Podcasts about lost objects

The daf poses a question about a person who finds a lost object and is the finder considered to be an unpaid shomer or a paid shomer. A new mishnah dealing with the laws around a broken keg but the Gemara has trouble reconciling a barita with our mishnah.

The biblical text for the requirements of returning lost objects, including which objects require returning. How, then, does the question of distinguishing marks come into play? The discussion begins with the documents of divorce, which may or may not be bound by the rabbinic enactment of distinguishing marks (when the divorce is a Torah command).

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Today I'm talking to Rob Walker, author of The Art of Noticing and its spinoff newsletter. He's a columnist for Fast Company, a longtime contributor to The New York Times and many other publications. His latest book, co-edited with Joshua Glenn, is “Lost Objects: 50 Stories About The Things We Miss and Why They Matter.” In today's conversation Rob shares how he got into this work around noticing and paying attention to things. We discuss what's wrong with our attention these days and debate whether noticing is a habit, a mindset or a skill. We talk about some of the 131 different ideas for noticing in The Art of Noticing and discuss specific contexts where noticing can be particularly rewarding We also talk about museums, about how we can get more out of museum visits by noticing the ‘wrong' things, following our curiosity, and spending more time with less objects. We wind up talking about his most recent project and book “Lost Objects' which explores the personal significance of objects, especially those that are lost, stolen, or discarded. We talk about the value of noticing and appreciating objects that often go unnoticed, highlighting how these objects serve as tools for connecting with people and the world around us. I really enjoyed talking to Rob - hope you enjoy it too!LinksJoin the Slow Looking Club Community on FacebookDownload the free guide - how to look at art (slowly)Curated newsletter by Claire BownRob Walker websiteRob's newsletter is at robwalker.substack.com. Rob's books: The Art of Noticing and his latest book, co-edited with Joshua Glenn, Lost Objects: 50 Stories About The Things We Miss and Why They Matter

For Big Table episode 51, editors Joshua Glenn & Rob Walker discuss their latest book, Lost Objects: 50 Stories About the Things We Miss and Why They Matter.  Is there a “Rosebud” object in your past? A long-vanished thing that lingers in your memory—whether you want it to or not? As much as we may treasure the stuff we own, perhaps just as significant are the objects we have, in one way or another, lost. What is it about these bygone objects? Why do they continue to haunt us long after they've vanished from our lives? In Lost Objects, editors Joshua Glenn and Rob Walker have gathered answers to those questions in the form of 50 true stories from a dazzling roster of writers, artists, thinkers, and storytellers, including Lucy Sante, Ben Katchor, Lydia Millet, Neil LaBute, Laura Lippman, Geoff Manaugh, Paola Antonelli, and Margaret Wertheim to name just a few. Each spins a unique narrative that tells a personal tale, and dives into the meaning of objects that remain present to us emotionally, even after they have physically disappeared. While we may never recover this Rosebud, Lost Objects will teach us something new about why it mattered in the first place—and matters still. For the readings this episode, two authors read their essays from the book: First up, Lucy Sante discusses her long lost club chair; and Mandy Keifez recounts her lost Orgone Accumulator. Music by Languis

Episode Notes We chatted with Ernest White II about his wonderful PBS show "Fly Brother", and what is the most underrated destination on earth. Then Washington Post writer Chris Dong discussed how to find the items you misplace either on planes, in the TSA line, or at the airport.

We discuss how the fun of Corgis is helping to allay anxiety, hear from a listener's success using a hack for finding lost objects, and consider a popular trend that neither of us has tried. Get in touch: @gretchenrubin; @elizabethcraft; podcast@gretchenrubin.com Get in touch on Instagram: @GretchenRubin & @LizCraft Get the podcast show notes by email every week here: http://gretchenrubin.com/#newsletter Leave a voicemail message on: 774-277-9336 For information about advertisers and promo codes, go to happiercast.com/sponsors Want to be happier in 2022? Order Gretchen Rubin's book The Happiness Project to see how she approached the question, “How can I be happier?” and start a Happiness Project of your own. Happier with Gretchen Rubin is part of ‘The Onward Project,' a family of podcasts brought together by Gretchen Rubin—all about how to make your life better. Check out the other Onward Project podcasts—Do The Thing, Side Hustle School, Happier in Hollywood and Everything Happens with Kate Bowler. If you liked this episode, please subscribe, leave a review, and tell your friends! To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

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"The number one resource you have, everybody has, is your connection to infinite mind." - Gary Wimmer, Author, A Second in Eternity. Recap = Psychic Gary Wimmer walked away from being hit by a car [NDE] with nothing more than a scratch. The prior PSI overwhelm he struggled with had calmed down. The memory of all that he saw during the NDE changed his life. Continuing the conversation: Finding lost objects. How? Set the intention and ask for assistance. Infinite Mind connects everything. Looking back, Gary says he realized he had a precognitive dream about Covid-19. Gary's book is available on Amazon, A Second in Eternity. Brief Summary: Full of mystery, wit and spiritual insights, A Second in Eternity is a fast moving and thought provoking story that leads the reader through the realities possible when the wall that separates our conscious and subconscious minds dissipates to reveal the Unity that underlies all things. This book contains copies of the original police reports and court orders. Amazon Reader Review 5.0 out of 5 stars A Worthwhile Read, Don't Hesitate! "This book unexpectedly came to me and I grabbed it right away. It was a wonderful story; read it in 1 1/2 days on my Kindle. I loved it so much, the truth, honesty, and integrity of the author, I went to his website and booked a reading right away. "It was one of the very best readings I have ever had. Gary spent a little over an hour with me giving me amazing insights. In fact, some of the events he mentioned are already happening for me. I am booking a session for my daughter and son too. Get this book! You will enjoy reading it too." Gary's website: Link. Video Bio. Link. Readings: Lithomancy Link. Video - What is Lithomancy? Wendy's Book: Talking to Nightlights 2. Amazon. Wendy's Blog: Link. *Amazon affiliate links.

If one sees an item that belongs to another Jew and was lost, he is obligated to take that object and return it to its owner. One who sees a lost object and ignores it violates a Misvat Lo Ta'aseh (Torah prohibition) that forbids ignoring a lost object, and also neglects a Misvat Aseh (affirmative Biblical command) to return lost objects to their owner, as the Torah commands, "Do not see your fellow's ox or sheep wandering astray and ignore them; you shall return them to your fellow" (Debarim 22:1). If a person takes the item with the intention of keeping it, rather than returning it to its owner, he also violates the Torah prohibition against theft ("Lo Tigzol" – Vayikra 19:13). If, however, the finder then decides to return the object to its owner, he has corrected his mistake and is no longer in violation of these prohibitions, assuming the owner had not despaired from retrieving the item. If the owner despaired after the finder took the object for himself, the finder is guilty of a these violations even if he then returns the object.This obligation does not apply to possessions that have no Siman – meaning, a distinguishing feature by which it can be identified as a person's possession. Money, for example, has no Siman; there is nothing on a coin or dollar bill whereby it can be definitively identified as belonging to a particular person. Therefore, if a person dropped money in a public place, one who finds the money is allowed, strictly speaking, to keep the money. People generally feel their pockets regularly to ensure their money is still with them, and it can therefore be assumed that the money's owner realizes he has lost the money and has despaired, since the money has no Siman and was left in a public place. According to the strict Halacha, then, one who finds money that was lost in a public area may keep the money for himself, even if he knows whom it belonged to, since the owner has presumably despaired.Of course, this applies only if the money is indeed unidentifiable as a particular person's property. If the money was found in a wallet, or it was stacked in some particular way whereby it can be identified as belonging to somebody, then the finder must return the money to its owner.Although this is the strict Halacha, one who finds lost money fulfills a Midat Hasidut (measure of piety) if he returns it to its owner. He is allowed to keep the money, but it is worthwhile as a Midat Hasidut to return it.The question arises as to why the Torah allows one to keep money that is found in a public area, even if he knows who lost it. Why shouldn't the finder be required to return the money to its rightful owner? The answer, as mentioned in several works, is that Hashem "settles all accounts" and we can rest assured that the finder rightfully deserves the money. It is possible, for example, that in a previous Gilgul (incarnation) the owner owed the finder money but never paid him, and for this reason Hashem arranged that this money would be lost and then found. We never know for sure the precise reasons why these situations occur, but we do know that God precisely calculates people's assets, and that there is a reason why He saw to it that a person would lose money and it would be found by somebody else.(Based on Ben Ish Hai, Parashat Ki-Tabo)Summary: It is forbidden to ignore an item that was lost by a fellow Jew and one finds, and it is certainly forbidden to keep it for oneself. However, if the item has no distinguishable feature, such as in the case of lost money, the finder may, strictly speaking, keep it for himself, though as an extra measure of piety he may wish to return it.

