We just returned from a somewhat frustrating two weeks in Quito. The reason for our trip was to finalize my paperwork so that I can become a legal permanent resident of Ecuador. Unfortunately we were only able to accomplish a fraction of what we set out to do. The bureaucracy here, as anywhere, is horrible and everything seems to involve long waits, complicated procedures and unhelpful employees. One amusing twist was that many of the government employees (and other official types) were openly rude to us. Lucho says it's because they want money and he refuses to pay them. But I guess it just comes with the territory. We got similar treatment at the U.S. Embassy.

The process of getting my resident visa involves many steps and none of them are quick or simple. Just for example one of the things we need to submit is an official marriage certificate. In order to get an official marriage certificate we had to legalize our marriage in Ecuador. To do this we needed a official copy of our marriage certificate (certified by the State of Indiana). The certificate had to be translated and notarized. The notary wouldn't notarize it unless the person who translated it was there to sign the translation in person. Neither Lucho nor I could sign the translation (even though we both speak English) so we had Lucho's sister, an English teacher, sign it for us. We went to three notaries before we found one who would do it for us (the first one refused to do it and the second one was so rude that Lucho wouldn't to go back). The guy who finally did it was nice enough, but we were stuck waiting in his little office for a long time while he chain-smoked his way through the process. Once we finally had all the paperwork together (which included copies of our passports and other documents) we drove down to the "Registro Civil" (which took about an hour in smoggy Quito traffic) to submit everything. After sitting through a traffic jam outside the building for about 20 minutes we were able to find a parking space. As we were walking to the building someone told us that the office was closed for the next hour or so, but we decided to check it out for ourselves. Fortunately they were still open and we were able to get inside. There were long lines of people everywhere. We thought we were lucky when we were directed to a desk with no one waiting near it. The guy understood what we wanted, took our paperwork and charged us $1. Then he told us to come back in the afternoon. So we went out to lunch at a nearby mall and came back. We went back to the guy and he rudely directed us to another desk with a crowd of people around it. They were vaguely organized in a line, but Lucho positioned himself on one side and I stayed on the other just to make sure. We waited our turn and eventually were able to talk to the guy. He made us sign a document and told us to come back the next day in the afternoon to pick up another piece of paper. The next day we came back, waited in another line, got our piece of paper and then were told that we had to go to another desk and register our marriage. We waited again and finally a woman asked us to come forward and sign our names in a book. We were being officially married in Ecuador! But before that we had to pay them $40. After that we thought we could get our official marriage certificate, but no luck. We had to wait a week and go to another office (this one an hour drive, in another direction, through smoggy Quito traffic). So a week later we drove down to the other office to pick up an official copy of the marriage certificate. Christina was sleeping so I waited in the car with her. Lucho disappeared for a while and then came back with a sad face. He told me that after waiting in one long line to request the copy and another long line to pay for it he was told to come back the next day to pick up the document. The next day, after another hour long drive through smoggy traffic, Lucho waited in another long line (I was shopping a local mall with Lucho's sisters) and finally picked up the official marriage certificate!

That was just one of the 6 or 7 documents that we need to apply for my resident visa. Not all of the documents are this difficult to obtain, but each one has its story. For example, I have to send my police record back to the U.S. be certified by the State of California before the Ecuadorian government will accept it.

Of course we could avoid most of this hassle if we paid a lawyer a lot of money. But, besides being cheap, we want to see how far we can get "on our own". We also have the help of one of Lucho's nephews and his girlfriend, who are both law students. When we went to the immigration office with them they recognized one of the guys who works there. It turns out that he is one of their friends from school. So that's a ray of hope. As I mentioned in a previous post - it's always much easier to get things done around here if you know someone on the "inside".

Some of you may remember one of my old posts from Sacramento about how we were rushing around, trying to get all of my paperwork together for a visa. Why are we doing this again, you may ask? Well, we are asking ourselves the same question. The visa I have now is a "tourist" visa, not an "immigrant" visa. It expires at the end of August. Why do I have a tourist visa? Because that's what the Ecuadorian consulate in San Francisco told me to get, even though we explained to them that I am married to an Ecuadorian and that I was planning to live in Ecuador; even though the Ecuadorian Embassy's website clearly explains that there is an immigrant visa that can be applied for from outside of Ecuador. We were told that I had to get the tourist visa first and then reapply for the immigrant visa once we were in Ecuador. Now that we are in Ecuador we are told that the fact that I have a tourist visa is a problem and that I will probably have to pay some kind of fine before I can switch to an immigrant visa. Ahhh ... "la experienca cuesta" (experience costs).

But, despite all of this we were able to enjoy ourselves in Quito. We spent a lot of time with family. We ate a lot of good food, we went shopping, and we got to see some of the sights.

The travelling isn't over yet. On Monday I'm going on a quick trip out to the countryside with some members of a local environmental group. This might turn into a job for me. I turns out that some of the small towns in Loja Province have some funding to do some water quality monitoring. It sounds like a very interesting project and I hope that I can help them out. Then on Friday we're planning to drive to Guayaquil - Ecuador's biggest city, located on the coast - to visit family. We'll be there for about a week. This time we won't be doing any work, we'll just be enjoying ourselves and relaxing.

The Unique Cultural Center

In Ávila (Spain) are opening a new cultural center Centro Niemeyer constructed under the project of well-known Brazilian architect Oscar Niemeyer.

Oscar Niemeyer Presents...

The spiral staircase begins outside, at ground level, then deduces in premises and further into the attic hall. The unique design is only a part of the future complex, the project is in expectation of the gradual grandiose realization.

Organizers hope that the unusual object will represent itself as a magnet for the best samples of world culture, planning development of talents, knowledge and various niches of creative activity.

Except art showrooms and speech auditorium, in Centro Niemeyer are provided: the cinema hall, rehearsal rooms, conference halls and public zones. The author's plan — the centre opens doors into culture in all its directions, forms, traditions and styles: music, theater, cinema, exhibitions in the open air, live conferences and various educational programs.

VIA «Unique Cultural Center [Ávila, Spain]»

It's the Real Vacuum Cleaners!

The industrial vacuum cleaners are a universal equipment by definition for the industry buildings. For industrial cleaners there is nothing impossible: they do not have restrictions and a narrow orientation on gathering of certain sorts of a garbage and a dust, and also duration of the operating mode.

• Universality of a hoover: good industrial hoovers without problems will cope with any garbage and a dust. Including a problem garbage (water, polymeric powder paint, detergent powders and solutions, plaster, cement etc.) and also standard (sawdust, glass, sand, small rubble, an abrasive dust etc.).
• Quality of the filtering system (it's especially important in the light of universality). I recommend the equipment with the mechanical vertical filter: because they prolong life of usual filters and provides high-quality clean-out of air. The filters of last step of clean-out should be low-cost and accessible.
• Reliability. The metal case is more reliable than plastic — you after all do not hope for careful hands of your brigade of a prof-cleaners.
• The operating mode — continuous, round-the-clock. Even if you do not plan to spend the day and the night on a building object.

