glacial stare. She spoke one word: Leave. The woman was obviously scared of the attention her visitor might awaken.

Those who are still there preserve a total silence about their identity. They gather secretly in each other's houses for their prayers. And yet Lebanese Jews, unlike other Arab Jews, left their original country feeling sad. They did not want to leave Lebanon. They left because they were caught in the crossfire, just like the other Lebanese.

Their silence has plunged them into almost total oblivion. So much so that when Lebanese Jews in New York run into visitors from Lebanon at some Brooklyn restaurant or park, the visitors are shocked to hear even the term "Lebanese Jew."

This community has not forgotten Lebanon. Far from it. Walk, for example, around Gravesend, Brooklyn, and see how they have established a Lebanon there that they carried within them when they left: bakeries, stores, synagogues where the Lebanese dialect is spoken fluently.

Walk into their homes and you recognize the smell of thyme and unmistakable Lebanese spices. Talk to them, and they will tell you about that old idyllic image of Lebanon that every Lebanese grew up with but has now forgotten. The myth of Lebanon remains alive only in the consciousness of the Lebanese Jews: That Lebanon which was once described as the pearl of the Middle East. For the Jews, Lebanon's reputation was earned because of the kindness of its people and their hospitality. That is where "paradise" (as they call Lebanon) really resides.

Before the blast that shook Beirut, Arab News searched for members of the Lebanese Jewish community in the diaspora and listened to many of their hitherto untold stories.

This coincides with the upcoming publication of a book by historian Nagi Zeidan that for the first time documents the presence of every Jewish family that lived in Lebanon. The 25-year journey that this historian undertook can be said to be the story of the rise and fall of a prejudice. He tells us how he began by subscribing to the anti-Semitic rhetoric propagated by the Syrian Social Nationalist Party, and how circumstances, in addition to a maturity on his behalf that pushed him to ask questions, have led him to a great love for this community.

"They taught us honesty and trust. You know how valuable that is in a country like ours," said Zeidan. He has shared his story with Arab News about what it was like to devote his life to tracking down the Jewish community members, one by one, and listen to their stories.

Historian Nagi Zeidan was a teenager growing up in Lebanon when his father, an official in the Syrian Social Nationalist Party (SSNP, which was very popular in the country at the time), sent him to initiation camps, grooming him to become a leader himself one day.

Zeidan was given books written by SSNP founder Antoun Saadeh advocating the establishment of a Syrian nation state spanning the entire Fertile Crescent.

He was smitten as much by the secular anticolonial ideals as by the erudition of Saadeh, who wanted to unite people around their common history.

But the idealism of his youth was dealt a harsh blow when he came upon a sentence that changed his life forever: "We have no other enemy to fight ... except the Jews."

Questions jostled inside his young head: "Why should I subscribe to Saadeh and not befriend Jews? Abraham was born in Iraq. Doesn't that mean that Jews are part of the Syrian Umma (community)? My father never gave me a logical answer," Zeidan told Arab News.

"Then I met Jewish friends and found them very honest and kind. That made my inner struggle all the more intense. I grew up and the question grew with me: Why should I be against the Jews?"

Very early on, his vocation was sealed: He set about researching the Jews of his country, drawing family trees from Abraham to the present day.

"I was the only 'suicidal one' doing studies on the Jews of Lebanon," recalled Zeidan. He was harassed by General Security and ostracized by his family. Uncles and cousins greeted him only from a distance.

Ironically, just when Zeidan began tracking the Jews down in the 1980s, the community had already left. Their presence, dating back hundreds of years, had almost come to an end.

"Our blood connection with Lebanon is 3,000 years old," said Marcel, a Lebanese Jew who lives in Brooklyn, referring to the friendship between the biblical King Solomon and Hiram, king of Tyre, the port city on the Mediterranean coast of Lebanon.

When Solomon wanted to build a temple to his God, Hiram supplied him with cedar and juniper wood, and a team of architects and masons.

Solomon, in exchange, is said to have sent his friend wheat and virgin olive oil to feed the trading empire. The wall between Jews and Gentiles was thus broken.

Biblical exegesis says when Jesus went to Sidon (known locally as Saida), the Jews took him to the cemetery where Zebulon, the last son of Jacob and founder of one of Israel's tribes, was buried.

The Jewish neighborhood of Beirut was established in 1800 by the Levy family who came from Baghdad.

Then shortly after, in 1805, an Ashkenazi family arrived from Lithuania. Abraham Mann and his family were on a pilgrimage trip to the Promised Land. They stopped in Beirut to rest, work and save money before hitting the road again.

But they fell in love with Beirut. They stayed and never left.

By 1932, there were 265 Jewish families in the city. A surge in arrivals during the 1930s more than trebled the Jewish population there to 7,000 by 1940.

The Lebanese Jewish diaspora's love for Beirut never died; it lives on in their hearts.

"Whenever my parents talked about Lebanon, they had tears in their eyes," said Marcel, who was a toddler when his parents fled the Lebanese civil war.

"There, in the other country, house doors are open. Neighbors enter without knocking. After work, people gather, talk and make each other feel better.

"Life is different here in New York. It's all work, home, shower, eat, sleep. Start again the next day.

"But my parents made sure we knew who we were. We grew up in a Lebanese house. We wear shihhata (slippers) and only eat Lebanese food: manakish, knefeh, baklava. We don't do burgers and pizza.