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"The frame begins to cry - something gets broken in the analytic session. What do we do then? We interpret just based on early material, what we know about the patient, some kind of reconstruction?  Or are we facing a piece of reality that cannot be analyzed, just analyzed. It might be acknowledged that you have to face it in some way or other, and this is the similarity with what might happen when the 4th wall is disrupted."     Episode Description: We begin with an understanding of the 4th wall as it refers to the actor's stage - the removal from reality, immersion in metaphor, and the illusion of not being witnessed. Isaac describes how this informs his sense of the analytic frame which he sees as a "choreography between the internal and external worlds." We discuss the challenge of engaging patients when the dyad together faces external dangers. These moments provide an opportunity for "connectivity" to be followed by a return to metaphor. We close by discussing his personal journey from Argentina to eventually landing in the United States. We consider the similarities and differences between analysis in Buenos Aires and in New York.    Our Guest: Isaac Tylim, PsyD is on the Faculty and Clinical Consultant New York University Postdoctoral Program and is a Fellow and Training Analyst at the Institute For Psychoanalytic Training and Research. He is a former Secretary of the IPA committee in the UN, Co-Founder of the Trauma and Disaster Specialization Program at the NYU Postdoctoral Program, and is a past member of the editorial board of JAPA    He played the role of Ferenczi in a theatrical event based on the correspondence between Freud and Ferenczi- (Prague, London, Buenos Aires, New York, Philadelphia. Denver)    Recommended Readings:    The Power of Apologies in Transforming Resentment into Forgiveness, I J of Applied Psychoanal Studies, 2005. 2(3).     Living with Terror. Working with Trauma, Skyscrapers and Bones. Memorials to Lost Objects in the Culture of Desire. In D Knaffo,2004, NY: Aronson    Terrorism and the Psychoanalytic Space (co-editor) 2003, NY: Pace University  Ethical Notes on Disrupted Frames and Violated Boundaries.     Psychoanalysis in Argentina. A Couch with a View. Psychoanalytic Dialogues.1996  6 (5)        Reconsidering the Moveable Frame in Psychoanalysis. (Co-editor), 2018 London and New York: Routledge    The Fourth Wall Comes Down. Creative Responses to the Unexpected Room. 2018  NY IPTAR    The Power of Apologies in Transforming Resentment into Forgiveness I J of Applied Psychoanal Studies.2005  2(3). 

Read by Jacquelyn Graham Production and Sound Design by Kevin Seaman

Returning Lost Objects to Non-Jews (Gezeilah Va'aveidah 11:3) Rabbi Moshe Perlstein

A panoramic view of Parshas Mishpatim with a focus on 2 major questions: 1. What are the Mishpatim? Are they just a Miscellaneous Mitzvah Mishkabobble? Is there any structure to them? 2. Why is there a second version of the Kabbalas HaTorah Story at the end of Mishpatim? Why is it separate from Yisro? My notes on the structure to the Mishpatim: 1. Laws of Hebrew Servants (21:1-11) 2. Domestic Crimes/Manslaughter (21:12-28)      ● Striking Fellow Man/Parents      ● Kidnapping      ● Cursing Parents      ● Brawl "3rd Degree"      ● Manslaughter of Servant "3rd Degree"      ● Brawl/Miscarriage "2nd Degree"      ● Maiming Servant      ● "Ox-Murderer" 3. Monetary Obligations (21:29-22:16)      ● Damages (Nezikin; Bor, Shor/Keren)      ● Theft (Tavach U'Machar, Ba BaMachteres)      ● Damages Cont'd (Regel/Shein, Eish)      ● Custody/Security (Shomrim)      ● Seduction ■ Why are the cases of theft inserted in between the 4 Avos Nezikin? _A Suggestion: The first 2 Nezikin occur anywhere, the 2nd 2 are, like theft, regard the property/domain of the owner. 4. "Rejects" of Society (22:17-23) (Individuals requiring "Special Action"/"Attention" - Abominable Manipulators vs. Vulnerable)      ● Witch, Bestiality-Perpetrator, Idolater      ● Stranger, Widow, Orphan ■ What is the nature of this series? _Balance/Contrast between brazen action against perpetrators of abominable acts and careful regard for the downtrodden. _R' Asael Kent: Hashem's greatness and humility (Megillah 31A). ----- ----- ----- ----- ----- PART B - Parshas Kesef - "Im Kesef Talveh..." - (ETHICAL LAW) [Sefer HaChinuch/Avudraham, Minhag Provence] 5. Laws of Loans (22:24-26)      ● Ribbis/Neshech      ● Mashkon (collateral) ■ What makes this section different from section 3? _NOT financial obligations, but spiritual/ethical code related to finances, FOR the CREDITOR; e.g. Ribbis = Yoreh Dei'ah as opposed to Choshen Mishpat 6. Positions of Higher Respect (22:27-30)      ● Judge/Prince      ● Kohein; Terumah/Bechor      ● Treifah (?) ■ What is the prohibition against eating Treif doing here? _This prohibition accentuates the stature of the "typical" Ben Yisrael; "Anshei Kodesh" 7. Ethical "Judgment Calls"/Laws of the Court & Social Ethics (23:1-9)      ● Integrity in Judgment (e.g. majority, "win by 2" rule, etc.)      ● Restoration of Lost Objects (to enemy)      ● Loading Animal (of enemy)      ● Corruption in Judgment (e.g. bribery) ■ Why are these a single set? They should be 2 sets, 1. Judgment, 2. Social Ettiquette. Why are the laws of integrity in court interrupted by the law of enemy's animal? Both are really about making appropriate and ethical judgment calls against apparent biases. 8. "Sabbatical" Laws & Divine Statutes (23:10-19)      ● Shabbos/Shmitah      ● Mentioning of other gods      ● Pilgrimage      ● Bikurim/Basar B'Chalav

This Hypnosis session will help you to find lost objects easily by tapping into your unconscious mind to guide you to the location where you left it

The story of objects coming to life is no stretch for a ballet audience familiar with narratives of dolls (Coppélia) and toys (The Nutcracker) magically transformed. In FFDN’s the flip side festival, the physical objects of the theatre, studio and backstage lie dormant. Or do they? With a sense of humour, a dose of imagination – and some help from Second City Toronto actors – Ilter and Nicole converse with the festival’s lost objects in a group counselling session. You can meet the individual objects at ffdnorth.com.

Questions? Comments? We love feedback! Email us at info@baishavaad.org 

A whole society can be healed by following the laws set out in the Torah portion of Ki Tetze. Rav Mike Feuer joins Rabbi Yishai Fleisher to "shoo away the mother bird". Then, Rabbi Jeremy Gimpel, co-founder of the Land of Israel Network, hangs with Yishai on the Mediterranean beach.