VIA «How to Select an Industrial Vacuum Cleaner?»

Known as tumuli, the burial mounds are the only remnants of the Thracian civilisation that inhabited the Balkan peninsula from the 2nd millennium BC to the 3rd century AD.

The accidental discovery of a tomb in 1944 revealed that the earthen structures were in fact manmade and that the burial monuments hidden within contained intricately crafted treasures.

Experts believe there are more than 15,000 of these tombs in Bulgaria, a tenth of them in the so-called Valley of the Thracian Kings near the central town of Kazanlak.

Many of the tombs have been looted, but a collection of surviving gold, silver and bronze objects are being shown at the Louvre museum in Paris until July 20.

Of the 1,500 tumuli in the valley, "only 300 of them have been excavated so far and about 35 revealed such rich burial monuments," said Kazanlak archeologist Meglena Parvin.

EU funds have been used to restore a handful of tombs that have been opened to public view, but most remain shut because of a lack of money for repairs.

"I feel sad that they are left like that. I hope that more money will come and we can restore and open them," Parvin said.

The Thracians were a people of horse and cattle breeders, metal miners and goldsmiths who are believed to have had no alphabet of their own and left no written records.

They believed in the afterlife and the immortality of the soul, and buried deceased rulers with their horses, dogs, weapons, drinking cups and even playing dice.

The kings were considered sons of the great goddess Mother Earth and the burial rites were highly symbolic, Parvin explained.

"When he finishes his journey in this world, the king must return to the womb of his mother. That is the reason why we think that they built these artificial mounds around their funeral structures," she said.

In addition to the treasures, the bushy tumuli also conceal a variety of exquisite burial monuments.

Built from huge granite blocks or bricks, they consist of a corridor and one or more chambers, with each revealing its own meticulous design and ornamentation.

"No two tombs are alike," Parvin noted, leading the way through the antechamber of the tomb in the Shushmanets mound.

Inside, a slim column helps support the vaulted ceiling of the burial chamber, the walls of which are adorned by seven half columns.

The Ostrusha tumulus nearby contained a sarcophagus-like chamber hewn from a single granite block thought to have weighed 60 tonnes.

Its ceiling contains traces of drawings of people, animals, plants and geometric figures. The remains of six other rooms surround the burial chamber, none of which have been restored as yet.

The most famous tomb in the valley is the Kazanlak tomb, which was the first to be unearthed during World War II and has been on UNESCO's World Heritage List since 1979.

The original is closed to visits to protect its fragile murals, which depict a funeral procession and a horse race, but visitors can view a replica right next door.

The site draws large crowds but the tourism revenue has not been converted into conservation funds, said Sofia-based archeological expert Diana Dimitrova.

"It is a pity that in Bulgaria somewhere the link is cut and the money from tourism does not go to restorations and archeological excavations," said Dimitrova, whose late husband, archaeologist Georgy Kitov, excavated most of the tombs in the Kazanlak valley and christened it the Valley of the Thracian Kings.

Dimitrova pointed to the three-chamber tomb of King Seuthes III which provided the pieces for the Louvre exhibition as an example of the problem.

A hit among foreign tourists in the years after it opened to the public in 2005, the tomb has been temporarily closed this summer while awaiting funds for emergency repairs.

"The Thracians built these splendid monumental structures to last forever," Dimitrova said.

"We cannot just uncover them and leave them like that."

Source: Diana Simeonova | Source: AFP [July 17, 2015]

The dealer, Subhash Kapoor, is now awaiting trial in India for allegedly looting artifacts worth tens of millions of dollars.

Mr. Kapoor operated a now-defunct gallery on the Upper East Side called Art of the Past. Prosecutors allege that between 1995 and 2012 he illegally imported and sold stolen antiquities from India, Afghanistan, Pakistan and elsewhere, often using forged documents to pass the items off as legitimate.

The U.S. Immigration and Customs Enforcement’s Homeland Security Investigations unit and the Manhattan district attorney’s office have together recovered more than 2,500 artifacts worth more than $100 million from the gallery and storage facilities in and around New York City.

Kenneth J. Kaplan, a lawyer in New York representing Mr. Kapoor, declined to comment Wednesday, but said his client had asserted his innocence both to him and to his counsel in India. Mr. Kapoor has not yet entered a plea in India, according to a spokeswoman for Manhattan District Attorney Cyrus Vance Jr.

The item recovered this week is a Chola-period bronze representing a Tamil poet and saint that dates to the 11th or 12th centuries, according to Brenton Easter, a special agent with Homeland Security Investigations. The statue, which stands nearly two feet tall and weighs more than 80 pounds, was allegedly looted about a decade ago from a temple in a village in the southeastern Indian state of Tamil Nadu.

The theft of the figure was “completely devastating” to the villagers, Mr. Easter said on Wednesday afternoon, as he stood by the open door of the van containing the relic parked on East 91st Street near Park Avenue. The item was smuggled into the U.S. labeled as a handicraft, and then offered for sale at Mr. Kapoor’s gallery on Madison Avenue.

In recent months some institutions that purchased objects from Mr. Kapoor have surrendered the items to Homeland Security Investigations. They include the Honolulu Museum of Art and the Peabody Essex Museum in Massachusetts.

In a statement, Honolulu Museum Director Stephan Jost said in April that “clearly the museum could have done better” with its past vetting of objects. Dan L. Monroe, the Peabody Essex Museum director, said in a statement that month that the institution has undertaken “a rigorous internal assessment of its collection and is working in full cooperation with the Department of Homeland Security.”

This time around, the stolen object was voluntarily surrendered by an anonymous collector who had been contacted by investigators about the piece. Officials said the buyer was considered a victim because the statue was accompanied by a false provenance, or ownership history, that predated its theft.

“We commend this collector for his conscious decision to return this stolen idol,” said Raymond R. Parmer, Jr., special agent in charge of HSI New York. “We hope that other collectors, institutions and museums will continue to partner with HSI, and to see this surrender as a successful way to move forward when dealing with artifacts that might be of concern.”

The agency has recovered at least six other sacred Chola bronzes that it anticipates repatriating to the Indian government.

In April, the Manhattan district attorney’s office filed papers in New York State Supreme Court seeking the forfeiture of 2,622 items seized from the gallery and storage units in Manhattan, Queens and Long Island. The items were worth $107 million, according to the summons. Among them: a statue from India valued at $15 million, a large bronze statue from Cambodia or Thailand worth $5 million and a large standing Buddha from North India estimated at $7.5 million.

According to the April summons, Mr. Kapoor and his gallery manager, Aaron Freedman, “engaged in a common plan and scheme to illegally obtain and sell stolen items of art and conceal or disguise the nature, source and ownership of the illegally obtained property.”

Mr. Freedman pleaded guilty in December 2013 to five counts of criminal possession of stolen property and one count of conspiracy, according to the summons. Prosecutors said the antiquities were forfeitable from Mr. Kapoor and his gallery as proceeds and/or instrumentalities of crime.

