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THE ancient world still casts a spell. While the educated public surely knows less about Greek and Roman culture than it did 100 years ago, many men and women continue to approach antiquity with keen expectations, believing that even a rapid glance in that distant mirror can help us better understand ourselves. ![]() Stunning temple: The Leon Levy and Shelby White Court, the Metropolitan Museum of Art Far away from the worlds of power and policy, the opening of the final sections of the new Greek and Roman galleries at the Metropolitan Museum of Art in New York has turned out to be one of the most engrossing museum-going experiences of recent years. Walking through the galleries on a weekday afternoon, you can see how eagerly, how gleefully, students respond to the unabashed eroticism of the ancient world, to an avidity for bodies that makes even 21st-century urban permissiveness look rather puritanical. There is something at once bluntly familiar and utterly impenetrable about antiquity. Even people who have not read The Iliad or looked closely at a Greek vase can feel that they are acquainted with these cultural landmarks. But knowing how to assess such ancient achievements is another matter entirely. Is The Iliad a story of heroic individualism? Or is it an allegory of the dangers of pure force, as Simone Weil suggested in a famous essay written on the eve of World War II? When we look at Greek vase paintings, are we mistaken in seeing some mismatch, or at least some tension, between the nearly abstract elegance of the figurative style and the brazenly realistic treatment of sexual encounters? These are the sorts of questions that are raised by all important works of art and literature, which by their nature can mean many different things. But the stakes are raised almost impossibly high when we are looking at the ancient world, for if the art, literature and philosophy of Greece and Rome are the beginnings of Western civilisation, then the act of interpretation becomes nothing less than a referendum on ourselves. The most we can generally hope to grasp of the ancient world are glimpses: fragmented vistas, partial perspectives, moments of insight. These glimpses, the large ones as well as the small ones, are precisely what a museum-goer discovers amid the sunstruck elegance of the new Greek and Roman galleries. The Metropolitan has long possessed what is probably the finest collection of Greek and Roman art outside Europe. And that collection has never looked better than in this luminous re-installation, 15 years in the making and opened in stages during the past 10 years. Architect Kevin Roche has done a brilliant job of revitalising the visual beauties of the old McKim, Mead and White galleries on the museum's southern flank, which were constructed early in the 20th century in a beaux-arts style that self- consciously recapitulated the vaulted spaces of ancient Rome. Those who go to museums in search of innovative installations may think the Metropolitan has left ancient art looking more or less the way it always looked. And this may be precisely what Carlos A. Picon, the curator in charge of the Greek and Roman galleries, has set out to do. The gathering of gods, heroes and athletes that fills the grandly scaled central spaces in the galleries will give many museum-goers a sense of deja vu, evoking memories of antiquities glimpsed in any number of collections in Rome or Paris. Ancient art was where the Metropolitan started: 35,000 antiquities from Cyprus, collected by Luigi Palma di Cesnola, was the museum's first great acquisition, and Cesnola was the first director of the museum. In giving its Greek and Roman collections this sumptuous re-installation, the museum is returning to its roots, and every return provokes a reconsideration. In the 1920s, Andre Gide identified the element of struggle in classicism when he observed: "The classical work of art tells of the triumph of order and measure over inner romanticism." The Greek and Roman galleries present such a great variety of work that we cannot help but be brought close to the romantic urges that classicism sets out to subdue. We have here, after all, not only the cool athleticism of a Roman copy of a statue of a young man by Polykleitos but also the dreamy smile of an early 5th-century youth, the clotted-cream lusciousness of a Dionysian sarcophagus from the 3rd century and the blunt realism of a monumental head of Constantine from the 4th century. We understand what Gide meant when he said: "The greater the initial revolt of the object brought under subjection, the more beautiful is the work of art." Indeed, the trouble with some of the chilliest of the Roman copies of Greek statues is that the romantic heat was probably not there to begin with. The wonder of this beautiful installation is that it is not modern, or postmodern, or anti-modern. Instead it presents the beginnings of art in the West in a manner that is free-spirited, open-minded and bracingly unideological. In one respect there could hardly have been a worse time