A whole society can be healed by following the laws set out in the Torah portion of Ki Tetze. Rav Mike Feuer joins Rabbi Yishai Fleisher to "shoo away the mother bird". Then, Rabbi Jeremy Gimpel, co-founder of the Land of Israel Network, hangs with Yishai on the Mediterranean beach.

2001! The examination of potential victims in the killer’s time in the US Army comes to an end and his child is born. This podcast was made possible by www.labrottiecreations.com Check out their merchandise and specifically their fun pop pet art custom pieces made from photos of your very on pets. Use the promo code CRIMEXS for 20% off a fun, brightly colored, happy piece of art of your own pet at their site. Music in this episode was licensed for True Crime XS. Our theme song today is Indestructible by Noah Smith. And other music includes Finally Found You by Solitude. You can reach us at our website truecrimexs.com and you can leave us a voice message at 252-365-5593. Thanks for listening. Please like and subscribe if you want to hear more and you can come over to patreon.com and check out what we’ve got going on there if you’d like to donate to fund future True Crime XS road trip investigations and FOIA requests. We also have some merchandise up at Teepublic. Just follow the link from Truecrimexs.com We’d also like to thank Anchor and Spotify for having the coolest all-in-one-podcast platforms available. Definitely download the Anchor app or go to anchor for FM to start your own show today. Sources: https://youtu.be/NTMKAhnc4BA https://www.fbi.gov/wanted/kidnap/barter-daniel https://youtu.be/W2rWGgmNhcc And https://www.fbi.gov/video-repository/israel-keyes-interview-november-29-2012.mp4/view https://www.fbi.gov https://www.maureencallahan.net/ The Charley Project --- Send in a voice message: https://anchor.fm/truecrimexs/message Support this podcast: https://anchor.fm/truecrimexs/support

This week, the podcast features the reading and panel discussion from the LIC Reading Series event on February 27, 2018, for an event we did in partnership with the Catapult writing program, with Hermione Hoby (Neon in Daylight), Kanishk Tharoor (Swimmer Among the Stars), and Cherise Wolas (The Resurrection of Joan Ashby).  About our readers: Hermione Hoby grew up in south London and has lived in New York since 2010. She is a freelance journalist who writes about culture and gender for publications including The New Yorker, The Guardian, The New York Times, and The Times Literary Supplement. She also wrote the “Stranger of the Week” column for The Awl. Neon in Daylight is her first novel. Kanishk Tharoor is the author of Swimmer Among the Stars (Farrar, Straus and Giroux, 2017). His journalism and fiction have been published in the New York Times, Guardian, The Atlantic, The Nation, Paris Review, The New Yorker, Los Angeles Review of Books, and Virginia Quarterly Review, and his work has been nominated for the National Magazine Award. He is the presenter and writer of the BBC radio series Museum of Lost Objects and a columnist for the Hindustan Times and the Hindu Business Line in India. He has a BA from Yale and an MFA from NYU. He lives in Brooklyn with his wife and son. Cherise Wolas lives in New York City with her husband. She is the author of two novels, The Resurrection of Joan Ashby and The Family Tabor. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, the podcast features the reading and panel discussion from the LIC Reading Series event on February 27, 2018, for an event we did in partnership with the Catapult writing program, with Hermione Hoby (Neon in Daylight), Kanishk Tharoor (Swimmer Among the Stars), and Cherise Wolas (The Resurrection of Joan Ashby).  About our readers: Hermione Hoby grew up in south London and has lived in New York since 2010. She is a freelance journalist who writes about culture and gender for publications including The New Yorker, The Guardian, The New York Times, and The Times Literary Supplement. She also wrote the “Stranger of the Week” column for The Awl. Neon in Daylight is her first novel. Kanishk Tharoor is the author of Swimmer Among the Stars (Farrar, Straus and Giroux, 2017). His journalism and fiction have been published in the New York Times, Guardian, The Atlantic, The Nation, Paris Review, The New Yorker, Los Angeles Review of Books, and Virginia Quarterly Review, and his work has been nominated for the National Magazine Award. He is the presenter and writer of the BBC radio series Museum of Lost Objects and a columnist for the Hindustan Times and the Hindu Business Line in India. He has a BA from Yale and an MFA from NYU. He lives in Brooklyn with his wife and son. Cherise Wolas lives in New York City with her husband. She is the author of two novels, The Resurrection of Joan Ashby and The Family Tabor. Learn more about your ad choices. Visit megaphone.fm/adchoices

François Girard and Face2Face host David Peck talk about his new film The Song of Names, history, remembrance, choices, mystery and discovery, film as music, the paradox of technology and musical, archeological digs. Trailer Synopsis: Martin Simmonds (Tim Roth) has been haunted throughout his life by the mysterious disappearance of his “brother” and extraordinary best friend, a Polish Jewish virtuoso violinist, Dovidl Rapaport, who vanished shortly before the 1951 London debut concert that would have launched his brilliant career. Thirty-five years later, Martin discovers that Dovidl (Clive Owen) may still be alive, and sets out on an obsessive intercontinental search to find him and learn why he left. Shortly before World War II, Martin’s music publisher father, Gilbert (Stanley Townsend), invites young Dovidl Rapoport (Luke Doyle), a ten-year-old Jewish violin prodigy from Poland, to live in their London home. Gilbert’s intent is to help the boy achieve his musical potential and protect him from the imminent German invasion of Poland. Martin (Misha Handley), also ten, initially sees Dovidl as an invader in his house, but Dovidl’s worries about the plight of his family in Warsaw elicits Martin’s compassion, and he is won over by the young genius’s charisma and rebelliousness. Soon they are as close as brothers. Having the extraordinary Dovidl as his best friend and confidante opens up Martin’s narrow world, and enhances his selfconfidence. Over several years as the boys grow up, Gilbert lavishes all his attention and the money he has on developing Dovidl’s (now Jonah Hauer-King) talent, a process that elicits jealousy from Martin (now Gerran Howell), despite his love for Dovidl. Eventually, Gilbert stages an extravagant London debut for Dovidl at age 21. Unfortunately, as the audience and orchestra await Dovidl’s arrival on stage, Dovidl fails to appear. The cancellation of the concert bankrupts and devastates Gilbert, who dies soon after. It also leaves Martin with the loss of the “brother” he loved, the lingering question of what happened, and a growing bitterness over Dovidl’s responsibility for Martin’s father’s death. Almost four decades later, Martin follows the clues that lead him ever closer to his friend, until he learns the meaning of ‘The Song of Names,’ a profoundly moving piece of music that holds the answer to why his brother vanished so suddenly from his life.About the Director: François Girard gained notoriety as much for his filmmaking as for his staging of operas and theater plays. In 1993, his feature film Thirty Two Short Films About Glenn Gould would go on to garner international success including four top Genie Awards. Five years later he directed The Red Violin, featuring Samuel L. Jackson, which received an Academy Award for best original score and enshrined Girard as an important player on the international movie scene. The film also won eight Genie Awards and nine Jutra Awards. Silk, which he later directed, was adapted from Alessandro Baricco’s best-selling book, and was released worldwide in 2007. The cast includes Michael Pitt, Keira Knightley, Alfred Molina, Miki Nakatani and Koji Yakusho. SILK received four Jutra Awards. His film Boychoir, released in 2015, features Dustin Hoffman, Kathy Bates and Eddie Izzard among others. Most recently, Hochelaga, Land of Souls, was presented at the Toronto Film Festival, and represented Canada in the race for Best Foreign Language Film Oscar at the 90th Academy Awards. It was released in September 2017 and was greatly acclaimed by the Academy of Canadian Cinema & Television. Girard’s 1994 concert film Peter Gabriel’s Secret World, became a best-selling film and earned him a Grammy Award. A few years later he directed one of the six episodes of the internationally acclaimed series “Yo-Yo Ma Inspired By Bach.” In 1997, François Girard made his opera directorial debut with Oedipus Rex/Symphony of Psalms by Stravinsky and Cocteau, which received numerous awards and was named by The Guardian as ‘the best theatrical show of the year.’ His other opera works include Lost Objects, for the Brooklyn Academy of Music; Wagner’s Siegfried; The Flight of Lindbergh/Seven Deadly Sins by Kurt Weill and Bertolt Brecht; as well as Kaija Saariaho's Émilie. In recent years, Cirque du Soleil’s commissioned Girard to write and direct Zed, their first permanent show in Tokyo; and Zarkana, which opened at Radio City Music Hall, played at the Kremlin Theatre and has become a resident show in Las Vegas. To date, François Girard’s accomplishments have earned him over one hundred international awards and public acclaim the world over. Image Copyright: Serendipity Point Films and François Girard. Used with permission. F2F Music and Image Copyright: David Peck and Face2Face. Used with permission. For more information about David Peck’s podcasting, writing and public speaking please visit his site here. With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

