LONG THOUGHT LOST DISCOVERED: Florence Nightingale [sound recording] : greetings to the dear old comrades of Balaclava

Title	Florence Nightingale [sound recording] : greetings to the dear old comrades of Balaclava
Imprint	[S.l.] : 1890

Brief URL for this record (copy or bookmark)

Click on the following to:
1st Rendition
2nd Rendition

LOCATION SHELFMARK	STATUS	COMMENTS
REQUEST Moving image and sound collections  1576A	-	MANUAL REQUEST

Phys. Desc.	1 CD (2.16 min.)
Note	The transfer from the original cylinder was made on 18 March, 2004.
Summary	This CD is a copy made from the original brown wax cylinder featuring the voice of Florence Nightingale recorded on 30 July, 1890. There are two recitations, the second has slightly altered wording to the first.
Author, Etc.	Nightingale, Florence, 1820-1910.
Genre/Tech	Sound recordings.
System No.	.b15907405

Wellcome Library Catalogue - search results for 'b1590740'

Rojak and Cocktail: Iranians Revolt on Twitter, Facebook & YouTube

Iranians Revolt on Twitter, Facebook & YouTube

One young man was killed by militia at Shadmehr st, Azadi St. in Tehran election rally.


"Iran Elections," "Iranians," "Tehran" and "Mousavi" (also spelled "Moussavi") were the trending topics on Twitter for a whole day on Tuesday, June 16. When four out of ten trending topics are all about the same issue, you know the world is focused. This blog is testimony to how the social media tools of Twitter, Facebook and YouTube can help fight back censorship in the 21st Century.

According to NY Times article, it was noted that Twitter was aware of the power of its service in this regard. Acknowledging its role on the global stage, the San Francisco-based company said on Monday June 15 that it was delaying a planned shutdown for maintenance for a day, citing “the role Twitter was currently playing as an important communication tool in Iran."

In a subsequent NY Times article, a 27-year-old State Department official, Jared Cohen apparently e-mailed Twitter with a request: to delay scheduled maintenance of its global network, which would have cut off service while Iranians were using Twitter to swap information and inform the outside world, The request, made to a Twitter co-founder, Jack Dorsey, is yet another new-media milestone: the recognition by the United States government that an Internet blogging service that did not exist four years ago has the potential to change history in an ancient Islamic country.

Mr. Cohen, a Stanford University graduate who is the youngest member of the State Department’s policy planning staff, has been working with Twitter, YouTube, Facebook and other services to harness their reach for diplomatic initiatives in Iraq and elsewhere

Many members (Tweeps) have changed their user photos (avatars) to green, and/or included images from Iran, such as green paint dipped fingers making the peace sign. Green is traditionally considered a symbolic color of Islam, but has also come to represent the movement against Iran’s election results.

Facts that show that the social networks of Twitter, Facebook and YouTube sit in the epicenter of this maelstrom is evidenced by the 100s of web sites, profiles, tweets and fan pages that emerged this week. Mr. Moussavi’s fan group on Facebook alone has swelled to over 50,000 members, an exponential increase since election day a week earlier.

ranians continued to report that they could not send text messages. However according to Jonathan Zittrain, a professor at Harvard Law School and an online expert said that Twitter was particularly resilient to censorship because it had so many ways for its posts to originate — from a phone, a Web browser or specialized applications — and so many outlets for those posts to appear.

Iranian authorities have imposed severe restrictions on foreign news organisations trying to cover protests in Tehran following the recent elections, but the Iranian protesters are transferring video to their mobile phones and cameras and uploading it to YouTube, as evidenced here...




The video and social networking websites of Twitter, Facebook and YouTube have helped break this important story and expose it in real time on the Internet. While Iran does have the ability to shut down some of its major news outlets, it is incapable of terminating cell phone transmissions. About 60 percent of Iran's 70-million population are under 30 years old and the country has some 20 million web users.

In an era where censorship and Big Brother still try to hold their controlling grip on its citizens in countries like Iran and China (see my previous blog on "Social Networks in China"), it's gratifying to see how social networks can be used effectively to fight back this oppression.

Perhaps Ezra Gottheil, an analyst at Technology Business Research summed it up best when he said: “I think this is Twitter’s finest hour...this has made our world smaller and more personal in a time of great chaos, when a government is trying to stop communication.

Rojak and Cocktail: Iranians Revolt on Twitter, Facebook & YouTube

Virtual Sambor Prei Kuk, Cambodia » Screenshots

Images from Virtual Sambor Prei Kuk

View of the market	Bird-eye view of the market	The market and temple	Bird-eye view of the temple
Bird-eye view of the temple	View of the shrine	Worship of the Liṅga in the shrine
Entry to the shrine	Maṇḍala Initiation	Ancillary shrine	The lotus pond
Brahmanical fire-sacrifices	Bathing rituals in the pool

Virtual Sambor Prei Kuk, Cambodia » Screenshots

Virtual Sambor Prei Kuk, Cambodia

Digital Modeling of Tangible and Intangible Cultural Heritage

The Virtual Reconstruction Project of the centeral temple at Sambor Prei Kuk, in Cambodia, is an attempt to apply 21st century technology to 7th century cultural heritage.