Author: Jennifer Smith | Source: The Wall Street Journal [July 03, 2015]

"The ongoing destruction of Palmyra's cultural artifacts reflects the brutality and ignorance of extremist groups and their disregard of local communities and the Syrian people," decaled UNESCO chief Irina Bokova, strongly condemning this new assault on Palmyra, a World Heritage Site, particularly funerary busts and the renowned Lion statue of Athena from the entrance of the site's museum.

"The destruction of funerary busts of Palmyra in a public square, in front of crowds and children asked to witness the looting of their heritage is especially perverse,” she said, explaining that the busts embody the values of human empathy, intelligence and honor the dead. They also represent a wealth of information on costumes, jewelry, traditions and history of the Syrian people.

“Their destruction is a new attempt to break the bonds between people and their history, to deprive them of their cultural roots in order to better enslave them, "she declared.

With this in mind, Ms. Bokova reiterated her call to all religious leaders, intellectuals and young people to stand up against the manipulation of religion, to respond to the false arguments of extremists in all media and through the #unite4heritage campaign.

"I commend the courage of the youth from the Arab world who are committed to protecting their heritage as a source of strength, resilience and hope in the future,” she said.

Finally, she called strongly on all UN Member States, the art market and experts to join forces to curb the illicit traffic of cultural property.

“I call on all researchers, artists, filmmakers and photographers to continue to cooperate and join forces with UNESCO to document and share the wealth of the Mesopotamian civilization. Neither bombs nor jackhammers can erase this great culture from the memory of the world,” she declared, adding that nothing can ever stifle human creativity - despite the obstacles and fanaticism, this energy will come back stronger than before, buildings and sites will be rehabilitated, and some will be rebuilt, and culture will find its place because it embodies the vitality of societies.

“UNESCO will continue to work with the people of Syria to make sure that moment comes as soon as possible,” the Director General concluded.

Source: United Nations [July 03, 2015]

Scholars and curious visitors have spent more than a century trying to unravel those mysteries and more work needs to be done.

That's why nearly 30 top archaeologists from universities and organizations around the nation called on the U.S. Interior Department on Tuesday to protect the area surrounding Chaco Culture National Historical Park from oil and gas development.

In a letter to Interior Secretary Sally Jewell, they talked about the countless hours they've spent in the field, the dozens of books they've published about the Chaco society and their decades of collective experience studying its connection to modern Native American tribes in the Southwest. They call Chaco a distinct resource.

"Many of the features associated with this landscape — the communications and road systems that once linked the canyon to great house sites located as far away as southeast Utah and which are still being identified to this day — have been damaged by the construction of oil and gas roads, pipelines and well pads," the archaeologists said.

They're pushing for the agency to consider a master leasing plan that would take into account cultural resources beyond the boundaries of the national park. They're also looking for more coordination between federal land managers, tribes and archaeologists.

The Bureau of Land Management is revamping its resource management plan for the San Juan Basin and all new leasing within a 10-mile radius of Chaco park has been deferred until the plan is updated, likely in 2016.

Wally Drangmeister, a spokesman for the New Mexico Oil and Gas Association, said the BLM's existing plan already takes into account cultural resources. He said there has been a push by environmentalists to tie Chaco to development in the Mancos shale more than 10 miles from the park.

Environmentalists have been calling for protections for the greater Chaco area, and Drangmeister said that expansive definition could put the whole San Juan Basin off limits.

The basin is one of the largest natural gas fields in the U.S. and has been in production for more than 60 years. More development is expected in some areas since technology is making it easier for energy companies to tap the region's oil resources.

Some archaeologists have theorized that Chaco's influence spread far and wide from its remote desert location. A World Heritage site, Chaco includes a series of great houses, or massive multistory stone buildings, some of which were oriented to solar and lunar directions and offered lines of sight between buildings to allow for communication.

Steve Lekson, a professor and curator at the University of Colorado Museum of Natural History, has spent years studying Chaco and its influence over the Southwest. He likened the process to learning how to play baseball after discovering home base and the pitcher's mound.

"You keep poking around and find more bases and the warning tracks and all that stuff. You need the whole picture to understand how the game is played," he said. "Of course, Chaco being a political system or major regional system is much more complicated than baseball. You need enough of the package intact so you can actually understand the structure of the thing."

Lekson and others said the hope that there's more to be discovered doesn't mean energy development should come to a halt.

"I don't think anybody is saying that, but we need to pay a lot of attention to how that's done and be cognizant of the larger issue," he said. "It shouldn't be a site-by-site thing."

The archaeologists' letter comes on the heels of a tour of the Chaco area by U.S. Sen. Tom Udall, D-New Mexico, and Interior Deputy Secretary Mike Connor. The two met with land managers and others after the tour.

Connor said there are Navajo allottees who want to develop their resources and other Native Americans who want to protect those resources.

"It's a balancing act throughout all of BLM's lands and I think Chaco is particularly unique," he said. "The more I learn about it, the more I was struck by the more we all have to learn."

Author: Susan Montoya Bryan | Source: The Associated Press [July 01, 2015]

Despite providing some of the oldest art in the world, Africa’s rock art tradition has long been overlooked by archaeologists and art historians alike.

Now the British Museum and Kenyan-based archaeological charity TARA (Trust for African Rock Art) are working to preserve this endangered heritage.

“The Museum wants to make Africa’s rock art available to both scholars and the general public alike. We hope to both protect and share this remarkable history for free with a global audience,” says Elizabeth Galvin, Curator of the African Rock Art Image Project.

The rock art tradition began in Africa 50,000 years ago, but abstract engravings may be up to 77,000 years old. It long predates writing, so serves as an important historical window into the culture and beliefs of early humans, and the world in which they lived. Today only a handful of isolated groups engage in the tradition, with a few sites still being used for fertility and rainmaking rituals.

The places in which ancient rock art is found have been little documented and largely unprotected, leading to a deterioration of the sites and the art itself. In 1996, TARA was set up, in order to record and protect the rich rock art heritage of the African continent.

The Nairobi-based NGO are committed to improving awareness about this tradition, and the endangered state that rock art sites are in.

It is the country that gave us democracy, the Olympics, philosophy, medicine, mathematics and some ruddy good stories. Surely you can't put a price on that.

At least, that's what a group of eminent classicists, historians and authors believe.

In a letter to The Telegraph, the philhellenes urge our readers "to remember the very great cultural debt that we owe to Greece".

The letter has been signed by In Our Time presenter Melvyn Bragg, historian Michael Wood, Lastminute.com founder Martha Lane Fox, poet Professor Simon Armitage, novelist Victoria Hislop and a string of notable academics and writers.

"Whatever the precise nature of Greece’s economic future, it is profoundly to be hoped that the Greek people will receive robust support from its European allies, including those in the British Government."

Just think: where would we be if Achilles hadn't been shot in the heel or Odysseus hadn't made it home? If Archimedes hadn't been obsessed with circles? If Pythagoras hadn't preferred angles? If Theseus hadn't killed the minotaur or Icarus hadn't flown too close to the sun or Persephone hadn't made a deal with Hades or Helen hadn't launched a thousand ships?