to open these galleries, for in recent years ancient art and archeology have been under a cloud of scandal, with museums, especially in the US, accused by European governments of collaborating, at least tacitly, with unscrupulous dealers and overeager collectors to flout or finesse laws designed to protect the national patrimony. The appetite for antiquities has placed many dealers, collectors and even curators on a collision course with archeologists and scholars who quite rightly are protesting the ongoing destruction of archeological sites. More than a year ago, when Philippe de Montebello, director of the Metropolitan, sat down with Italian officials to resolve claims against works in the museum's collection, sceptics could argue he was simply practising damage control. By hammering out a repatriation plan that included long-term loans, he freed the Metropolitan from the aura of illegality that had enveloped the Getty in Los Angeles and once again proved himself a master politician. But de Montebello was doing something more important, too. He was announcing that the Metropolitan was dedicated to something higher than provenance and provincialism; that the question of what belongs to us and what belongs to them must never overshadow the greater power, the universal power, of the art itself, which is that it belongs to anybody who takes a heartfelt interest. In History of the Department of Greek and Roman Art, an essay Picon has contributed to the new handbook of the Metropolitan's classical collections, we are invited to review the museum's century-long efforts on behalf of ancient art. Picon lingers over the distinguished scholars who have served at the Metropolitan, among them Gisela M.A. Richter, who in the mid-century years oversaw important acquisitions and wrote some of the museum's catalogues. The truth is that many, if not most, of the essential monuments of the Metropolitan's collection were acquired decades, even generations, ago. So the scandals of recent times do not have that much to do with the core of the museum's collection, although of course the seamier side of the antiquities trade is a very old story, one that some would say dates back to ancient times, when Romans hungry for statues to decorate their villas did not care how their agents got the goods out of Greece. The essential theme of Picon's essay, a theme that is never stated outright, is that even if some of the treasures in the Metropolitan were not exactly honestly acquired, the curators who built the department have been animated by the most serious sort of engagement with the art of the ancient world. There is an extraordinarily satisfying solidity about the new presentation of ancient art at the Metropolitan. The works are deployed with a lucidity that allows them to tell their own stories and this means that what you find here are many, many stories. My guess is that most people instinctively pick and choose which stories they take in. The resplendent arrangement of Roman paintings, for example, has struck a chord in quite a few museum-goers, who see more clearly than ever how much European painting owes to antiquity. There is a feeling of generosity about these galleries, in the beautiful marble floors, the abundant light, the well-paced displays. Visitors are being very well treated indeed, and that leaves them free to look and to wonder and to dream. Everything feels clean-swept, burnished, honey-dipped. There is something almost sacerdotal about the way the spaces unfold, with that central spine of classical sculpture leading to Greek funerary monuments, Roman wall paintings, Etruscan bronzes. The experience is irresistible, a heady mix of the sensuous and the cerebral, the pagan and the austere. The New Republic THE bomb hit the ABC's headquarters, destroying everything except one digital transmission tower. The force of the blast left Aunty's site a cratered mess. Just weeks before, a group of terrorists flew a helicopter into the Nissan building, creating an inferno that left two dead. Then a group of armed militants forced their way into an American Apparel clothing store and shot several customers before planting a bomb outside a Reebok store. ![]() Pixel-packing avatars: Browsing for weapons in Second Life This terror campaign, which has been waged during the past six months, has left a trail of dead and injured, and caused hundreds of thousands of dollars' damage. The terrorists belong to a militant group bent on overthrowing the government. But they will never be arrested or charged for their crimes because they have committed them away from the reach of the world's law enforcement agencies, in the virtual world known as Second Life. Second Life, or SL as it is known to devotees, is an online reality game. It was launched in 2003 by California-based Linden Labs but it did not come to prominence until last year, when corporations including Sony, IBM, Nissan and the ABC bought islands and began marketing to visitors. In SL people create their own characters, known as avatars, and live an alternative life, buying goods, real estate and living in