"We know all the Lebanese songs by heart. In our synagogue, we sing Jewish prayers to the tunes of Feiruz.

"Whenever we went somewhere, my mother would tell us: Remember, nehna lebneniyyeh, (we are Lebanese.) That meant we had to dress up properly, be clean, polite and kind to others.

"Whoever called us the Switzerland of the Middle East knew the value of our people, who had manners and respected and cared for each other."

Raymond Sasson, a silversmith from Brooklyn, was born in Beirut but left with his family when he was a toddler. He grew up listening to his mother's fondest memories of life in Beirut, and in 2008 finally went back to visit the city.

"Beirut was magical, a fairyland bigger than life. It was Disney World!" he recalled.

"Maybe I embellished in my own mind all the stories I heard as a child. But it was the city of stories and nice life. Surfing and sun tanning at the St George. Hamra, Starco and all the little alleys where this uncle and that cousin once lived.

"There I was sitting in a cafe where everyone spoke Arabic, and I felt: Wow, I'm home!"

Sasson took a trip to Saida to see the house where his family had lived.

"It was as if my mother was holding my hand," he said.

"We walked into the old city, and sure enough, facing the mosque, there was this building with a big door, like my mother described.

"When we looked in, there was a staircase going up, then a landing with two doors on each side. Another staircase and there it was - my parents' house.

"I can't tell you what it was like to go back 70 years to where my siblings were running around, up and down the stairs."

Sasson's father had escaped from Aleppo, in Syria, during the pogroms of 1947 - the kids woke up one day and saw their grandfather's pool club go up in flames.

In Beirut, they found neighbors and friends, and life went back to how they knew it in their native Syria. Only in Lebanon, they were not persecuted.

But Beirut did not remain indefinitely immune to the anti-Jewish sentiment running rampant in the neighboring countries.

Historian Nagi Zeidan was a teenager growing up in Lebanon when his father, an official in the Syrian Social Nationalist Party (SSNP, which was very popular in the country at the time), sent him to initiation camps, grooming him to become a leader himself one day.

Zeidan was given books written by SSNP founder Antoun Saadeh advocating the establishment of a Syrian nation state spanning the entire Fertile Crescent.

He was smitten as much by the secular anticolonial ideals as by the erudition of Saadeh, who wanted to unite people around their common history.

But the idealism of his youth was dealt a harsh blow when he came upon a sentence that changed his life forever: "We have no other enemy to fight ... except the Jews."

Questions jostled inside his young head: "Why should I subscribe to Saadeh and not befriend Jews? Abraham was born in Iraq. Doesn't that mean that Jews are part of the Syrian Umma (community)? My father never gave me a logical answer," Zeidan told Arab News.

"Then I met Jewish friends and found them very honest and kind. That made my inner struggle all the more intense. I grew up and the question grew with me: Why should I be against the Jews?"

Very early on, his vocation was sealed: He set about researching the Jews of his country, drawing family trees from Abraham to the present day.

"I was the only 'suicidal one' doing studies on the Jews of Lebanon," recalled Zeidan. He was harassed by General Security and ostracized by his family. Uncles and cousins greeted him only from a distance.

Ironically, just when Zeidan began tracking the Jews down in the 1980s, the community had already left. Their presence, dating back hundreds of years, had almost come to an end.

"Our blood connection with Lebanon is 3,000 years old," said Marcel, a Lebanese Jew who lives in Brooklyn, referring to the friendship between the biblical King Solomon and Hiram, king of Tyre, the port city on the Mediterranean coast of Lebanon.

When Solomon wanted to build a temple to his God, Hiram supplied him with cedar and juniper wood, and a team of architects and masons.

Solomon, in exchange, is said to have sent his friend wheat and virgin olive oil to feed the trading empire. The wall between Jews and Gentiles was thus broken.

Biblical exegesis says when Jesus went to Sidon (known locally as Saida), the Jews took him to the cemetery where Zebulon, the last son of Jacob and founder of one of Israel's tribes, was buried.

The Jewish neighborhood of Beirut was established in 1800 by the Levy family who came from Baghdad.

Then shortly after, in 1805, an Ashkenazi family arrived from Lithuania. Abraham Mann and his family were on a pilgrimage trip to the Promised Land. They stopped in Beirut to rest, work and save money before hitting the road again.

But they fell in love with Beirut. They stayed and never left.

By 1932, there were 265 Jewish families in the city. A surge in arrivals during the 1930s more than trebled the Jewish population there to 7,000 by 1940.

The Lebanese Jewish diaspora's love for Beirut never died; it lives on in their hearts.

"Whenever my parents talked about Lebanon, they had tears in their eyes," said Marcel, who was a toddler when his parents fled the Lebanese civil war.

"There, in that country, house doors are open. Neighbors enter without knocking. After work, people gather, talk and make each other feel better.

"Life is different here in New York. It's all work, home, shower, eat, sleep. Start again the next day.

"But my parents made sure we knew who we were. We grew up in a Lebanese house. We wear shihhata (slippers) and only eat Lebanese food: manakish, knefeh, baklava. We don't do burgers and pizza.

"We know all the Lebanese songs by heart. In our synagogue, we sing Jewish prayers to the tunes of Feiruz.

Your browser does not support this video

"Whenever we went somewhere, my mother would tell us: Remember, nehna lebneniyyeh, (we are Lebanese.) That meant we had to dress up properly, be clean, polite and kind to others.