What would our world be like if Socrates hadn't talked of knowledge, Plato hadn't written about love, and Aristotle hadn't thought about science and ethics and logic and God? If Phidias hadn't designed the Parthenon and Polykleitos hadn't defined male beauty and Praxiteles hadn't sculpted the female form? If Hippocrates hadn't revolutionised medicine? If Alexander hadn't been so great?

Surely such a rich cultural legacy is worth a measly €323bn.

Then again, perhaps we would have been better off if Pandora hadn't opened that box...

Read the full text of the letter here:

Dear Sir,

It is timely to remember the very great cultural debt that we owe to Greece, how valiantly many Greeks fought in WWII and how hard-working, frugal and family-minded the majority of Greeks have long been and continue to be. Whatever the precise nature of Greece’s economic future, it is profoundly to be hoped that the Greek people will receive robust support from its European allies, including those in the British Government.

Prof Angie Hobbs, Dr Bettany Hughes, Martha Lane Fox, Tom Holland, Victoria Hislop, Prof Simon Armitage, Prof Michael Wood, Prof Paul Cartledge, Melvyn Bragg, Prof Chris Pelling, Dr Armand D’Angour, Natalie Haynes, Charlotte Mendelson, Prof Edith Hall, Prof Armand Leroi, Dr Michael Scott

In an area of Colombia so vast and remote that contact has still not been made with some tribes thought to live there, Mike Slee used a helicopter to film hundreds of paintings depicting hunters and animals believed to have been created thousands of years ago. He said: “We had crews all over the place and helicopters filming all over Colombia. As a photographer, Francisco Forero Bonell discovered and took the pictures for my movie.”

The extraordinary art includes images of jaguar, crocodiles and deer. They are painted in red, on vertical rock faces in Chiribiquete national park, a 12,000 square kilometre Unesco world heritage site that is largely unexplored. There are also paintings of warriors or hunters dancing or celebrating. “It is the land that time forgot,” Slee told the Observer.

There had previously been only vague reports of rock art in the area, which is known as Cerro Campana, he said: “There’s no information, maps or communication. It’s such a massive central part of Colombia.” Though some paintings had previously been found and photographed elsewhere in Chiribiquete, this Cerro Campana art has never been filmed or photographed, Slee said: “It was an absolutely stunning moment to be able to get the footage.”

Slee used a helicopter to gain access to the area, as the terrain is impenetrable – thick vegetation, forested rock peaks and valleys, sheer cliffs and giant rock towers soaring through a rainforest canopy.

Professor Fernando Urbina, a rock art specialist from the National University of Colombia, was struck by the “magnificent naturalism” of the depictions of deer when shown the photographs.

“They reveal the hand of a master of painting,” he said, adding that the paintings could be up to 20,000 years old. He was particularly interested in a human figure in a seated position whose arms appear to be folded over his shoulders, a ritual position in Amazonian cultures. “A seated man has special significance as the sage of the tribe,” he said.

The art may have been painted by the Karijona tribe, a few of whose members still live in the region. The seated position might suggest a prisoner or slave, Urbina said.Jean Clottes, a French prehistorian, and author of Cave Art – a book covering key sites such as Lascaux in France – described the images as exciting and well-preserved, but said it would be hard to determine their age because radiocarbon dating could not be used, as they were painted with mineral-based materials derived from iron oxide rather than the charcoal used in European rock art.

The species depicted are thought to include capybaras, snakes and anteaters. Slee described the art as a wildlife chapel. “The peoples who once lived here have left in pictures testimony of their awe and respect for the wild,” he said. “When I saw the images, I honestly felt an affinity with the artists. They were attempting to capture the power, grace, spirit and essence of the animal in pictures. Perhaps it was to make the hunt better next day, but there is clearly careful observation in their art. It’s what contemporary photographers, painters, film-makers set out to do when they create a wildlife project.”

Slee made his name making natural history films and directed the movie Bugs! 3D, about two rainforest insects, narrated by Judi Dench. In 2012, the Observer reported that his Flight of the Butterflies 3D had captured butterflies in unprecedented detail, moving scientists to tears at an early screening. Over the past three years, Slee has been exploring Colombia to make Colombia: Wild Magic, which will be in cinemas next year. Through spectacular footage, it portrays “a majestic tropical wilderness” – but one he said was threatened by humans who are “taking more than they are giving”. With swooping aerial footage and detailed close-ups, it reveals a landscape of canyons and caves, lakes and lagoons, rivers and rock masses with “the largest varieties of living things on the planet”, including unique species of hummingbird and endangered jaguar.

Drawing on the expertise of a dozen scientific advisers, the film warns of threats from the world’s “craving” for natural resources such as gold and emeralds. Slee said: “We’ve got illegal gold-mining polluting the rivers, we’re overfishing the seas, the habitat destruction is massive. We’re taking out the rainforest, we’re losing species every week. We have the most beautiful country on Earth and we are in danger of destroying it. There are places that no Colombian has been. It’s mainly because, when you think of Colombia, you think of kidnapping and drugs.”

Bonell, a Colombian conservationist and photographer, was inspired to become executive producer of the film, describing the region as “one of the few areas on our planet that still remains unspoiled and unexplored”.

The film has been produced by British company Off The Fence, and will be distributed free in schools in Colombia, as well as cinemas, “spreading the word about what their country has and the need to protect it”, Slee said. Slee hopes to return for another large-scale expedition focusing on the rock art. “We’ve probably only scratched the surface,” he said. “There are believed to be many hundreds of these cave paintings dotted throughout that central region.”

Author: Dalya Alberge | Source: The Guardian/Observer [June 24, 2015]

"The fact of the matter is that physical weathering, deterioration and damage to marble and other architectural stones present a serious problem for the preservation of sculptures, monuments and buildings," said Luzin.

David: A sculpture made from Carrara marble

Before its relocation in Galleria dell'Accademia, David, the "Giant", was  symbolically displayed in the political heart of Renaissance Florence, the Piazza della Signoria. Over a period of almost three centuries, the statue was exposed to the action of weather, historical events and inappropriate restoration works. These coexisting factors prevented the appropriate preservation of a masterpiece that, already at the time of its creation, was regarded as challenging by many artists—due to the presence of taroli, imperfections of the marble.

Today David is in a highly stable condition but still presents a contemporary scientific challenge from a conservation point of view. Researchers are monitoring marble cracking of the 4.3 metre David with a system of sensors that record vibrations, rotations and environmental conditions. [1] Conservationists monitor the sculpture because it is thought that even small mechanical impacts and small temperature variations are detrimental to marble.

Geologically marble is formed by the alteration (metamorphism) of limestone under high temperature and high pressure. The metamorphic process causes a complete recrystallization of the original rock into an interlocking mosaic of calcite and/or dolomite crystals with very specific mechanical behaviour.

Carrara marble, the stone used by Michaelangelo in sculpting David, was  one of the most popular types of marble in the world because of its beauty and high lustre. For centuries it was quarried from the Apuan Alps in Tuscan Italy.