Sambor Prei Kuk (SPK) provides the earliest record of Khmer temples, predating better known (and better preserved) Angkor Wat by several centuries. Hence, the study of SPK is crucial for understanding the Khmer, pre-Angkorian tradition; and the subsequent development of temple cities such as Angkor Wat in Cambodia.

As befitting an important cultural heritage site, SPK has been studied by archeologists and other scholars for many years. Their work has provided much knowledge of the culture and the period, especially about the eastern expansion of Hinduism along the trade routes from its Indic origins into Southeast Asia—one of the great cultural assimilations in human history. From the fifth century until the sixteenth century, this diasporic interaction created a unique blend of canonical, local, and borrowed cultural and artistic traditions, which can be seen today in the remains of the many temple complexes along the Pacific Rim.

Much of that important work has, so far, remained the exclusive province of researchers, hidden from the general public who might justifiably find it interesting. The advent of immersive, interactive, Web-enabled, Multi User Virtual Environments (MUVEs) has provided us with the opportunity to tell the story of SPK in a way that can help visitors experience this remarkable cultural heritage as it was in the 7th century AD.

MUVEs are a new media vehicle that has the ability to communicate cultural heritage experience in a way that is a cross between filmmaking, video games, and architectural design. Unlike a film, it allows the observer to be an active participant in the experience. Unlike video games, its objective is to teach, rather than entertain. And unlike architectural design, it models—in addition to the built environment—also the people who inhabited the site, and their rituals.

But this technology is relatively new, with a short history, devoid of a comprehensive theory, and short on useful precedents to guide the development of virtual cultural heritage experiences. It certainly is a technology of illusion, creating an intangible reality. It freely borrows architectural principles, but can only be experienced through the proxy of avatars. Most importantly (and perhaps disturbingly), it requires filling in of missing details—architectural, social, ritualistic, and others—to create a ‘complete’ experience. Many of these details are based on conjecture and interpretation, informed by thorough research, as explained elsewhere in this web site. Therefore, we do not claim absolute historical accuracy: instead, we have tried to provide an experience that will convey, as best we can, the sense of ‘being’ at Sambor Prei Kuk in the 7th century AD.

New media reconstructions of historically significant sites, artifacts, and activities bring new opportunities to the practice of preservation and the communication of cultural heritage. Visual verisimilitude, coupled with non-linear storytelling, immersion, and interactivity, affect each aspect of the practice. But their critical implications are not limited to the technical aspects of representation. Rather, new media have the power to transform the practice of cultural heritage preservation and communication wholesale, possibly affecting the meaning of the heritage itself.

The relationship between a representational technologies and the cultural heritage they communicate is as ancient as civilization itself. It can be traced back to cave drawings from the upper Paleolithic age, some 40,000 years ago, which supposedly were used to help bring hunts to successful conclusion. The oral epics of Homer and others were used as a social instrument to communicate cultural heritage from one generation to another, only to be replaced by written versions in the form of scrolls, and later by codices, each of which exerted its own influence through the process of remediation: while oral renditions allowed for variations due to the skills of the bard, written forms codified the story, creating an ‘official’ version. The invention of photography early in the 19th century had a particularly strong impact on the representation of cultural heritage. The impact was even more profound with the invention of cinema—a medium able to capture the passage of time itself. The advent of digital game technology—the new medium of remediation—has the potential to affect cultural heritage in even more profound ways than before.

Like the Native American Ghost Dance of the 1890s, which was purported to invoke the return of dead warriors and restore a peaceful past before the advent of white settlers of the American Western plains, new media is a technology that has the power to create world-altering experiences of places and times that are no longer accessible. In many ways they can halt, even reverse the inexorable march of history. But rather than a spiritual belief, new media creates a tangible, shareable, participatory experience. It is an imagined, intangible experience, but a real one nonetheless. The image of history it communicates is mediated both through technology itself, and through the authors and technicians who render it. The image is comprised of a collection of methods, habits, organizations, knowledge, and a culture of preservation. The authors and technicians who wield the storytelling power may know how something is done, but are only now discovering the values implicit in their particular way of rendering the narrative.

We invite the viewers’ comments and suggestions on how successful this approach has been, and their opinion on how it might be used in the service of cultural heritage preservation and communication.

This project has been made possible through the sponsorship of the University of California Pacific Rim Research Program, by the contributions of colleagues at UC Berkeley, Claremont McKenna College, Waseda and Tokyo Universities in Japan, and Deakin University in Australia. We thank them all, as well as Garage Games who allowed us to use their Torque Game Engine to implement the project.

Yehuda E. Kalay, PhD
Professor of Architecture
University of California, Berkeley

Virtual Sambor Prei Kuk, Cambodia