"Whoever called us the Switzerland of the Middle East knew the value of our people, who had manners and respected and cared for each other."

Raymond Sasson, a silversmith from Brooklyn, was born in Beirut but left with his family when he was a toddler. He grew up listening to his mother's fondest memories of life in Beirut, and in 2008 finally went back to visit the city.

"Beirut was magical, a fairyland bigger than life. It was Disney World!" he recalled.

"Maybe I embellished in my own mind all the stories I heard as a child. But it was the city of stories and nice life. Surfing and sun tanning at the St George. Hamra, Starco and all the little alleys where this uncle and that cousin once lived.

"There I was sitting in a cafe where everyone spoke Arabic, and I felt: Wow, I'm home!"

Sasson took a trip to Saida to see the house where his family had lived.

"It was as if my mother was holding my hand," he said.

"We walked into the old city, and sure enough, facing the mosque, there was this building with a big door, like my mother described.

"When we looked in, there was a staircase going up, then a landing with two doors on each side. Another staircase and there it was - my parents' house.

"I can't tell you what it was like to go back 70 years to where my siblings were running around, up and down the stairs."

Sasson's father had escaped from Aleppo, in Syria, during the pogroms of 1947 - the kids woke up one day and saw their grandfather's pool club go up in flames.

In Beirut, they found neighbors and friends, and life went back to how they knew it in their native Syria. Only in Lebanon, they were not persecuted.

But Beirut did not remain indefinitely immune to the anti-Jewish sentiment running rampant in the neighboring countries.

True, Lebanese Jews were not rounded up and thrown out like their Egyptian, Iraqi and Syrian counterparts, yet "whenever something happened in Palestine, people would take revenge on the Jews," said Zeidan.

"They would throw a bomb at a synagogue or kidnap a Jewish man. Protests would erupt, inciting violence against the Jews."

There was a wave of the Jewish emigration following the outbreak of the 1958 civil war, and a second wave after the Six-Day War in 1967.

And the emigration increased with the renewal of the civil war in 1975.

"By the mid '80s, almost everyone had left," said Dr. Elie Abadi, the rabbi of the Lebanese synagogue in New York.

Jews took refuge in France, Israel and North and Latin America.

"But did we want to leave? No. We would have loved to stay," Abadi said.

Sasson added: "Jews were seen as part of the Zionist entity, an extension of the winners of the (1967) war.

"As a Lebanese Jew, I obviously have feelings towards the land of Israel, which is part and parcel of the Jewish faith.

"Now that doesn't include Golda Meir, David ben Gurion, Ariel Sharon or Bibi Netanyahu. Those are not the characters or the figures of the Old Testament.

"Can you be Christian and not believe in Jesus? Can you be Muslim and not face the Kaaba in Makkah when you pray?"

Zeidan said: "Synagogues need to be built in the direction of Jerusalem. When Jews die, they are buried with their heads pointing to Jerusalem. This is in the Torah.

"But (Lebanese Jews) have tenderness for Palestinians, because somewhere they feel they are Arabs."

Sasson agreed: "Palestinians also have a connection to the land, and until there is a fair agreement between the (Israelis and Palestinians), neither one nor the other will ever live happily."

Abadi said Lebanese Jews would love to go to Lebanon and do business with, and for, their country.

"But we feel that Lebanon today is not the Lebanon that we left. We feel bad that the Lebanese of today themselves don't know or appreciate the real Lebanon that it was," he said.

"Hezbollah took over Lebanon and is dictating policy and lifestyle. Lebanon is hijacked. It is not the Lebanon that it should be."

Marcel in Brooklyn added: "Haram, we lost a paradise."

Sasson wants "all the changes that all my friends in Lebanon are asking for - less corruption, less sectarianism, less nepotism, tribalism, all the other isms."

He said: "I want them to clean up those beautiful beaches that I grew up hearing about. (The rest) is bigger than you and me. I didn't create this mess. So I can't fix it."

Today, there are 29 Jews left in Lebanon - and they are all hiding.

"They are afraid to pray at Magen Abraham. They gather in Achrafieh and pray in secret," said Zeidan.

"Yet this is the oldest confession in the country. Look what happened to them!"

Zeidan points to his 400-page manuscript - "The Jews of Lebanon." It is the fruit of 25 years spent searching for the lost and forgotten community.

He found them all and wrote down their names.

"What hurts the Jews the most is that they can't pray on their fathers' and mothers' graves. Every Jew I met asked me for a picture of his ancestors' grave," he said.

"My dream is for that to change. I believe in peace based on Security Council Resolution 242 (calling on Israel to withdraw from the occupied territories).

"Whether we want it or not, peace will happen. It is impossible for neighbors to close their borders indefinitely."

Unearthing the past

By Nagi Zeidan

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hajj،عرب نيوز

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Descendants of the country's dwindling community recall listening to their parents' memories of a lost 'paradise'

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Am Abend des 4. Septembers 2020 haben wir die Studienreise mit einem kulinarischen Höhepunkt beendet.