The popularity of Carrara marble was due in part to the wide range of varieties available (statuary, flowered, veined, brecciated, bardiglio, etc.), to the constancy of its quality, scarcity of defects, large size of single blocks that could be extracted, excellent physical and mechanical characteristics, and long-lasting strength and beauty." [2]        

However the suitability of marble from the Carrara area of Italy for buildings and artworks has been questioned because of 'spectacular bowing behaviour' of marble slabs on numerous modern buildings including the Amoco building in Chicago and the Grand Arche de la Defense in Paris.

A study of Carrara marble by a group of investigators led by Luzin have confirmed that microstresses caused by temperature variation and the thermo-mechanical properties of the marble itself help explain the deterioration. Co-investigators are Dimitry Nikolayev of the Joint Institute for Nuclear Research in Moscow and Siegfried Siegesmund of theUniversity of Göttingen in Germany.

The investigators were interested in the different environmental conditions that influence marble deterioration and had to reproduce factors known to be important to the process of deterioration. Temperature effects were among those known to cause mechanical stress.

Luzin and collaborators used non-destructive neutron diffraction to confirm that thermally-induced microstress from a single thermal exposure can cause microcracking in the marble and therefore be responsible for weathering and deterioration of the marble [3].

"Neutron diffraction is a useful tool and a non-destructive method to investigate the texture, phase composition and spatial and orientation dependence of strain in a bulk marble sample," explained Luzin.

Although the commercial use of statue-grade Carrara marble is no longer allowed, an exception is made for restoration works and scientific research. Freshly cut marble from a quarry in Carrara, Italy was used for the testing.

"Although not easy, stress measurements in geological materials, such as marble are feasible and provide valuable characterisation," said Luzin.

He explained that the challenges are related to the need to measure two phases with sufficient accuracy. It is necessary to use a large gauge volume because of the coarse grain microstructure and longer measurement time in order to capture very delicate effects of microstress in calcite and dolomite—which are also very weak neutron scatterers.

The neutron high resolution powder diffractomter, Echidna, determined the amount of each phase in two cube samples of marble. In one sample, the dolomite comprised a volume fraction of 28 per cent  and in the other it was 18 per cent, which is not surprising given the highly visible non-uniform distribution of dolomite in the marble.

The Kowari diffractometer was used to produce pole figures, graphical representations that   capture the preferred crystallographic orientation (texture) of the calcite and dolomite. "A weak crystallographic texture in both phases was confirmed in the neutron diffraction experiment," said Luzin.

The stress experiments were carried out using the Kowari diffractometer in a specially designed sample environment unit in order to control temperature. "We took measurements of the calcite and dolomite phases at room temperature and at 80° C."

Using a technique to measure the stiffness of an elastic material, the researchers were able to accurately measure the accumulated damage after a thermal exposure that could be unambiguously attributed to microcracking.

"Evidently, a significant change in microstress caused micro-cracking in the marble sample due to temperature changes," said Luzin.

Although exaggerated temperature might not be relevant to real daily and seasonal temperature variation, smaller, more numerous natural temperature variations during long periods of time might result in even greater accumulated damage. There are historical examples of sculpture which deteriorated into a pulverised state after a century of exposure to temperature variation.

"We have a responsibility to try and preserve great works of art and architecture with non-destructive techniques and nuclear technologies give us the means to do this. Hopefully David and other important monuments can be preserved in the centuries to come," said Luzin.

References

[1] Giovanni Pascale, Filippo Bastianini, Roberto Carli, "Monitoring Marble cracking in the David by Michaelangelo Proc. Art'11, 10th Int. Conf. on Non-Destructive Investigations and microanalysis for the diagnostics and conservation of cultural and environmental heritage, Florence, April 13th-15th, 2011, NDT44

[2] Stephano Merlino Paolo Orlandi "Carraraite and zaccagnaite, two new minerals from the Carrara marble quarries: their chemical compositions, physical properties, and structural features" American Mineralogist, Volume 86, pages 1293–1301

[3] 310.4028/www.scientific.net/MSF.777.148. Luzin, V; Nikolayev, D and Siegesmund, S, Temperature Induced Internal Stress in Carrara Marble, Mater. Sci. Forum 777, 148-154 (2014)

Source: Australian Nuclear Science and Technology Organisation (ANSTO) [June 22, 2015]

The historic underground tunnel linking the Colosseum with its gladiatorial training barracks could be restored thanks to a $1.7 million donation from the Kuwait government.

“We are in talks with Kuwait, one of several countries that has shown an interest in investing in Rome’s cultural heritage,” a spokesman for the city council said.

The Ludus Magnus, also known as the Great Gladiatorial Training School, is located a few hundred yards from the arena and was the largest facility in Rome.

Thousands of gladiators lived and trained there for more than 650 years until the middle of the 6th century when gladiatorial shows came to an end.

Today, the ancient remains lie neglected and littered with rubbish.

The Kuwaiti donation will renovate the area where gladiators would suit up for battle and collect their weapons before walking through the torch-lit tunnel and out into the arena, in scenes famously recreated in Ridley Scott’s blockbuster Gladiator starring Russell Crowe.

“For many years the area around the gladiator school has been rather forgotten, and impossible to visit. We hope to make some significant improvements and restructure the whole zone,” a city spokesperson said.

First built by Emperor Domitian between 81 and 96AD, the barracks were at least two storeys high and included a practice area where gladiators would put their combat skills to the test.

Remains of the site were discovered in 1937 but are thought to be from the second phase of building during Emperor Trajan’s reign from 98AD.

Author: Kate Mead | Source: Yahoo News [June 05, 2015]

Until June 2013, that is. Then, new excavations started under the leadership of Dr Chirikure from the University of Cape Town. Chirikure and his team discovered a large area with massive stone walls, huge piles of fossilised animal excrement, pottery, spinning wheels and thousands of glass beads that testify to thriving trade with other countries, probably India and China. Carbon dating indicates that Mapela was as a flourishing community that existed continuously from the early 8th century until well into the 18th.

'Mapela lies virtually untouched in a rather inaccessible area, and is unique in several respects,' says Per Ditlef Fredriksen, associate professor of archaeology at the University of Oslo. Since June 2014 he has been Dr Chirikure's collaboration partner and head of the research project that will dig deeper into the ecological history of Mapela to find out more about how people and the environment mutually affected each other in the Shashi-Limpopo region.

Mapela is unique, but also one of many

Ecological history studies the complex interplay between people and the environment through the centuries.

'In other words, the question is not only how people have adapted to climate change; it's also a fact that urban societies generate climate change,' Fredriksen points out.

The forgotten stonewalled site at Mapela Hill will be used as a case study in the project, but this is only one of a number of urban, historical communities that have been discovered in the Shashi-Limpopo region. The more famous ruined cities of Khami and Great Zimbabwe, both on UNESCO's World Heritage List, are also located in this part of Southern Africa.

'We are undertaking excavations in several locations in the area to obtain a better understanding of the development of all these world heritage sites, since the relationship between them remains unclarified.'