a community of more than eight million people from across the world. They go about their lives, attending concerts and seminars, building businesses and socialising. On the darker side, there are also weapons armouries in SL where people can get access to guns, including automatic weapons and AK47s. Searches of the SL website show there are three jihadi terrorists registered and two elite jihadist terrorist groups. Once these groups take up residence in SL, it is easy to start spreading propaganda, recruiting and instructing like minds on how to start terrorist cells and carry out jihad. One radical group, called Second Life Liberation Army, has been responsible for some computer-coded atomic bombings of virtual world stores in the past six months. On screen these blasts look like an explosion of hazy white balls as buildings explode, landscapes are razed and residents are wounded or killed. With the game taking such a sinister turn, terrorism experts are warning that SL attacks have ramifications for the real world. Just as September 11 terrorists practised flying planes on simulators in preparation for their deadly assault on US buildings, law enforcement agencies believe some of those behind the Second Life attacks are home-grown Australian jihadists who are rehearsing for strikes against real targets. Terrorist organisations al-Qa'ida and Jemaah Islamiah traditionally sent potential jihadists to train in military camps in Pakistan, Afghanistan and Southeast Asia. But due to increased surveillance and intelligence-gathering, they are swapping some military training to online camps to evade detection and avoid prosecution. Rohan Gunaratna, author of Inside al-Qa'ida, says it is a new phenomena that, until now, has not been openly discussed outside the intelligence community. But he says security agencies are extremely concerned about what home-grown terrorists are up to in cyberspace. He believes the dismantling and disruption of military training camps in Afghanistan and Pakistan after September 11 forced terrorists to turn to the virtual world. "They are rehearsing their operations in Second Life because they don't have the opportunity to rehearse in the real world," Gunaratna says. "And unless governments improve their technical capabilities on a par with the terrorists' access to globalisation tools like the internet and Second Life, they will not be able to monitor what is happening in the terrorist world." Gunaratna says a fresh crop of home-grown jihadis has been groomed and is ready to step up and replace the leaders of Australian terror cells who have been arrested or jailed. He estimates as much as 80 per cent of the nation's counter-terrorism resources is dedicated to monitoring and tracking them. Kevin Zuccato, head of the Australian High Tech Crime Centre in Canberra, says terrorists can gain training in games such as World of Warcraft in a simulated environment, using weapons that are identical to real-world armaments. Zuccato told an Australian Security Industry Association conference in Sydney that people intent on evil no longer had to travel to the target they wanted to attack to carry out reconnaissance. He said they could use virtual worlds to create an exact replica and rehearse an entire attack online, including monitoring the response and ramifications. "We need to start thinking about living, working and protecting two worlds and two realities," Zuccato says. Earlier this year Britain's Fraud Advisory Panel warned that SL players could launder money across national borders without restriction and with little risk of being detected. The FAP says criminal or terrorist gangs can also use the game to avoid surveillance while committing crimes including credit card fraud, identity theft, money laundering and tax evasion. Intelligence and law enforcement agencies in the US and Australia are so concerned they have established their own reality world games in a bid to gain the same experiences as the virtual terrorists. Monash University academic and former Office of National Assessments intelligence officer David Wright-Neville agrees that online games and virtual worlds are being used by potential terrorists to hone their knowledge base. "They are very savvy with their technical skills," he says. Intelligence analyst Roderick Jones, who is investigating the potential use of the games by terrorists, says SL could easily become a terror classroom. "The teaching capabilities of the world can clearly be adapted for use by terrorists," he says in article published on website Counterterrorismblog.org. He believes the fast pace of communication that takes place in games such as SL is ideal for recruitment into radical groups, particularly because the age range of those engaged in this world is typically 18 to 34. Jones says streaming video can be uploaded into SL and a scenario can easily be constructed whereby an experienced bomb-maker could demonstrate how to assemble bombs using his avatar to answer questions as he plays the video. The bomb-maker and his students could be spread across the world, using instant language