Mit dem ungarisch-niederländischen Koch- und Landeskenner Simon Wintermanns und der Budapester Köchin und Gastrobloggerin Anita Milinker kochten rund 70 Teilnehmerinnen und Teilnehmer gemeinsam über Zoom ein ungarisches Menü! ! Alle Infos zum Rezept, eine Einkaufsliste und Hinweise zur Vorbereitung hatte man vorher erhalten. Hier nochmals zum nachkochen: Menüvorschlag und Einkaufsliste als PDF

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Am Abend des 4. Septembers 2020 haben wir die Studienreise mit einem kulinarischen Höhepunkt beendet. Mit dem ungarisch-niederländischen Koch- und Landeskenner Simon Wintermanns und der Budapester Köchin und Gastrobloggerin Anita Milinker kochten rund 70 Teilnehmerinnen und Teilnehmer gemeinsam über Zoom ein ungarisches Menü! !

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Nel rispetto del DPCM 3.11.2020 il Museo Nazionale Romano resterà chiuso. Ma Noi Restiamo con te Potrai continuare a vivere il Museo Nazionale Romano seguendo il nostro sito e il...

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Created by Mauritshuis and Madpixel, Second Canvas Mauritshuis allows you to explore the 10 masterpieces from the museum's collection, including the famous 'Girl with a Pearl Earring', and others like 'The Garden of Eden' and 'The Goldfinch', with the best quality and resolution.

Works you will find on Second Canvas Mauritshuis:

Girl with a Pearl Earring by Johannes Vermeer (1632-1675)

The Garden of Eden with the Fall of Man by Peter Paul Rubens (1577-1640) and Jan Brueghel (1568-1625)

The Anatomy Lesson of Dr Nicolaes Tulp by Rembrandt (1606-1669)

The Bull by Paulus Potter (1625-1654)

View on Delft by Johannes Vermeer (1632-1675)

The Goldfinch by Carel Fabritius (1622-1654)

Ice Scene by Hendrick Avercamp (1585-1634)

Old Woman and Boy with Candles by Peter Paul Rubens (1577-1640)

As the Old Sing, So Pipe the Young by Jan Steen (1625/1626-1679)

Self-Portrait by Rembrandt (1606-1669)

Super-zoom to explore the artworks with the best quality and discover hidden details. Specially for the Girl with a Pearl Earring and The Garden of Eden, where you will be able to zoom-in beyond the naked eye, up to the brushstroke level, and see the crackle, thanks to their Gigapixel resolution.

Infrared vision for these two paintings, also in super high-resolution, to reveal the drawing under the painting and discover the "pentimenti", even on the tiniest details.

Discover amazing stories on all Mauritshuis masterpieces, detail by detail, told by museum experts: learn about the characters, symbology, technique, or the artist signature.

New super high-resolution AudioTour feature: play a cinematic tour through the super high-resolution image to discover the artwork secrets while listening to the audio.

Tell your own stories on social media, selecting the details you want to share in super-high resolution.

Download the details with their stories so they can be accessed even when you're offline or in airplane mode.

Seller: Stichting Koninklijk Kabinet van Schilderijen Mauritshuis
Size: 22.4 MB
Category: Education
Compatibility: Requires iOS 9.0 or later. Compatible with iPhone, iPad, and iPod touch. Apple TV.
Languages: English, Dutch
Age Rating: Rated 4+
Copyright: © of the HD images, Mauritshuis (The Hague, The Netherlands). © of the texts and stories, Mauritshuis (The Hague, The Netherlands). © of the Gigapixel images, Madpixel. © of Second Canvas platform
Price: $0.99

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Created by Mauritshuis and Madpixel, Second Canvas Mauritshuis allows you to explore the 10 masterpieces from the museum's collection, including the famous 'Girl with a Pearl Earring', and others like 'The Garden of Eden' and 'The Goldfinch', with the best quality and resolution.

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videá sú na ceste...

Ďalší diel čoskoro...

Navštív profesora Škrečka

Profesora Škrečka môžeš v nadživotnej veľkosti stretnúť v Slovenskej národnej galérii. Na prvom poschodí Esterházyho paláca v Bratislave nájdeš interaktívnu inštaláciu, v ktorej ťa Škrečok prevedie podivuhodnými dejinami umenia od praveku až po súčasnosť. Animácia, mamuty, hlodavce a loptové hry v jednom. Áno, čítaš správne. Príď sa pozrieť!

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videá sú na ceste... Ďalší diel čoskoro... Profesora Škrečka môžeš v nadživotnej veľkosti stretnúť v Slovenskej národnej galérii. Na prvom poschodí Esterházyho paláca v Bratislave nájdeš interaktívnu inštaláciu, v ktorej ťa Škrečok prevedie podivuhodnými dejinami umenia od praveku až po súčasnosť. Animácia, mamuty, hlodavce a loptové hry v jednom.

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Exploring humanities through the life of objects

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MOVE THROUGH HISTORY, PLAY, GO DEEP AND SMILE

Since always, telling stories is a warm and friendly habit,
but also a powerful tool to communicate, inform and teach.
It's the easiest and the most immediate way to transfer knowledge

Una SWIPE STORY è un racconto digitale che, con un linguaggio semplice ed immediato basato su disegni, immagini, parole, giochi, suoni, filmati ed emozioni, è in grado di avviare l'utente ad un nuovo percorso di conoscenza vivo e stimolante e di abilitare uno storytelling innovativo in grado di:

accogliere ed avviare l'utente ad un nuovo percorso di conoscenza, come ad esempio la visita di un museo;

rendere il percorso di conoscenza vivo e stimolante, facendo interagire l'utente con gli elementi che lo circondano e aumentandone il coinvolgimento emotivo;

valorizzare le esperienze di fruizione o le attività laboratoriali favorendo il consolidamento delle conoscenze acquisite con approfondimenti, attività didattiche e ludiche.