More concerned with the common folk

Until now, researchers have been mostly concerned with the elite and the elite culture that has been uncovered in places such as Great Zimbabwe and other well-known historical sites in the region. The common folk, on the other hand, were not deemed to be of equal interest ‒ until now.

'We wish to learn more about the relationship between the common population and the elite. Part of Mapela's uniqueness is that this site shows traces of all the three elite cultures in the area. The material culture testifies to this fact,' Fredriksen explains.

'Especially the jewellery, but even the fantastically constructed stone walls are extremely rich in symbols. Our findings in Mapela include traces of the stone walls of Khami.'

Using climate data from the start

'Climate and the environment have previously been topics raised in the debate over the urbanisation of Southern Africa. However, this new interdisciplinary project proceeds several steps further in the direction of natural science,' Fredriksen says.

'We include climate data at an early stage when establishing research questions. Our objective is to obtain a deeper insight into the associations between climate, environment and socioeconomic and political strategies.'

Today, Mapela is located in an underdeveloped and marginal agricultural area, and researchers have assumed that this was an arid region earlier as well, and that Mapela was a regional centre of little importance. New findings, however, indicate the opposite.

A society against all odds

Mapela must have been larger than the known locality of Mapungubwe, where the elite is thought to have lived. Perhaps even the climate was quite different in earlier times.

'Was Mapela a community that existed against all odds?'

'That is an extremely interesting question. After all, Mapela continued to exist for centuries, while other communities, such as Mapungubwe, perished. Why? This is one of the questions we will attempt to answer.'

'Could this project provide new knowledge about the ways in which societies have adapted to climate change?'

'It's very complex, but hopefully we will be able to contribute to this,' says Fredriksen. He refers to the achievements of the University of Cape Town in the field of climate research.

'We are in this project to learn from the South Africans, and we have a lot to learn from them,' he concludes.

For more information see: Zimbabwe Culture before Mapungubwe: New Evidence from Mapela Hill, South-Western Zimbabwe. PLoS ONE (2014)

Author: Mari Kildahl | Source: University of Oslo [May 30, 2015]

The Islamic State's capture of the town of Palmyra late Wednesday was a stunning triumph for the militant group, only days after it captured the strategic city of Ramadi in Iraq's largest Sunni province.

As IS took Palmyra, government forces collapsed in the face of the attacks and Syrian soldiers were seen fleeing the area, activists said. In Damascus, state TV acknowledged that pro-government forces had withdrawn from the town.

Rami Abdurrahman of the Britain-based Syrian Observatory for Human Rights said the extremists overrun the archaeological site, just to the southwest of the town itself, shortly after midnight Wednesday.

An activist in Homs who goes by the name of Bebars al-Talawy also confirmed that IS now controls the ruins at Palmyra. Both activists said the militants had not damaged the site so far.

A Facebook page close to IS published a statement Thursday, purportedly from the group, saying "the soldiers of the Islamic State" completed their control of Palmyra as well as the town's airport and prison. The capture came after government forces collapsed, "leaving large numbers of dead whose bodies filled the streets," it said.

The ruins at Palmyra are one of the world's most renowned historic sites and there were fears the extremists would destroy them as they did major archaeological sites in Iraq. The UNESCO world heritage site is famous for its 2,000-year-old towering Roman-era colonnades and other ruins and priceless artifacts. Before the war, thousands of tourists a year visited the remote desert outpost, a cherished landmark referred to by Syrians as the "Bride of the Desert."

Dear All,

The recent snub by the British government to UNESCO's offer to mediate in the issue of the Parthenon Sculptures dispute and the arrogant wording directed at the Greek government's often repeated offer to negotiate the matter by discussion confirmed our position that Britain never had the intention to enter into good faith discussions. As we had said in recent fora,  the only road we saw to possible success was one of legal action, with a direct and dynamic confrontation with Whitehall.

The recent response by Britain dissolved any illusions we had regarding the powers in the UK to be brought to do the right thing,  and to right a historical wrong.  We too had hoped that Britain would succumb to worldwide public opinion to correct an outrage,  the stripping and vandalising of the Parthenon of 60% of its famous millenia-old  Sculptures ,  a crime committed when Greeks were under occupation and unable to defend their archaeological heritage and national symbols of identity.

The latest declaration by the new minister of culture in the UK continues with the hard line of his predeccesors, namely that "The marbles were legally acquired according to the laws of the time. " So Mr Minister were 3 million African slaves, captured,  transported and sold,  "according to the laws of the time." Opium too was purchased and sold, in tons "according to the laws of the time". Those who did not agree to buy your opium had two wars declared on them,  and so China paid with the loss of Hong Kong and a treaty to buy your Indian grown opium.  This, Mr Minister, is NOT that time.  We are disputing your CURRENT possession of symbols of our heritage, removed from Athens and held by you in a totally government financed and controlled museum institution (all the board is appointed directly, or indirectly by the UK government or by the Queen).

This,  though,  is not the issue.

One more British government acting like  an infant  petulantly hugging another child's toy,  saying "It is mine, mine!"  is understandable,  because there is no home-made item that can compare in beauty,  artisanry,  historic or other value to those created  by a superior ancient civilisation.  We may understand the feeling,  and commiserate,  but that does not justify the possession of the looted Greek scultures taken from the Parthenon.  There is no justification for it.  We sympathise with the situation the British Museum is in,  but our sympathy doesn't extend to giving up iconic and defitive items of our heritage,  nor did our illustrious and talented predecessors in Ancient Athens build the Parthenon to have its facade torn off and damaged  by a British ambassador to decorate his Scottish residence. The Parthenon was built by Pericles and the Greek city states to commemorate the victory of Greek civilisation against the very type of barbarity  and lack of respect that Elgin indulged in 2300 years later.

The British position is well known and is in keeping with how official Britain has acted in the last few centuries.  To win in a contest the basic rule MUST be to understand your opponent and create your game strategy around this knowledge.

Anyone who has studied British history and politics will know that Britain NEVER,  but NEVER,  gives anything back unless forced to do so.  India, Cyprus,  as well as dozens of colonies of the Empire,  and other possessions acquired without the consent of the people, often with great bloodshed caused by British troops were only given back by Britain after a bitterly contested conflict,  on the field of battle,  in courts,  or with a series of extended non-violent political actions by those who had lost their heritage,  freedoms,  or historical archaeological treasures.  Britain today in its museums and in the Tower of London still holds numerous purloined and pillaged items as well as those taken by reason of  military superiority from a vanquished foe defending himself on his own soil.  The Kohinoor Diamond in the so called Crown Jewels  taken from a defeated 15 year old prince in India, is but one example. Manifest Destiny demanded it.  We oppose this way of thinking.

This lengthy introduction,  and I will apologise,  was to emphasise my conviction that dialogue for the return of the Parthenon Marbles, after so many valiant and polite efforts by Greece,  and its overseas friends in all walks of life,  is not a viable option,  and only  incurable romantics or people without an understanding of the official British character and its limitations can insist that this dead end is the road to the Restitution in Athens.