translation tools to communicate. "Just as real-life companies such as Toyota test their products in SL, so could terrorists construct virtual representations of targets they wish to attack in order to examine the potential target's vulnerabilities and reaction to attack," Jones says. One of the most useful tools available is theability to transfer SL money between avatars, funds that can then be translated into real currency. "The SL currency of Lindens (about $L270 to $US1) can be bought using a credit card in one country and credited to one avatar (account) and can be given to a co-conspirator avatar in another country," Jones says. The recent string of terrorist attacks in SL appeared to work and frightened off some retailers. In Nissan's case, its online officials cleaned up the mess, took away the bodies in virtual coffins and continued business. However, the American Apparel store is closing and moving out. The ABC has discovered that its bomb was a computer server error that it was able to fix within a couple of hours. Nonetheless, it is taking the likelihood of a terrorist attack seriously. Abigail Thomas, head of strategic development at ABC Innovations, says they are taking precautions to protect their most popular site on the ABC's island, known as the Sandbox. The Sandbox, which allows visitors to build or create objects including buildings, is considered the most vulnerable. "There have been some incidents where some people have built objects that are inappropriate for an ABC site," Thomas says. She says the ABC is monitoring the site closely, and has staff drop into the area twice a day to check on what is happening. There is an auto-delete button used to remove things quickly. "We have also harnessed the community to moderate the space," she says. Community representatives are relied on to report suspicious or inappropriate behaviour to the owners or the SL authorities, just as in the real world. Apart from the virtual worlds, nearly 5000 websites are maintained by terrorist groups. More than a dozen groups produce videos. Gunaratna, who is also head of terrorism research at the Institute of Defence and Strategic Studies in Singapore, says few governments understand the importance of the internet to terrorism. US terrorism expert Bruce Hoffman, from think tank RAND Corporation, says intelligence agencies deal with people only once they have become radicalised. But he warns law enforcement needs to step up its access to and understanding of internet communications and users. "We have to contest this virtual battle space in much the same manner as we are very successfully doing in other traditional forms," Hoffman says. Natalie O'Brien is a senior writer on The Australian. Introduction
News and media
Credits roll for master of modern cinema | The Australian
www.theaustralian.news.com.au/story/0,25197,221627... It is time for the "global warming election". The myths that coal can be clean and nuclear can be safe are distractions. Whilst the major parties are addicted to coal, the Greens are committed to a rapid transformation of NSW's energy industry to low emission renewable energy options such as solar and wind power, energy efficiency and conservation measures. There is no choice between the economy and the environment: both can be healthy and sustainable. Refugee tribunal plays silly oogaboogas - National - smh.com.au
www.smh.com.au/news/national/refugee-tribunal-play...
Blogging on the job - web - Technology - smh.com.au
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Film
Dench is sublime as a woman who revels in others’ discomfort, while Blanchett opens up emotionally like a flower whose petals are drawn to the light.” says Louise. “…this beautifully realised film is everything a grown up film lover could want in terms of character, story and subtle yet riveting, powerful drama … a feast of moving scenes that juggle our feelings like an accomplished circus act,” says Andrew. “Robert De Niro’s The Good Shepherd canvasses in considerable detail and with great conviction, a fictional account of the early days of the CIA. The topic is fascinating and the cast A grade, so more’s the pity that the story becomes bogged down by its 160 minute length, too many characters and constant leapfrogging back and forth in time,” says Louise. “Indeed, it’s the all star cast that engages, more than the storyline, which (for no apparent good reason) is told in time jumps back and forth,” says Andrew. Image:SWcastphoto.jpg - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Image:SWcastphoto.jpg The core of the film is a one-man, ever-evolving multimedia slide show that Gore assembled himself. A little-known fact: Since his defeat by George W. Bush in 2000, Gore has traveled the globe with his bar graphs, staging event after event for small, invited audiences. Free of charge. And he's presented one version or another of this slide show, by his own estimation, a thousand times. Devilish date with the Beast | The Arts | The Australian
theaustralian.news.com.au/story/0,20867,19372828-1...
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