Produrre una SWIPE STORY vuol dire costruire una narrazione principale intorno ad una trama e svilupparla attraverso una successione di eventi.

Il racconto di una SWIPE STORY si sviluppa con una serie di scene (frame) che compongono una sorta di nastro. Si passa da una scena all'altra con il semplice gesto dello Swipe, che può innescare:

Ad arricchire la dimensione emozionale in una SWIPE STORY, le transizioni si caratterizzano per un effetto di parallasse (3D Simulato) in cui i diversi livelli del disegno, fatti muovere a velocità diverse, danno profondità alla scena.

La narrazione digitale si sviluppa su più livelli:

un livello del raccont che permette di sviluppare la dimensione emozionale e di coinvolgere il fruitore (post-it e fumetti);

un livello di approfondimento in grado proporre contenuti scientifici di maggiore dettaglio e articolazione (schede, immagini, filmati), sviluppando la dimensione informativa e quella ludica.

Le tipologie di punti di interesse sono in continuo arricchimento con l'attivazione di nuove user experience. Attualmente sono disponibili:

approfondimenti(schede multiple sfogliabili sulle due dimensioni di una matrice con testo, immagini e audio);

curiosità (scheda su due facciate tipo domanda/risposta, suggerimento/soluzione);

filmati e clip animate;

giochi di associazione e di corrispondenza.

SWIPE STORY può offrire una vasta gamma di soluzioni narrative, consentendo agli autori di esprimere pienamente lo sviluppo delle loro idee creative con il linguaggi più differenti. Chiunque tu sia, la tua storia sarà facile da realizzare! Ad ogni modo noi proponiamo una vasta gamma di soluzioni, utili a soddisfare li diversi bisogni del cliente, in cui il nostro team può svolgere diversi ruoli:

Abilitatori: attivando e gestendo le risorse tecniche necessarie per sostenere il flusso di lavoro di produzione di contenuti per un autore esterno.

Autori: concependo, sviluppando e pubblicando le Swipe Story da zero per la distribuzione per una terza parte (musei, istituzioni, imprese, ...).

Consulenti: trasmettendo l'applicazione della metodologia Swipe Story e collaborando alla creazione di nuove storie ideate da autori esterni.

Editori: occupandoci dell'editing e della pubblicazione delle Swipe Story.

Produttori software: sviluppando il tool Swipe Story Authoring

Siamo una startup innovativa nata dalle esperienze e dal confronto di tecnologi ed esperti dei beni culturali. La nostra mission è favorire la divulgazione scientifica, la didattica e la comunicazione sociale per la valorizzazione del patrimonio culturale, materiale e immateriale.

Per questo sviluppiamo tecnologie e metodologie di produzione di contenuti digitali attraverso forme evolute di storytelling e comunicazione multimediale, basate su creatività e conoscenze di dominio, in grado di stimolare ed attivare nuove esperienze di fruizione. Raccontiamo storie che sappiano parlare della vita oltre gli oggetti, delle persone oltre i luoghi. E se queste storie non sono fatte di sole parole o immagini, ma di un'interattività che crea sorpresa ed emozione, diventano ancora più coinvolgenti.

Uno dei nostri format di riferimento è la Swipe Story, una narrazione digitale multimediale che si sviluppa su un nastro illustrato, animato e interattivo su più livelli e con un linguaggio semplice ed immediato basato su disegni, immagini, parole, giochi, suoni e filmati. È sufficiente uno smartphone, un tablet o un pc per immergersi in un percorso di conoscenza vivo e stimolante e, con poche gestures intuitive, navigare fra le diverse scene, incontrare tanti personaggi ed esplorare diversi tipi di approfondimento.

Traguardiamo un mercato ampio, dagli app store ai musei alle scuole, utilizzando un processo produttivo agile che agevola il coinvolgimento di esperti e appassionati, il riutilizzo delle risorse scientifiche e il raggiungimento del grande pubblico.

Siamo autori ma ci proponiamo anche come editori digitali ... ovunque ci sia una bella storia da raccontare.

Siamo un gruppo multidisciplinare composto da esperti di storytelling, artisti digitali e professionisti del settore ICT, impegnato a sviluppare strumenti innovativi user-oriented basati su un mix di nuovi linguaggi, tecnologie e creatività, finalizzato a una proficua interazione con i musei e siti culturali. Il risultato più importante sviluppato dal team è lo Swipe Story Creator, un tool di authoring che permette a qualsiasi autori di utilizzare la metodologia STORY SWIPE per creare storie digitali di alta qualità in poco tempo e ad un costo minimo.

La nostra ambizione è portare l'applicazione della metodologia delle Swipe Story ad ogni possibile contesto applicativo anche oltre la gestione delle risorse e dei beni culturali. La sfida attuale è immaginare le modalità con cui una migliore abilità a narrare può creare valore per gli individui, le imprese e l'intera società. In futuro vogliamo continuare a diffondere ed arricchire la conoscenza, portando la metodologia narrativa delle Swipe Story nei più diversi contesti sociali.