The problem is not the obduracy and intransigence of British officialdom.  It is a given, and we have to act  with that in mind.  It is with the very knowledge of the historic failure of Greek diplomacy,  both cultural and political,  and that of our own self-financed voluntary Parthenon organisations, to bring about the return, that it was encouraging when the Greek government,  that for 40 years has not asked Britain officially for the Sculptures return,  not long ago decided to involve an experienced and prestigious British legal firm Doughty Street Chambers led by George Robertson QC,  to represent our interests and to write a report regarding  what options were open for Greece to act.

Overall public awareness of the issue and additional sympathy for the Greek case was given very welcome boosts,  human nature being what it is,  by declarations of public support by celebrities such as George Clooney,  Matt Damon and others,  while a visit to Greece by Mrs Clooney with her senior colleagues at the UK law office created a media frenzy and a heightening of public interest in the Parthenon issue.  The Doughty Chambers law group produced a 140 page confidential report for the Greek government describing,  as leaked to the press,  5 options.  The one considered to have the highest chance of success was,  and this is no surprise to us,  for Greece to go immediately to the  European Court of Human Rights where,  according to the report,  there was  the greatest chance of a Greek legal victory.  The lawyers were specific: it is  now or never,  if the opportunity is  not to be lost with issues such as statutes of limitations in the near future killing Greek chances of recovery of the items through international court decisions.

In Greece,  as we all know there is a new government,  and the report was delivered to them.  With the understanding of the British penchant for intransigence,  fortified by the recent snub to UNESCO, and the history of failed attempts,  the new minister had a detailed road map in his hands,  to move forward,  with of course the support of millions around the world and at home.  Expecting his decision to do this,  using the British law firm and their international expertise and experience in cross border cultural issues we were stunned to hear the announcement of Under Minister Mr Nickos Xidakis,  a former journalist,  who announced,  in more words than these,  that " We will not go against Britain in court... This is a matter to be settled politically and diplomatically...this issue will be settled, bit by bit over, time..."

Looking at what the minister said let us examine the  viability of his declared course of action over that which the British lawyers and we ourselves at IPSACI believe,  and we all want the same thing ,  the return of the Parthenon Sculptures.

A) Mr Xidakis rejects the expert opinion of the British legal experts.  Claiming we may lose in court.  But for 200 years we have lost! We can only win,  or if we lose here, we can initiate a new legal action in another court.

B) Mr Xidakis says the issue can be won diplomatically.  The question is,  after 200 years of failed  diplomatic initiatives, is the government of Mr Xidakis in such a powerful international position to impose a solution using diplomacy? Does he know of Greek diplomats who can force Mr Cameron to sign a new law allowing/directing the Return of the Parthenon Sculptures?

C) Mr Xidakis told the press that the issue should be dealt with "politically" .  This is indeed one way countries settle disputes.  The assumption by lay persons like myself,  on hearing the Minister,  is that Greece at this moment has the political clout to bring the British Museum to its knees and to force Mr Cameron to sign the document of repatriation of the Sculptures to Athens. With all our goodwill towards Mr Xidakis, where does he draw this feeling of current Greek political power and superiority over Britain from?

D) Finally the minister says that this issue is being slowly resolved, "little by little".

But it has already been 200 years from the stripping of the friezes and metopes and Britain has not moved one centimetre in the direction Greece demands!

If the minister does not tell us why he feels his/our  government has the diplomatic and political power to solve the issue,  I very much fear that his position looks like a hot potato shifting of the issue to a future government because of  reluctance to take the bull by the horns,  as recommended by the UK lawyers, and get into court with his British counterpart.(Apologies for the mixed metaphors!)

I have a great fear that we are about to lose the Parthenon Sculptures for ever, and that the work of all our organisations, ministries,  diplomatic missions,  our volunteer supporters, and decades of dedicated work by people such as yourselves around the world, and in Greek and international  organisations are about to be lost down the drain.

I therefore beg those who believe that we must recommend to Minister Xidakis and his staff to listen to the recommendations of people and experts who know the issues well,  and understand the mindset of those walking the halls of Russell Square and Westmister,  to express their concern to the authorities in Greece.

Thank you for your patience in reading this long analysis of where I believe  we are today,  in view of the recent, and disturbing developments.

Best to all,
Alexis Mantheakis
Chairman of the International Parthenon Sculptures Action Committee Inc.
Athens office.
www.ipsaci.com
+(30)22990 47566

Archaeologist Matthew Vincent has started a technology initiative to counter ISIS’s destruction — and he says his approach could work in other fragile and war torn states too.

Vincent and his colleagues at the Initial Training Network for Digital Cultural Heritage, a programme focusing on the electronic documentation and protection of cultural heritage, have set out to create digital replicas of Mosul Museum’s relics through Project Mosul.

The project’s volunteers primarily use a technique called automatic photogrammetry. This relies on photographs of the destroyed objects, crowdsourced from people who have visited the museum. The team input a series of photos of each object taken from different angles into software that triangulates key points on the object’s surface to create a digital 3-D model. About a dozen pictures are needed to do this.

Vincent and his team have already digitally reconstructed a selection of the lost artefacts — including the ornate gate below.

Working at the Graeco-Roman temple and village site of Hosn Niha, high in the central Biqa' Valley of Lebanon, the team led by Dr Paul Newson (Department of History and Archaeology, American University of Beirut) and Dr Ruth Young (School of Archaeology and Ancient History, University of Leicester) have described the value of exploring conflict damaged sites in the archaeological journal Antiquity.

Dr Newson said: "Shocking recent footage showing apparent damage to world heritage and archaeological sites at Hatra and Nimrud in Iraq include scenes of the bulldozing of irreplaceable buildings. Aerial photographs of living ancient cities such as Homs and Aleppo in Syria taken before the war have been compared to images from the last few months, and the extent of damage to houses, mosques, and heritage structures is brutal and widespread.

"Of course the human cost in any conflict is the first and highest priority; however, archaeology and heritage are extremely vulnerable to attack and damage during conflict and conflict continues to inflict damage on numerous sites, both large and small, around the world today."

Dr Young added: "Rather than simply ignoring sites that have been badly damaged by conflict, we have taken on the challenge of investigating a site previously considered too badly damaged by conflict to warrant systematic archaeological investigation.

"Our research at the Graeco-Roman temple and village site of Hosn Niha in Lebanon has shown that with the right methods and questions, it is possible to obtain a great deal of original and important information from sites that have suffered badly through conflict.

"Using a range of up-to-date surface survey methods we were able to answer some important questions about the site. The first of these was an accurate assessment of site damage, what had been done and where, and the effects of various actions, be it bulldozing or clandestine looting of the site. Through this exercise, we learned that bulldozing and other damage actions had effectively erased the heart of the settlement, but significantly sized sections of settlement beyond remained quite well preserved. From recording and collecting surface finds from across the settlement area as a whole we were able to begin to understand both the morphology and development history of the settlement."

The authors suggest the settlement was firmly established by the 1st century CE with a dense core area and more dispersed courtyard dwellings on the periphery. By the early Islamic period the settlement appears less robust and permanent occupation may have ended for a time. Surprisingly, they also recovered some evidence for an early medieval re-occupation of the site, perhaps a fortified farmhouse. They acknowledge the initial results are preliminary and that more research and analysis of the results is on-going.