The Lost Objects of Childhood Author's talk: Deborah Levy.  Filmed at the Freud Museum London on 26 April 2012 'When I read biographies of famous people, I only get interested when they escape from their family and spend the rest of their life getting over them.' (extract from Swimming Home) Deborah Levy's new novel, Swimming Home, is a subversive thriller about the footprints the past leaves on the everyday of a sun-drenched family holiday. Its witty and beguiling exploration of the complexities and mysteries of family life have enthralled readers and critics in equal measure. Levy will read from her book and discuss its connecting conversation with Louise Bourgeois's life-long artistic preoccupation with the strange drama of being a wife, mother and daughter. Deborah Levy is a playwright and novelist. She recently dramatised two of Freud's case histories, The Wolfman and Dora for BBC Radio 4. She was AHRC Fellow in Creative and Performing Arts at The Royal College of Art from 2006-9. A new fiction exploring the ways in which everyday objects might conceal and reveal our anxieties, Weeping Machines is published in Issue 4 of The White Review. An interview with Levy about her writing can be found here.

It’s been a year since Brazil’s National Museum burned down in a fire. Not only was its collection one of the most extraordinary in the world, but Brazil’s entire history ran through the museum. On the second floor you could meet the prehistoric skeleton that was the ‘mother’ of all Brazilians; on the third, listen to Amazonian folklore about exploding jaguars; and downstairs, slide into the slippers of a slave king. Now, the only intact artefact on site is a huge iron rock from outer space – the Bendego meteorite. The National Museum and its precious archive of Brazil’s past may be in ruins, but amongst the ashes there’s a battle to revive it. Presenter: Kanishk Tharoor Producer: Maryam Maruf With thanks to Roberta Fortuna Contributors: Cahe Rodrigues, carnival director; Dom João, photographer and descendent of Brazil’s last emperor; Laurentino Gomes, journalist and author; Monica Lima, historian; Mariza Carvalho Soares, historian and museum curator; Aparecida Vilaça, anthropologist and author of Paletó and Me; Bernabau Tikuna, linguist; Tonico Benetiz, anthropologist; Murilo Bastos, bio-archaeologist; Luciana Carvalho, paleontologist and deputy director of rescue Museu Nacional; Sergio Azevedo, paleontologist and director of Museu Nacional’s 3D printing lab Voice over performances by: Fernando Duarte, Marco Silva, Silvia Salek; Thomas Pappon Picture: Brazil’s National Museum – or Museu Nacional – on fire September, 2018 Credit: Getty Images

It’s been a year since Brazil’s National Museum burned down in a fire. Not only was its collection one of the most extraordinary in the world, but Brazil’s entire history ran through the museum. On the second floor you could meet the prehistoric skeleton that was the ‘mother’ of all Brazilians; on the third, listen to Amazonian folklore about exploding jaguars; and downstairs, slide into the slippers of a slave king. Now, the only intact artefact on site is a huge iron rock from outer space – the Bendego meteorite. The National Museum and its precious archive of Brazil’s past may be in ruins, but amongst the ashes there’s a battle to revive it. Presenter: Kanishk Tharoor Producer: Maryam Maruf With thanks to Roberta Fortuna Contributors: Cahe Rodrigues, carnival director; Dom João, photographer and descendent of Brazil’s last emperor; Laurentino Gomes, journalist and author; Monica Lima, historian; Mariza Carvalho Soares, historian and museum curator; Aparecida Vilaça, anthropologist and author of Paletó and Me; Bernabau Tikuna, linguist; Tonico Benetiz, anthropologist; Murilo Bastos, bio-archaeologist; Luciana Carvalho, paleontologist and deputy director of rescue Museu Nacional; Sergio Azevedo, paleontologist and director of Museu Nacional’s 3D printing lab Voice over performances by: Fernando Duarte, Marco Silva, Silvia Salek; Thomas Pappon Picture: Brazil’s National Museum – or Museu Nacional – on fire September, 2018 Credit: Getty Images This edition of Museum of Lost Objects is broadcast on BBC World Service.

A lot of people have heard of the famous segula that invoking the name of Rabbi Meir Baal Haness, and giving charity to the poor of Israel, can save you from a horrible situation or help you find your lost passport or car keys. I have seen this work. But most people have lots of questions. (https://letmypeopleeat.com/)

The Legacy Matters team welcomes singer, creative, owner and entrepreneur Amy Buchanan to the podcast to discuss life and legacy. Amy is the true definition of a “doer of things”. Owner of the fantastically whimsical curiosity and antique shop, The Center for Lost Objects, Amy has created a warm and welcoming space in the heart of St. Paul. Visitors to the store are treated to her first-hand knowledge of the many treasures contained wherein. Join us as we explore hidden treasures, bringing back burlesque, and the ever-evolving music scene in the Twin Cities.Visit The Center for Lost Objects:957 West Seventh Street, St. Paul. MN 55102And stay tuned for the store’s soon-to-be launched e-commerce site!Learn how the Andelin App helps preserve, prepare and share life’s most precious memories.Discover Kinetic Legacy’s proprietary platform to aid institutions, brands and companies in crafting their digital legacy and enhancing workflow production.Want to get in touch with Sam, Jim or Sarah? Email us at: info@legacymatterspodcast.com.

Bienvenidos a un nuevo capítulo del podcast de los VerdHugos.En esta programa especial resumen de lo mejor del año tenemos como invitado a Alexander Paez, que nos ayudará a comentar lo que más nos ha gustado en el 2018. Pero, por si no tenéis ganas de escucharnos, aquí está el listado con todas las recomendaciones y también con lo más esperado del año que viene.Alex Medusa Uploaded de Emily DavenportJosep María Generation Starships in Science Fiction de Simone CarotiAlex El Universo en tu mano de Christophe GalfardElías La Física de Universo Cinematográfico Marvel de José Manuel UríaElías The Future of Humanity de Michio KakuJosep María Paperbacks from Hell de Grady HendrixMiquel Antisolar de Emilio BuenoMiquel Lost Objects de Marian WomackMiquel A las Puertas de la Nada de Corinne DuvuysArmando 54 de Wu MingAlex La Danza del Gohut de Ferrán VarelaAlex Todos estos mundos son vuestros de John WillisElías Vengeful de Victoria SchwabLeticia Redemption's Blade de Adrian TchaikovskyAlex Her Body and other Parties de Carmen María MachadoLeticia Salvation de Peter F HamiltonElías Semiosis de Sue BurkeLeticia Before Mars de Emma NewmanElías The Midnight Front de David MackElías Dread Nation de Justina IrelandLeticia In the Vanisher's Palace de Aliette de BodardCómicsMr. MiracleBlack HammerSeriesCounterpartKiddingThe Haunting of Hill HouseThe City and the CityDaredevilLo que quiere leer Elías de 2018Empire of Silence de Christopher RuocchioLo que quiere leer Armando de 2018Unholy Land de Lavie TidharThe Winged Stories de Sofia SamatarKa de John CrowleyThe Body Library de Jeff NoonLo que quiere leer Miquel de 2018Rosewater de Tade ThomsonLo que esperamos del año que vieneAdrian Tchaikovsky Walking to AldebaranAdrian Tchaikovsky Cage of SoulsAdrian Tchaikovsky Children of Ruin Emily Davenport  Medusa in the GraveyardChen Qiufan The Waste TideBrandon Sanderson The Lost MetalKameron Hurley The Broken HeavensKen Liu ed. Broken StarsSarah Pinsker Sooner o Later Everything Falls into the SeaAlastair Reynolds PermafrostNini Shawl ed. New SunsElizabeth Bear The Red Stained WingsElizabeth Bear Ancestral NightMarlon James Black Leopard, Red WolfArkady Martin A Memory Called EmpireKameron Hurley The Light BrigadeFonda Lee Jade WarEmma Newman Atlas AloneAlastair Reynolds Shadow CaptainNK Jemisin Trilogía de NYIan McDonald Luna : Moon RisingJoe Abercrombie A Little HatredAliette de Bodard House of Sundering FlamesSeanan McGuire In an Absent DreamWilliam Gibson Agency