PRIVACY POLICY
Copyright © Swipe Story s.r.l. - Via Lucera 6 - 70100 Bari - Italy - P.IVA 07934070728

Seguici su

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MOVE THROUGH HISTORY, PLAY, GO DEEP AND SMILE Since always, telling stories is a warm and friendly habit,but also a powerful tool to communicate, inform and teach.

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Cookie usage

The Rijksmuseum uses cookies. A cookie is a small text file that a website stores on your computer or mobile device when you visit our site. Would you like to know more? Read our cookie policy.

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The Rijksmuseum uses cookies. A cookie is a small text file that a website stores on your computer or mobile device when you visit our site. Would you like to know more? Read our cookie policy.

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Podcast Van Goghs mooiste brieven (the best letters Van Gogh - red.)

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Podcast Van Goghs mooiste brieven (the best letters Van Gogh - red.)

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Stephanie Afrifa & soorten nietsnutten

In deze aflevering leest cultuurcurator Stephanie Afrifa voor uit een brief die een sleutelmoment markeert: Vincent bevindt zich op een dieptepunt, heeft gefaald als evangelist. Wat nu? Stephanie herkent zijn verlamming, maar ook zijn behoefte aan begrip.

Lees ook eens de volledige brief

Huub van der Lubbe & broederlijk advies

In deze aflevering leest zanger Huub van der Lubbe, bekend van De Dijk, voor uit een brief van Vincent aan zijn jongere zus Willemien. Hij spoort haar aan niet te serieus te zijn, maar dat wat in haar zit naar buiten te laten komen. Vincents advies doet Huub denken aan een liedje dat hij schreef.

Lees ook de volledige brief nog eens na

Ester Naomi Perquin & het topje van de ijsberg

In deze aflevering leest dichter Ester Naomi Perquin voor uit een dramatische brief, met een verhaal als uit een roman. Vincents vriendin Margot heeft vergif ingenomen. Soms weet je niet wat er onder de oppervlakte speelt. Ester Naomi hoopt dat er tegenwoordig meer ruimte is voor anders zijn.

Lees ook de volledige brief

Abdelkader Benali & verbeeldingskracht

In deze eerste aflevering van het nieuwe seizoen leest schrijver Abdelkader Benali voor uit een brief die Vincent van Gogh schreef vanuit het zonnige Zuid-Frankrijk in juli 1888.

Een brief vol observaties, over de omgeving maar ook over de plek van de kunstenaar. De verbeelding is een krachtig middel om ingewikkelde kwesties vorm te geven.

Lees ook de volledige brief van Vincent van Gogh aan zijn broer Theo, 9/10 juli 1888

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Stephanie Afrifa & soorten nietsnutten In deze aflevering leest cultuurcurator Stephanie Afrifa voor uit een brief die een sleutelmoment markeert: Vincent bevindt zich op een dieptepunt, heeft gefaald als evangelist. Wat nu? Stephanie herkent zijn verlamming, maar ook zijn behoefte aan begrip.

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People Not Property. Stories of Slavery in the Colonial North

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People Not Property. Stories of Slavery in the Colonial North

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People Not Property is an interactive documentary about the history of Northern colonial enslavement produced by Historic Hudson Valley.

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Massive Open Online Course - ‘Medicina, literatura i cinema’

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Massive Open Online Course - ‘Medicina, literatura i cinema’

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Malgrat que semblin mons separats, l'objectiu principal de la medicina y de les humanitats és el mateix: l'estudi de l'home. El present curs pretén apropar ambdós mons a través de l'observació de com les humanitats clàssiques (literatura) i les modernes (cinema) s'han interessat pels àmbits tradicionalment vinculats a la medicina.

Equip acadèmic

Coordinació
Josep Eladi Baños
Professors

Maria Teresa Icart

Amalia Lafuente

Jordi Loscos

Fernando Navarro

Mariano Sentí

Irene Cambra

Fèlix Bosch

Enrique García Sánchez

Un curs MOOC està dissenyat com un itinerari d'aprenentatge en línia amb diferents elements (vídeos, lectures, quizz...) que col·laboren per tal que s'assoleixin els objectius d'aprenentatge. A continuació tens accés, de manera gratuïta, a aquest material audiovisual. Podràs consultar la resta de material quan el curs estigui en obert. Esperem que en gaudeixis tant com nosaltres ho hem fet dissenyant-lo per a tu.

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Malgrat que semblin mons separats, l'objectiu principal de la medicina y de les humanitats és el mateix: l'estudi de l'home. El present curs pretén apropar ambdós mons a través de l'observació de com les humanitats clàssiques (literatura) i les modernes (cinema) s'han interessat pels àmbits tradicionalment vinculats a la medicina.

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Massive Open Online Course -  ‘Understanding Ramon Llull’

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Massive Open Online Course -  ‘Understanding Ramon Llull’

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Ramon Llull, nascut a Mallorca al segle XIII, fou un influent filòsof, escriptor i pensador pioner, que va ser capaç d'inspirar sentiments tan oposts com l'admiració i el menyspreu entre els intel·lectuals de la seva època. Figura controvertida, va tenir molta importància dins els cercles intel·lectuals de finals del segle XIII, en què van participar filòsofs i científics àrabs, jueus i cristians. Avui, Llull ha adquirit una nova importància en el debat sobre la manera de compartir el coneixement amb els altres. En aquest curs explorarem la seva obra i la influència que ha exercit en les arts, la literatura, la ciència i la tecnologia.