Hosn Niha, along with many other sites in Lebanon was severely damaged as a consequence of decades of civil war and the associated unruliness and accelerated looting that went with this.

The authors state: "Sites that have been badly damaged by various causes may be disregarded by professionals who consider that their archaeological or heritage potential has been too badly affected to warrant any investigation. Instead, as demonstrated by the Hosn Niha project, the opposite should become automatic: archaeologists should view conflict-damaged sites as opportunities to gain information and explore sites and regions with new agendas.

"Conflict is impacting the lives of many millions of people, and the archaeology and heritage of many nations. All conflict-damaged archaeology and heritage can play a vital role as resources to help re-build damaged communities and offer hope of employment and reintegration to those impacted by war. Being able to offer ways of thinking of how to deal with damaged sites, gain as much information from them, and consider them a valuable resource rather than an inevitable casualty of war is critical to moving forward, and regaining control over land and identity."

The Central Biqa' Archaeological Project is based at the American University of Beirut, Lebanon (AUB). The project has been supported by the Department of Antiquities, Lebanon and the University of Leicester, and is funded by the American University of Beirut through its University Research Board (URB).

Source: University of Leicester [May 01, 2015]

The grotto at Vallon-Pont d'Arc in the Ardeche region of southern France, is a reproduction of the closely guarded Grotte Chauvet, which was granted World Heritage status last year.

The French president had already officially inaugurated the museum earlier this month and it officially opened to the public on Saturday.

The replica cave, which took a team of scientists two and a half years to create, will enable tourists from around the world to continue to see the frescos of painted animals without damaging the original cave.

Unique in the world for being such an identical and precise reproduction, the grotto has been built in the shape of a bear's paw, and stands just one kilometre away from the original site.

Inside the new grotto, which came a cost of €55 million visitors will be able to see more than a thousand drawings, including 425 animal figures of 14 different species, which have been meticulously reproduced.

The smell, humidity and even stalactites of the Grotte Chauvet have also been recreated to make the new site as authentic as can be.

The visitor walks down a long ramp to get into the building housing the replica, entering a darkened, cool and humid place that mirrors conditions in the grotto.

Then just like in the real cave, people stick to a walkway that takes them past replica bones and the skull of an Alpine ibex, a species of wild goat.

The drawings reveal themselves as the visitors walk further into the fake cave, a total of 1,000 paintings including 425 animals -- including bears, rhinos, big cats, owls.

These have been reproduced using charcoal, just like our Aurignacian ancestors did some 36,000 years ago.

Using ultra-modern techniques such as 3D imaging, engineers, sculptors, painters and visual artists faithfully reproduced the paintings.

A team of 10 people in Paris also worked for four years to reproduce stalactites, stalagmites and other formations present in the Grotte Chauvet itself.

Authorities hope that the giant replica will attract some 350,000 visitors a year.

The original Chauvet grotto was preserved for more than 20,000 years thanks to the fallen rocks, which blocked its entrance.

The grotto was discovered on the 18th December 1994 by amateur potholers: Jean-Marie Chauvet, Eliette Brunel et Christian Hillaire.

The photos above demonstrate that between March 1 (the first photo) and April 11 (the second photo) of this year, the geoglyph was removed from the earth and tilled by agricultural invaders.

The Peruvian Association of Rock Art (APAR) reported that the individuals responsible were indeed people who strived to rid the site of any archaeological evidence in the hopes of irrigating and occupying the land for agricultural purposes.

Representative of APAR, Victor Corcuera determined that the invaders did the damage intentionally as they only drove their machinery on the geoglyphs and left the remaining land un-furrowed, according to El Comercio.

Archaeologists have determined that the geoglyphs design belongs to a phase later than that of the Chimu culture. The figure was considered one of the most well-known of the geoglyphs recorded in the region.

José Carlos Orrillo Puga, photographer of the photos, believes these perpetrators will continue to destroy the sites. “There are dirt roads leading to other sectors where geoglyphs remain intact,” Puga said.

Archaeologist Gori Tumi Echevarria told El Comercio, “The destruction of the Triple Spiral is a disgrace to the Peruvian archaeology, which can not allow the evidence to be destroyed and go unpunished.”

The Ministry of Culture announced this year that it does not have the resources to protect more than 1,000 of Peru’s archaeological sites. Recent denouncements of invasions and destruction of sites has the Ministry struggling to protect its sites.

Author: Hillary Ojeda | Source: Peru this Week [April 16, 2015]

The artifacts, valued by the authorities at $107.6 million, were described in papers filed in State Supreme Court in Manhattan as having been looted from India and other places in southern Asia and smuggled into the United States by the dealer, Subhash Kapoor.

In their complaint, prosecutors said Mr. Kapoor, 65, had cached the items in an assortment of hideaways in Manhattan and Queens. They were confiscated during raids that began in 2012 and continued through last year.

The seized items included bronze and stone statues of Hindu deities, many of them ancient masterworks worth several million dollars each.

The authorities said their goal in gaining custody of the items was to set in motion the return of the stolen objects to India and their other countries of origin. Officials also hope to prosecute Mr. Kapoor, an American citizen, in the United States. Currently he is awaiting trial in India on charges of plundering archaeological sites and conspiring with black market traders to send illicit artifacts overseas. American officials are planning to extradite him after his case is settled.

Mr. Kapoor, whose defunct gallery, Art of the Past, sold hundreds of objects to prominent American museums and collectors, has denied any wrongdoing.

“At the present time we are at a distinct disadvantage because Mr. Kapoor is in an Indian jail and all the facts in this matter are known by him,” said Kenneth J. Kaplan, a lawyer for Mr. Kapoor. Manhattan prosecutors declined to comment on the case.

Since an initial raid on Mr. Kapoor’s gallery by Homeland Security Investigations agents in 2012, three of his associates have agreed to criminal penalties in exchange for cooperating with investigators, according to officials and lawyers. The case, which now extends to four continents and is being pursued in conjunction with Indian officials, has been named Operation Hidden Idol.

Mr. Kapoor’s office manager, Aaron M. Freedman, 43, of Princeton, N.J., pleaded guilty in 2013 to six counts of criminal possession of stolen property valued at $35 million and, according to his lawyer, helped officials track down some of Mr. Kapoor’s hidden storage locations.

In addition, Mr. Kapoor’s sister, Sushma Sareen, a 61-year-old Queens resident, pleaded guilty in November to a misdemeanor charge of obstructing justice and was sentenced to conditional release. In 2013, she had been charged with receiving and possessing several million dollars’ worth of ancient bronze statues, which remain missing. She is also cooperating, according to investigators.

Federal authorities have identified 18 American museums as owning a total of 500 items sold or donated by Mr. Kapoor. Several museums have recently turned in objects judged to be illicit, while others have said they are satisfied that their Kapoor items were legally acquired.

Author: Tom Mashberg | Source: The New York Times [April 14, 2015]