In April 1923 Sigmund Freud detected a lesion in his mouth that turned out to be cancerous. From diagnosis to his death, he endured 33 surgeries and 10 prostheses. In 1932 alone, Freud consulted with his surgeon Hans Pichler 92 times. Freud’s smoking motivated much of the fussiness with his prosthetic jaw: it had to be right at the palate edge, with optimal occlusion so as to get the most out of his cigars. For Freud, smoking facilitated writing and intellectual creativity; it provided exquisite enjoyment. An inanimate object thus served as a conduit of both vitality and grave illness—a testament to the entanglement, indeed, the indistinguishability of the life and death drives. In 1977, after a biopsy of a tumor in her right breast, Audre Lorde fantasized about lopping off the agent of her destruction like “a she-wolf chewing off a paw caught in a trap.” (56) In the manner of a Kleinian infant, she directed her rage at the persecutory breast that betrayed her (once again) and ceased being her own. Lorde turned her poetry and personal survival into political acts of reparation, linking the ravages of cancer to racial and sexual injury and offering herself to queer communities of color as an object of introjection and identification. In 1992, on the anniversary of her breast cancer diagnosis, queer theorist Eve Kosofsky Sedgwick was en route to yet another academic lecture. She sat in a plane on a runway in frigid Toronto watching Pepto-Bismol-pink anti-icing fluid run down the window beside her. Seized by nauseating horror, she recalled the bloody lymphatic discharge draining from her body in the weeks following her mastectomy. In 1996, after imaging revealed a spinal metastasis that would ultimately kill her, Sedgwick emerged as a patient-teacher in her polyphonic A Dialogue on Love (1999), an account of a psychodynamic treatment intermixed with her poetry and her therapist’s notes. Through autobiographically inflected theoretical writings and the advice column, “Off My Chest,” Sedgwick engaged in what she called good pedagogy, instructing readers about love and mourning in the “prognosis time” of incremental bodily loss. Lana Lin brings together the stories of Freud, Lorde, and Sedgwick, as well as insights from her own struggle with breast cancer in the tour de force, Freud’s Jaw and Other Lost Objects: Fractured Subjectivity in the Face of Cancer (Fordham University Press, 2017). With her three transferential figures, Lin explores what it means to loosen one’s grip on objects, to live with self-estrangement and threats to bodily integrity, and to understand loss as the maintenance of relationality. As cancer fragments and changes one’s relationship to time, it becomes a catalyst for reparation, invention, and love. Anna Fishzon, PhD, is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-siecle Russia (Palgrave Macmillan, 2013). She can be reached at afishzon@gmail.com.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In April 1923 Sigmund Freud detected a lesion in his mouth that turned out to be cancerous. From diagnosis to his death, he endured 33 surgeries and 10 prostheses. In 1932 alone, Freud consulted with his surgeon Hans Pichler 92 times. Freud’s smoking motivated much of the fussiness with his prosthetic jaw: it had to be right at the palate edge, with optimal occlusion so as to get the most out of his cigars. For Freud, smoking facilitated writing and intellectual creativity; it provided exquisite enjoyment. An inanimate object thus served as a conduit of both vitality and grave illness—a testament to the entanglement, indeed, the indistinguishability of the life and death drives. In 1977, after a biopsy of a tumor in her right breast, Audre Lorde fantasized about lopping off the agent of her destruction like “a she-wolf chewing off a paw caught in a trap.” (56) In the manner of a Kleinian infant, she directed her rage at the persecutory breast that betrayed her (once again) and ceased being her own. Lorde turned her poetry and personal survival into political acts of reparation, linking the ravages of cancer to racial and sexual injury and offering herself to queer communities of color as an object of introjection and identification. In 1992, on the anniversary of her breast cancer diagnosis, queer theorist Eve Kosofsky Sedgwick was en route to yet another academic lecture. She sat in a plane on a runway in frigid Toronto watching Pepto-Bismol-pink anti-icing fluid run down the window beside her. Seized by nauseating horror, she recalled the bloody lymphatic discharge draining from her body in the weeks following her mastectomy. In 1996, after imaging revealed a spinal metastasis that would ultimately kill her, Sedgwick emerged as a patient-teacher in her polyphonic A Dialogue on Love (1999), an account of a psychodynamic treatment intermixed with her poetry and her therapist’s notes. Through autobiographically inflected theoretical writings and the advice column, “Off My Chest,” Sedgwick engaged in what she called good pedagogy, instructing readers about love and mourning in the “prognosis time” of incremental bodily loss. Lana Lin brings together the stories of Freud, Lorde, and Sedgwick, as well as insights from her own struggle with breast cancer in the tour de force, Freud’s Jaw and Other Lost Objects: Fractured Subjectivity in the Face of Cancer (Fordham University Press, 2017). With her three transferential figures, Lin explores what it means to loosen one’s grip on objects, to live with self-estrangement and threats to bodily integrity, and to understand loss as the maintenance of relationality. As cancer fragments and changes one’s relationship to time, it becomes a catalyst for reparation, invention, and love. Anna Fishzon, PhD, is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-siecle Russia (Palgrave Macmillan, 2013). She can be reached at afishzon@gmail.com.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In April 1923 Sigmund Freud detected a lesion in his mouth that turned out to be cancerous. From diagnosis to his death, he endured 33 surgeries and 10 prostheses. In 1932 alone, Freud consulted with his surgeon Hans Pichler 92 times. Freud’s smoking motivated much of the fussiness with his prosthetic jaw: it had to be right at the palate edge, with optimal occlusion so as to get the most out of his cigars. For Freud, smoking facilitated writing and intellectual creativity; it provided exquisite enjoyment. An inanimate object thus served as a conduit of both vitality and grave illness—a testament to the entanglement, indeed, the indistinguishability of the life and death drives. In 1977, after a biopsy of a tumor in her right breast, Audre Lorde fantasized about lopping off the agent of her destruction like “a she-wolf chewing off a paw caught in a trap.” (56) In the manner of a Kleinian infant, she directed her rage at the persecutory breast that betrayed her (once again) and ceased being her own. Lorde turned her poetry and personal survival into political acts of reparation, linking the ravages of cancer to racial and sexual injury and offering herself to queer communities of color as an object of introjection and identification. In 1992, on the anniversary of her breast cancer diagnosis, queer theorist Eve Kosofsky Sedgwick was en route to yet another academic lecture. She sat in a plane on a runway in frigid Toronto watching Pepto-Bismol-pink anti-icing fluid run down the window beside her. Seized by nauseating horror, she recalled the bloody lymphatic discharge draining from her body in the weeks following her mastectomy. In 1996, after imaging revealed a spinal metastasis that would ultimately kill her, Sedgwick emerged as a patient-teacher in her polyphonic A Dialogue on Love (1999), an account of a psychodynamic treatment intermixed with her poetry and her therapist’s notes. Through autobiographically inflected theoretical writings and the advice column, “Off My Chest,” Sedgwick engaged in what she called good pedagogy, instructing readers about love and mourning in the “prognosis time” of incremental bodily loss. Lana Lin brings together the stories of Freud, Lorde, and Sedgwick, as well as insights from her own struggle with breast cancer in the tour de force, Freud’s Jaw and Other Lost Objects: Fractured Subjectivity in the Face of Cancer (Fordham University Press, 2017). With her three transferential figures, Lin explores what it means to loosen one’s grip on objects, to live with self-estrangement and threats to bodily integrity, and to understand loss as the maintenance of relationality. As cancer fragments and changes one’s relationship to time, it becomes a catalyst for reparation, invention, and love. Anna Fishzon, PhD, is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-siecle Russia (Palgrave Macmillan, 2013). She can be reached at afishzon@gmail.com.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In April 1923 Sigmund Freud detected a lesion in his mouth that turned out to be cancerous. From diagnosis to his death, he endured 33 surgeries and 10 prostheses. In 1932 alone, Freud consulted with his surgeon Hans Pichler 92 times. Freud's smoking motivated much of the fussiness with his prosthetic jaw: it had to be right at the palate edge, with optimal occlusion so as to get the most out of his cigars. For Freud, smoking facilitated writing and intellectual creativity; it provided exquisite enjoyment. An inanimate object thus served as a conduit of both vitality and grave illness—a testament to the entanglement, indeed, the indistinguishability of the life and death drives. In 1977, after a biopsy of a tumor in her right breast, Audre Lorde fantasized about lopping off the agent of her destruction like “a she-wolf chewing off a paw caught in a trap.” (56) In the manner of a Kleinian infant, she directed her rage at the persecutory breast that betrayed her (once again) and ceased being her own. Lorde turned her poetry and personal survival into political acts of reparation, linking the ravages of cancer to racial and sexual injury and offering herself to queer communities of color as an object of introjection and identification. In 1992, on the anniversary of her breast cancer diagnosis, queer theorist Eve Kosofsky Sedgwick was en route to yet another academic lecture. She sat in a plane on a runway in frigid Toronto watching Pepto-Bismol-pink anti-icing fluid run down the window beside her. Seized by nauseating horror, she recalled the bloody lymphatic discharge draining from her body in the weeks following her mastectomy. In 1996, after imaging revealed a spinal metastasis that would ultimately kill her, Sedgwick emerged as a patient-teacher in her polyphonic A Dialogue on Love (1999), an account of a psychodynamic treatment intermixed with her poetry and her therapist's notes. Through autobiographically inflected theoretical writings and the advice column, “Off My Chest,” Sedgwick engaged in what she called good pedagogy, instructing readers about love and mourning in the “prognosis time” of incremental bodily loss. Lana Lin brings together the stories of Freud, Lorde, and Sedgwick, as well as insights from her own struggle with breast cancer in the tour de force, Freud's Jaw and Other Lost Objects: Fractured Subjectivity in the Face of Cancer (Fordham University Press, 2017). With her three transferential figures, Lin explores what it means to loosen one's grip on objects, to live with self-estrangement and threats to bodily integrity, and to understand loss as the maintenance of relationality. As cancer fragments and changes one's relationship to time, it becomes a catalyst for reparation, invention, and love. Anna Fishzon, PhD, is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-siecle Russia (Palgrave Macmillan, 2013). She can be reached at afishzon@gmail.com.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