Equip acadèmic

Amador Vega
Llicenciat en Filosofia per la Universitat de Barcelona l'any 1982. Doctor en Filosofia per l'Albert-Ludwigs Universität de Freiburg, Brisgòvia (Alemanya), l'any 1992. És catedràtic d'Estètica i Teoria de les Arts del Departament d'Humanitats de la Universitat Pompeu Fabra. President de l'Associació d'Amics de la Bibliotheca Mystica et Philosophica Alois M. Haas; membre de l'Institut Universitari de Cultura i membre corresponent del Collège International de Philosophie (Paris).

Un curs MOOC està dissenyat com un itinerari d'aprenentatge en línia amb diferents elements (vídeos, lectures, quizz...) que col·laboren per tal que s'assoleixin els objectius d'aprenentatge. A continuació tens accés, de manera gratuïta, a aquest material audiovisual. Podràs consultar la resta de material quan el curs estigui en obert. Esperem que en gaudeixis tant com nosaltres ho hem fet dissenyant-lo per a tu.

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Understanding Ramon Llull: ​Philosophy, Arts and Science through the Ars Combinatoria

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Ramon Llull, nascut a Mallorca al segle XIII, fou un influent filòsof, escriptor i pensador pioner, que va ser capaç d'inspirar sentiments tan oposts com l'admiració i el menyspreu entre els intel·lectuals de la seva època. Figura controvertida, va tenir molta importància dins els cercles intel·lectuals de finals del segle XIII, en què van participar filòsofs i científics àrabs, jueus i cristians.

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Let's Talk About Myths, Baby! A Greek and Roman Mythology Podcast

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Listen to the latest episode below, visitthis page to listen to all the episodes direct from my hosting platform, or subscribe on Apple Podcasts, Stitcher, Google Podcasts, Google Play, Spotify, TuneIn, or really, anywhere you listen to podcasts!

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EPISODES - Let's Talk About Myths, Baby! A Greek and Roman Mythology Podcast

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Listen to the latest episode below, visitthis page to listen to all the episodes direct from my hosting platform, or subscribe on Apple Podcasts , Stitcher , Google Podcasts , Google Play , Spotify , TuneIn , or really, anywhere you listen to podcasts!

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Le storie del Museo Archeologico Nazionale delle Marche

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Le storie del Museo Archeologico Nazionale delle Marche

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Tu sei qui

Info museo

Riguardo il museo

Esplorate la collezione del nostro museo da un altro punto di vista: in questo percorso potete farlo con una serie di racconti su alcuni degli oggetti esposti e con quiz che vi faranno guardare alle vetrine con occhi diversi. Si parte!

Opere

Collezione artistica con audio

L'uso del sistema e l'app di guida per dispositivi mobili sono gratuiti

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Le storie del Museo Archeologico Nazionale delle Marche

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Esplorate la collezione del nostro museo da un altro punto di vista: in questo percorso potete farlo con una serie di racconti su alcuni degli oggetti esposti e con quiz che vi faranno guardare alle vetrine con occhi diversi. Si parte!

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GODS IN COLOR—GOLDEN EDITION: Polychromy in Antiquity

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GODS IN COLOR—GOLDEN EDITION: Polychromy in Antiquity

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The digitorial for the special exhibition “Gods in Color - Golden Edition“ at the Liebieghaus Sculpture Collection in Frankfurt/Main, on view from 30 January to 30 August 2020.

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La Galleria Nazionale di Arte Moderna e Contemporanea

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We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and our services, you agree to our use of cookies as described in our Cookie Policy.

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Da solo al Museo - Ludovico Pratesi a Palazzo Barberini a Roma

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Listen to this episode from Artribune on Spotify. Il critico e storico dell'arte Ludovico Pratesi si aggira munito di microfono nei grandi musei della Capitale restituendoci le sensazioni della visita in un contesto straniante rispetto al consueto.

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Every year we will run four collecting projects around the city: one pan-London project exploring a particular theme across the city, and three local studies where we zoom in a particular area.

Here are Curating London's four collecting projects that we're carrying out this year.

Dub Reggae is working across London to research dub music, collecting and recording not just a sound, but also the culture and experience behind it.

Finsbury Park: the Archaeology of Now collects objects left behind in Finsbury Park over the course of a year, building up a picture of how different people use the park.

Tower Hamlets: Weaving Diaspora works with British-Bangladeshi women to explore the relationship between dress and identity.

North Kensington: Collecting Ends explores how young people understand West London and how we can document their lives in our collections.

Curating London is also working at the Museum of London Docklands:

Community History at Docklands: How can we work locally to acknowledge contemporary Black experiences in London?

Follow us on Instagram and Twitter, or check back on this website to learn how we're getting on. Every month we'll publish a fresh update on how our projects are going.

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Curating a new Museum of London | Museum of London

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Every year we will run four collecting projects around the city: one pan-London project exploring a particular theme across the city, and three local studies where we zoom in a particular area. Here are Curating London's four collecting projects that we're carrying out this year.

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Diversitatea culturală capătă din acest an o nouă formă de reprezentare, aceea a poveștilor digitale, și un nou spațiu de manifestare, biblioteca publică. În perioada 01 ianuarie 2015 - 30 aprilie 2016, Asociația Națională a Bibliotecarilor...

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Diversitatea culturală capătă din acest an o nouă formă de reprezentare, aceea a poveștilor digitale, și un nou spațiu de manifestare, biblioteca publică. În perioada 01 ianuarie 2015 - 30 aprilie 2016, Asociația Națională a Bibliotecarilor...

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Choose your own adventure - Egham Museum

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Choose your own adventure - Egham Museum

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You are Flora Seville. The year is 1887 and you are one of the first 28 students to enter the wondrous new institution, @RoyalHolloway College for Women. 

How will your first day unfold? 

Just remember to stay out of trouble and avoid being sent to the Principal's Office

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You are Flora Seville. The year is 1887 and you are one of the first 28 students to enter the wondrous new institution, @RoyalHolloway College for Women. 

How will your first day unfold? 

Just remember to stay out of trouble and avoid being sent to the Principal's Office https://t.co/FD7gMTDVq6

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Don’t miss what’s happening

People on Twitter are the first to know.

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You are Flora Seville. The year is 1887 and you are one of the first 28 students to enter the wondrous new institution, @RoyalHolloway College for Women.

How will your first day unfold?

Just remember to stay out of trouble and avoid being sent to the Principal's Office pic.twitter.com/FD7gMTDVq6
— Egham Museum (@EghamMuseum) September 30, 2020

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You are Flora Seville. The year is 1887 and you are one of the first 28 students to enter the wondrous new institution, @RoyalHolloway College for Women. 

How will your first day unfold? 

Just remember to stay out of trouble and avoid being sent to the Principal's Office https://t.co/FD7gMTDVq6

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You are Flora Seville. The year is 1887 and you are one of the first 28 students to enter the wondrous new institution, @RoyalHolloway College for Women. 

How will your first day unfold? 

Just remember to stay out of trouble and avoid being sent to the Principal's Office https://t.co/FD7gMTDVq6

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You are Flora Seville. The year is 1887 and you are one of the first 28 students to enter the wondrous new institution, @RoyalHolloway College for Women. 

How will your first day unfold? 

Just remember to stay out of trouble and avoid being sent to the Principal's Office

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Get book recommendations from Penguin Random House to buy gifts for yourself and your friends and family this holiday season.

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A Picture of Change for a World in Constant Motion

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A Picture of Change for a World in Constant Motion

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A Picture of Change for a World in Constant Motion (Published 2020)

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What a masterpiece of Japanese printmaking teaches us about the way images circulate.

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Our "Closer Look" interactive multimedia modules allow you to see the details of an artwork through a magnifying glass, while commentaries and animations give you its historical and artistic background.

This section is supported by eni.

Portrait of the Marquise de Pompadour

New!

This new interactive module is devoted to the Portrait of the Marquise de Pompadour by Maurice-Quentin de La Tour. This remarkable pastel was drawn by the artist at the height of his fame. It depicts King Louis XV's mistress as a woman of wit and learning, surrounded by objects that evoke her era, tastes and lifestyle, which are described and brought to life with animations and comparable images. In addition, two short documentaries help you understand how pastels are made and used.

A closer look at the Winged Victory of Samothrace

Rediscover a Hellenistic masterpiece in the company of documentary researcher Marianne Hamiaux and curator Ludovic Laugier from the Department of Greek, Etruscan, and Roman Antiquities. After its year-long conservation treatment, the Winged Victory of Samothrace is the subject of the latest issue in the Focus series, designed to shed new light on this extraordinary monument, which can now be viewed in 3D.

A closer look at the Mona Lisa

The "Closer Look" module has been revamped and is now called "Focus." The first feature in this new series concerns the world's most famous painting-discover it on your computer, tablet, or smartphone. Listen to explanations by Vincent Delieuvin, the curator in charge of 16th-century Italian painting, and use new digital tools that will show you the painting as it's never been seen before!

N.B. This new module is optimized for the latest browsers (from Internet Explorer 10, Mozilla/Firefox 26, Safari 7, and Chrome 32).

A closer look at Psyche Revived by Cupid's Kiss

In the Michelangelo Gallery at the Louvre, the visitors crowd around this idyllic image of a loving couple: a winged man and a swooning woman in a voluptuous embrace, their lips about to join in a kiss. Who are these beings whom eighteenth-century sculptor Canova chose to immortalize in marble? This multimedia feature invites you to take a closer look at this masterful composition as you listen to the story of Psyche and admire Canova's virtuoso treatment of the marble.

A closer look at the Seated Scribe

Painted in bright colors and gazing expressively at the visitor, the Seated Scribe is one of the most famous statues in the Department of Egyptian Antiquities. Egyptologists think it is probably the portrait of a high-ranking Egyptian official living at the time of the great pyramids, yet its date and the exact identity of the model still remain a mystery. Find out more through this interactive multimedia study.

Practical information

In line with the measures taken by the government to prevent the spread of COVID-19,the Musée du Louvre and Musée National Eugène Delacroix are closed until further notice.
All those who have purchased a ticket for this period will automatically receive a refund-no action is required.
Thank you for your understanding.

The Tuileries and Carrousel gardens remain open.

Corporate giving

eni
This section is supported by eni.

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Our "Closer Look" interactive multimedia modules allow you to see the details of an artwork through a magnifying glass, while commentaries and animations give you its historical and artistic background. This section is supported by eni. This new interactive module is devoted to the Portrait of the Marquise de Pompadour by Maurice-Quentin de La Tour.

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The Metropolitan Museum of Art, i.e. The Met Museum

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#MetKids is a digital feature made for, with, and by kids.