13- Orach Chaim 306:9-13- Buying Land in Israel and Announcing Lost Objects

Kanishk Tharoor talks about the latest series of BBC Radio 4’s Museum of Lost Objects, which explores the heritage of India, Pakistan and Bangladesh See acast.com/privacy for privacy and opt-out information.

Seventy years ago, India and Pakistan became independent nations - but at a cost. People and lands were partitioned, and a once shared heritage was broken apart. In part one, Kanishk Tharoor stretches back to stories of empire well before British rule, and looks at how narratives of conquest and loss still have a powerful hold over South Asians. There's the spectacular creation - and destruction - of the famed Peacock Throne of the Mughal emperors. It took seven years to make, and seven elephants to cart it away forever. And the forgotten world of the Kushan empire in Pakistan, ruled over by the magnificent King Kanishka. We explore the mystery of what happened to his little bronze box that was said to hold the remains of the Buddha himself.Part two delves into the histories of artefacts and landmarks linked to two of the greatest figures in modern South Asian history – Mohammed Ali Jinnah, the founder of Pakistan, and Rabindranath Tagore, the celebrated Bengali writer. Ziarat Residency, the beautiful sanatorium where Jinnah spent the last three months of his life. Four years ago, it was fire-bombed and burnt to the ground by Balochi insurgents. And Tagore's missing Nobel Prize Medal. In 1913, Tagore made history by becoming the first non-westerner to win a Nobel award. But just over 10 years ago, the medal was stolen – and still hasn't been found. We explore how Tagore inspired revolutionaries and reformers in South Asia, and how his suspicion of all nationalisms makes his work relevant today.Produced by Maryam MarufContributors: Yuthika Sharma, University of Edinburgh; Vazira Fazila-Yacoubali Zamindar, Brown University; Nayyar Ali Dada; Saher Baloch; Ayesha Jalal, Tufts University; Pasha Haroon; Arunava Sinha; Rahul Tandon; and Saroj MukherjiWith thanks to Sussan Babaie, The Courtauld Institute of Art; Fifi Haroon; Minu Tharoor; CS Mukherji; and Sudeshna GuhaImage: Persian ruler Nadir Shah on the Peacock Throne after his victory over the Mughals Credit: Alamy

Kanishk Tharoor explores artefacts and landmarks caught up in India and Pakistan's independence in 1947. In this episode, the life and times of the Palladium cinema. The Palladium was one of Srinagar’s oldest and most popular movie theatres. It was on Lal Chowk, a square in the heart of the city. From the 1940s, the building was the backdrop to many of Kashmir's major political events. Today it stands in ruins, an unexpected casualty of the ongoing conflict, and now, there are no public cinemas left in Srinagar. Presented by Kanishk Tharoor Produced by Maryam Maruf Contributors: Krishna Mishri; Imtiyaz; and Neerja Mattoo With thanks to Andrew Whitehead Museum of Lost Objects series two is broadcast on BBC World Service. Image: Cadets during a National Conference rally at Lal Chowk, Srinagar 1944 Credit: India Picture

Seventy years ago, India and Pakistan became independent nations - but at a cost. People and lands were partitioned, and a once shared heritage was broken apart. Kanishk Tharoor explores the tussle for ancient history and the prized artefacts of the Indus Valley civilization. There was a bureaucratic saga over the fates of the priest-king, the dancing girl, and the jade necklace so precious to both India and Pakistan that neither country could let the other have it whole. Presented by Kanishk Tharoor Produced by Maryam Maruf Contributors: Maruf Khwaja; Saroj Mukherji; Vazira Fazila-Yacoubali Zamindar, Brown University; Sudeshna Guha, Shiv Nadar University With thanks to Anwesha Sengupta, Institute of Development Studies Kolkata Image: The Mohenjo Daro jade necklace that was cut in two. India's share on the left, Pakistan's share on the right. Credit: Archaeological Survey of India and Getty Images

Kanishk Tharoor explores artefacts and landmarks caught up in India and Pakistan's independence in 1947. In this episode, the life and times of the Palladium cinema. The Palladium was one of Srinagar's oldest and most popular movie theatres. It was on Lal Chowk, a square in the heart of the city. From the 1940s, the building was the backdrop to many of Kashmir's major political events. Today it stands in ruins, an unexpected casualty of the ongoing conflict, and now, there are no public cinemas left in Srinagar. Contributors: Neerja Mattoo; Krishna Mishri; Imtiyaz Presented by Kanishk Tharoor Produced by Maryam Maruf With thanks to Andrew Whitehead Image: Cadets during a National Conference rally at Lal Chowk, Srinagar 1944 Credit: India Picture

Seventy years ago, India and Pakistan became independent nations - but at a cost. People and lands were partitioned, and a once shared heritage was broken apart. Kanishk Tharoor explores the tussle for ancient history and the prized artefacts of the Indus Valley civilization. There was a bureaucratic saga over the fates of the priest-king, the dancing girl, and the jade necklace so precious to both India and Pakistan that neither country could let the other have it whole. Presented by Kanishk Tharoor Produced by Maryam Maruf Contributors: Maruf Khwaja; Saroj Mukherji; Vazira Fazila-Yacoubali Zamindar, Brown University; Sudeshna Guha, Shiv Nadar University With thanks to Anwesha Sengupta, Institute of Development Studies Kolkata Museum of Lost Objects series two is broadcast on BBC World Service. Image: The Mohenjo Daro jade necklace that was cut in two. India's share on the left, Pakistan's share on the right. Credit: Archaeological Survey of India and Getty Images

Nimrud is a 3,000 year old archaeological site blown up by the so-called Islamic State. The Iraqi archaeologist Muzahim Hossein spent 30 years excavating there, and he goes back for the first time to see what remains. And the story of one Iraqi family who grew up with the temples and talismans of the beautiful, fabled city of Hatra. Including contributions from Layla Salih, Nineveh Heritage Buildings; Alessandra Peruzzetto, World Monuments Fund; and Watha Saleh. Presented by Kanishk Tharoor Produced by Maryam Maruf With thanks to Eleanor Robson, Lamia al-Gailani, Ali Juboori, Mehdi Musawi, Faisal Irshaid, Lucinda Dirven and Roberta Venca. Museum of Lost Objects series two is broadcast on BBC World Service. Image: Gorgon head in Hatra Credit: Getty Images

  If you'd like to get in touch with the show follow us on Twitter @PrattlePod, like us on facebook at facebook.com/prattlepod or e-mail us at deathprattle@gmail.com Visit our webpage at www.prattlepod.com Our music is courtesy of Matthew Pryce. Visit facebook.com/MatthewPryceMusic to learn more about his work To share a memory call and leave us a message at 347-687-8223 Listen to the episode of Almost Tuesday we discuss here  

Kanishk Tharoor goes on the murky trail of the missing Genie of Nimrud – a huge, 3,000-year-old carved figure that once protected a palace; the Winged-Bull of Nineveh, an Assyrian sculpture that guarded the gates of one of the most fabled cities in antiquity; and a looted Sumerian seal stolen in the aftermath of the 2003 invasion of Iraq.

"Archaeology is supposed to be fun and interesting and apolitical and those are the reasons I love it, but none of this is now." Archaeologists like Jesse Casana have lived and worked on sites throughout Syria for years. He describes his feelings about the fate of friends and colleagues left behind. The excavation at Tell Qarqur that he oversaw before the war has now been bulldozed, but he says, "It seems like a fairly small concern compared to the human tragedy unfolding before our eyes."Tell Qarqur is not the only monument of archaeological interest that has been destroyed. The statue of an 11th Century Arabic poet, atheist and vegetarian, al-Ma'arri, was decapitated Islamic militants in 2013. And Aleppo, thought to be the oldest city in the world, is now in ruins. Its sights are remembered fondly by the people who lived there including the elegant, 1000 year old mineret of the Great Mosque destroyed in April 2013. Picture: A Syrian rebel fighter points to destruction in the Great Mosque complex, Aleppo, Credit: AFP/Getty Images

In May 2015, the Syrian city of Palmyra was captured by the forces of the so-called Islamic State. Few of the group's excesses have won as much attention as their ravaging of the city. They have waged a campaign of violence against the local population, and they systematically destroyed many of the city's great monuments, including the 2,000 year old Temple of Bel; the Lion of al-Lat, an ancient sculpture of a protective spirit; and the nearby shrine of Mar Elian in the Syrian desert that was beloved by both Christian and Muslim communities for hundreds of years. The three-part series, the Museum of Lost Objects, traces the histories of ten lost treasures through the stories of people who knew and loved them. From sculptures and shrines to tombs and temples, we explore how these ancient treasures have remained present in the lives of Iraqis and Syrians right up to this grim modern era of destruction. What you'll hear is a recreation of sorts: these places and objects reimagined through local legends, histories and extraordinary personal stories. Think of it as a virtual Museum of Lost Objects; its curator is the history-obsessed writer, Kanishk Tharoor. Picture: The Temple of Bel, Credit: Getty Images

The Museum of Lost Objects traces the histories of 10 antiquities or cultural sites that have been destroyed or looted in Iraq and Syria. This is the oldest and smallest object in the series: a tiny Sumerian cylinder seal depicting a harvest festival. It was carved in 2,600 BC and was part of the collection of ancient cylinder seals which disappeared when the Iraq Museum in Baghdad was looted during the 2003 invasion of Iraq. We tell the story of this seal and the pillaging of the country's most important museum. Contributors: Lamia al-Gailani, SOAS; Mazin Safar, son of Iraqi archaeologist Fuad Safar; John Curtis, Iran Heritage Foundation Presenter: Kanishk Tharoor Producer: Maryam Maruf Picture: Sumerian harvest seal Credit: Lamia al-Gailani With thanks to Augusta McMahon of Cambridge University, Mark Altaweel of the Institute of Archaeology UCL, and Sarah Collins of the British Museum.

The Museum of Lost Objects traces the histories of 10 antiquities or cultural sites that have been destroyed or looted in Iraq and Syria. The Armenian martyr's memorial in Der Zor, Syria was a tribute to the Armenians who perished in the mass killings of 1915. It was consecrated in 1991 and then completely destroyed in 2014 by Islamic militants. A British Armenian writer recalls her visits to Der Zor, and tracing the harrowing journey of her ancestors through the Syrian desert. Contributors: Nouritza Matossian, writer; Heghnar Watenpaugh, University of California Davis Presenter: Kanishk Tharoor Producer: Maryam Maruf Picture: Armenian Martyr's Memorial, Der Zor With thanks to Elyse Semerdjian of Whitman College.

The Museum of Lost Objects traces the histories of 10 antiquities or cultural sites that have been destroyed or looted in Iraq and Syria. The ancient Assyrians were fond of protective spirits. They had sculptures of all manner of mythological creatures lining the walls of their palaces. One such sculpture was a stone relief of a genie. This was a powerful male figure - a bountiful beard and muscular thighs but with huge wings sprouting from his back. Three thousand years ago, it adorned the walls of Nimrud, one of the great strongholds of Mesopotamia, near Mosul in modern day Iraq. During the 1990s, this genie disappeared - believed to have been taken during the chaos of the first Gulf war - and ended up in London around 2002 - just before the mire of the second Gulf war. It's been kept by Scotland Yard for these last 14 years - locked in legal limbo, and unlikely to ever re-emerge or return to Iraq. We explore the cost of looting to a country's cultural heritage, and tell the story of another valuable Mesopotamian antiquity that was looted, eventually uncovered, but managed to stay in Iraq. This is a tablet, and holds a new chapter from the oldest tale ever told - the Gilgamesh epic. Contributors: Mark Altaweel, Institute of Archaeology UCL; Augusta McMahon, University of Cambridge; Mina al-Lami, BBC Monitoring; the readings are by Martin Worthington, George Watkins, and Susan Jameson Presenter: Kanishk Tharoor Producer: Maryam Maruf Picture: Assyrian winged-genie from Nimrud, very similar in style to the genie in possession of Scotland Yard Credit: Brooklyn Museum With thanks to Vernon Rapley of the V&A, Sarah Collins of the British Museum, Andrew George of SOAS, and John Russell of the Massachusetts College of Art and Design.

The Museum of Lost Objects traces the histories of 10 antiquities or cultural sites that have been destroyed or looted in Iraq and Syria. In 2013, Islamic militants decapitated the statue of an 11th Century Arabic poet that stood in his hometown of Maarat al-Nu'man, a city that's seen heavy fighting during the Syrian conflict. The poet al-Ma'arri was one of the most revered in Syria, and poetry enthusiasts tell his story - he was blind, vegetarian, atheist, and some even claim that his work inspired Dante's Divine Comedy. Contributors: Nasser Rabbat, Massachusetts Institute of Technology; Mahmoud al-Sheikh, BBC Arabic; the reading is by Susan Jameson Presenter: Kanishk Tharoor Producer: Maryam Maruf Picture: Statue of al-Ma'arri with the sculptor Fathi Mohammed in the 1940s, and the statue after its decapitation in 2013.

The Museum of Lost Objects traces the histories of 10 antiquities or cultural sites that have been destroyed or looted in Iraq and Syria. This monastery in the remote Syrian town of Qaryatayn held the 1,000 year old tomb of a saint, Mar Elian, who was revered by Christians and Muslims alike. After the Islamic State group took Palmyra, they came to the monastery of Mar Elian, kidnapped its priest and later bulldozed the site. A British archaeologist who lived and worked there for many years tells the legends of Mar Elian and her close relationship with the community. Contributors: Emma Loosley, University of Exeter; Father Jacques Murad, formerly priest at Mar Elian Presenter: Kanishk Tharoor Producer: Maryam Maruf Picture: Doorway to Mar Elian Credit: Emma Loosley With thanks to Shadi Atalla.

The Museum of Lost Objects traces the histories of 10 antiquities or cultural sites that have been destroyed or looted in Iraq and Syria. Last May, the Syrian city of Palmyra was captured by the forces of the so-called Islamic State. Few of the group's excesses have won as much attention as their ravaging of the city. They waged a campaign of violence against the local population, and they systematically destroyed many of the city's great monuments, including the 2,000 year old Temple of Bel. We trace the story of the Temple, pay homage to Palmyra's ancient warrior Queen Zenobia - and hear from a modern day Zenobia, daughter of Khaled al-Asaad director of antiquities at Palmyra who was beheaded by IS. She tells us when IS militants took over her home and her last words with her father. Contributors: Nasser Rabbat, Massachusetts Institute of Technology; Salam al-Kuntar, University of Pennsylvania Museum; Zenobia al-Asaad, daughter of Khaled al-Asaad, her words read in English by Amira Ghazalla Presenter: Kanishk Tharoor Producer: Maryam Maruf Picture: Temple of Bel, Palmyra Credit: Getty With thanks to Faisal Irshaid of BBC Arabic, Alma Hassoun of BBC Monitoring, Rubina Raja of Aarhus University, Christopher Jones of Columbia University, and Christa Salamandra of City University of New York.

The Museum of Lost Objects traces the histories of 10 antiquities or cultural sites that have been destroyed or looted in Iraq and Syria. The Lion of al-Lat was a protective spirit, the consort of a Mesopotamian goddess. This 2,000 year old statue was one of the first things the so-called Islamic State destroyed when they took Palmyra in 2015. The Polish archaeologist Michal Gawlikowski recalls discovering the lion during an excavation in the 1970s, and we explore the wider symbolism of lions and power and how this was appropriated by modern rulers including Bashar al-Assad's own ancestors. Contributors: Michal Gawlikowski, Warsaw University; Zahed Tajeddin, artist and archaeologist; Augusta McMahon, University of Cambridge; Lamia al-Gailani, SOAS Presenter: Kanishk Tharoor Producer: Maryam Maruf Picture: Lion of al-Lat Credit: Michal Gawlikowski With thanks to Sarah Collins of the British Museum.

The Museum of Lost Objects traces the histories of 10 antiquities or cultural sites that have been destroyed or looted in Iraq and Syria. Since 2012, Aleppo - Syria's largest city - has been a key battleground in the conflict, and hundreds of its residents killed or displaced. Aleppo, thought to be the oldest city in the world, is now left in ruins. One of the great monuments of the city was the minaret of the Umayyad Mosque (also known as the Great Mosque) which was toppled in April 2013. It's still unclear who was responsible - Syrian government forces and rebels blame each other. We tell the story of the minaret, a world heritage site that was connected to that other great Aleppo landmark, the souk. Contributors: Nasser Rabbat, Massachusetts Institute of Technology; Zahed Tajeddin, artist and archaeologist; Heghnar Watenpaugh, University of California Davis; Jalal Halabi, photographer; Will Wintercross, Daily Telegraph Presenter: Kanishk Tharoor Producer: Maryam Maruf Picture: Minaret of the Umayyad Mosque Credit: Getty With thanks to Haider Adnan of BBC Arabic, Elyse Semerdjian of Whitman College, and Aya Mhanna.

The Museum of Lost Objects traces the histories of 10 antiquities or cultural sites that have been destroyed or looted in Iraq and Syria. As archaeological sites go, Tell Qarqur isn't the most glamorous, but this mound in Syria is unique. It's in the Orontes Valley in the west of the country and it contains 10,000 years of continuous human occupation. It is a goldmine of information for studying the movements of long history in a single place. In 2011, Tell Qarqur was occupied by the Assad military and since then, the whole area - the province of Hama and neighbouring regions - has been on the frontline of the war and many local residents forced to flee. Jesse Casana, the archaeologist who ran the excavation at Tell Qarqur, talks about monitoring the destruction of his site from space using satellite archaeology, and the Syrian villagers who worked with him now living as refugees. Contributors: Jesse Casana, Dartmouth College; the reading is by Sargon Yelda Presenter: Kanishk Tharoor Producer: Maryam Maruf Picture: Tell Qarqur Credit: Jesse Casana.

The Museum of Lost Objects traces the histories of 10 antiquities or cultural sites that have been destroyed or looted in Iraq and Syria. With hundreds of thousands of lives lost, millions of people displaced and some of the world's most significant heritage sites destroyed, the wars in Iraq and Syria have had an enormous cost. While the historical artefacts that have been bombed, defaced and plundered can never be restored - they are very well remembered. Through local histories, legends and personal stories, the Museum of Lost Objects recreates these lost treasures and explores their significance across generations and cultures, from creation to destruction. The winged-bull was a huge 2,700 year old sculpture that stood guard at the gates of one of the most fabled cities in antiquity - Nineveh, in modern day Mosul, northern Iraq. Militants from the Islamic State group defaced the winged-bull in February 2015, almost a year after seizing control of the city. We tell the story of the bull and the role of Nineveh in the origins of Iraqi archaeology. Contributors: Mazin Safar, son of Iraqi archaeologist Fuad Safar; Mark Altaweel, Institute of Archaeology, UCL; and Iraqi archaeologist Lamia al-Gailani, SOAS Presenter: Kanishk Tharoor Producer: Maryam Maruf Picture: Winged-Bull of Nineveh, drawn by Eugène Flandin Credit: The New York Public Library With thanks to Nigel Tallis and Sarah Collins of the British Museum, and Augusta McMahon of the University of Cambridge.

Kanishk Tharoor and Maryam Maruf, the presenter and producer of the new radio series Museum of Lost Objects, highlight some of the antiquities that have been destroyed during recent conflicts in Iraq and Syria. Meanwhile, we’re joined by historian Tom Asbridge to explore the events of the Third Crusade, which pitted Saladin against Richard the Lionheart See acast.com/privacy for privacy and opt-out information.

Layla Renshaw (Kingston University London) discusses objects recovered during the exhumation of Civil War victims and considers their imaginative power and life cycle (6 February 2015)