Podcasts about Mediterranean Sea

The Moon will ply the dark waters of the celestial sea the next few nights – a large region of sky that’s populated by constellations related to water. Tonight, the Moon sails from Aquarius the water bearer into Pisces, the fishes. Pisces is so long that the Moon will remain inside its borders until Monday night. The “sea” consists of six major constellations. Together, they cover almost one-eighth of the entire sky. All of them were created thousands of years ago by cultures around the Mediterranean Sea. The constellations probably were associated with water because the Sun passed across them during the rainy season. Like the open ocean on a moonless night, the entire region is dark – most of its stars are quite faint. The brightest of the lot is Fomalhaut. It’s in Piscis Austrinus, the southern fish. The star climbs into view in the southeast in early evening, and swims across the south during the night. It’s bright on its own, but the lack of other bright lights around it makes it really stand out. Pisces is especially dark. Most of its stars are impossible to see from light-polluted cities, or even the suburbs. And with the almost-full Moon passing through, it’s hard to see any of its stars even from sites that are far away from city lights. So as the Moon moves across the constellation, it looks like it’s floating through an ocean of darkness – the cosmic waters of the celestial sea. Script by Damond Benningfield

When they migrate, tiny songbirds that spend most of their lives on land fly hundreds of miles over the ocean at a stretch – and they get tired. Research suggests that birds migrating over busy shipping routes in the Mediterranean Sea may use the decks of sea vessels as places to catch their breath when the weather turns bad. More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks.  BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Cape Clear. An island at the edge of Ireland. A ferry, a gig, a few instruments — and two men who apparently still think jumping into the Atlantic is a perfectly reasonable form of post-production.This episode is not a polished travel report. It is the sound of actually being there.Detlef and Dirk talk about the journey to Cape Clear, arriving on the island, the people they met, the atmosphere surrounding the gig, performing their music far away from the usual circuits — and what remains when the instruments are packed away and the evening is over.The conversation moves between music, friendship, island life, improvisation and those unexpected moments that turn a gig into something much larger than a gig.And somewhere between land and sea, performance and memory, WAW's KEEP CLEAR journey becomes exactly what it was meant to be:Not simply a tour.An encounter.An experience.A story worth bringing home.Keep Clear. Come closerAbout Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

In this episode of Working Papers, host Tim Phillips sits down with Prof. Tommaso Frattini (Deputy Director of CReAM at RFBerlin) and Dr. Giacomo Battiston (Senior Research Officer at RFBerlin) to look at what happens before someone decides to migrate. Anyone who migrates weighs the costs against the benefits: a journey that can cost thousands USD and carry real risk of violence, set against the promise of higher wages or simply safety. But do people know the true odds before they set out? And when governments respond with tougher borders or information campaigns, does any of it change the decision, or just move it somewhere else?Drawing on a field experiment with students in Guinea and on evidence from Europe's borders, Frattini and Battiston show that migration isn't a single choice but a chain of them. Better information can genuinely shift the decision: when potential migrants learn the real risks, many become less willing to go. Enforcement is more slippery. When the EU-Turkey deal closed the Eastern Mediterranean route in 2016, migrants didn't stop; within months they reappeared on the deadlier Central Mediterranean crossing. A policy that looks like a success at one border can leave the overall picture unchanged, and the journey more dangerous. As the researchers put it, migration is an investment, costs borne now for benefits hoped for later, sometimes for one's children rather than oneself. To know whether a policy works, you have to follow the whole journey, not just count arrivals at one border.Resources mentioned in the episode:

The top of the world will see a total solar eclipse tomorrow. A partial eclipse will encompass a wider slice of the globe, including Alaska and parts of the northeastern United States. A solar eclipse occurs when the Moon passes directly between Earth and the Sun, blocking the Sun from view. The Sun’s hot but faint outer atmosphere, the corona, looks like silvery tendrils radiating away from the Moon. This eclipse begins when the lunar shadow first touches Earth, over northeastern Russia. The eclipse path then passes near the north pole, slides across parts of Greenland and Iceland, and finally over northern Spain before vanishing over the Mediterranean Sea. At its peak, off the coast of Iceland, totality will last for 2 minutes, 18 seconds. A partial eclipse, where the Moon covers only a portion of the solar disk, will flank that path. In addition to parts of North America, it’ll encompass much of western Europe and western Africa. From far-northern Alaska, the Moon will cover more than half of the Sun’s disk, at about 8:30 a.m. From Anchorage, about a quarter of the Sun will be covered. And from the northeast, the greatest eclipse takes place in northern Maine, shortly before 2 p.m. If you’re in one of those areas, remember to protect your eyes. Watch the eclipse only through special glasses or dark welder’s glass, and never look at the unfiltered Sun. Script by Damond Benningfield

Fluent Fiction - Hebrew: Mystery of the Glowing Sea: Aviva's Tel Aviv Adventure Find the full episode transcript, vocabulary words, and more:fluentfiction.com/he/episode/2026-08-11-07-38-19-he Story Transcript:He: תחת ירח מלא בחוף תל אביבי, נשבה רוח חמה ומלוחה על פני החול הזהוב.En: Under a full moon on a Tel Aviv beach, a warm, salty breeze blew across the golden sand.He: עצי הדקל רעדו קלות, והאורות מן העיר נצצו ברקע הכחול העמוק של הים התיכון.En: The palm trees trembled slightly, and the lights from the city sparkled in the deep blue backdrop of the Mediterranean Sea.He: אביבה, אישה צעירה ונלהבת עם אהבה נסתרת לעולם הים, נהגה לפקוד את החוף בכל ערב.En: Aviva, a young and enthusiastic woman with a hidden love for the sea world, used to visit the beach every evening.He: אבל לאחרונה, הופיעה תעלומה חדשה שהדירה שינה מעיני המקומיים והתיירים גם יחד: אור מסתורי שהופיע כל לילה רחוק מהחוף.En: But lately, a new mystery had disturbed the sleep of both locals and tourists alike: a mysterious light that appeared every night far from the shore.He: כל אחד סיפר סיפור שונה על מקורו של האור, וזה רק בלבל עוד יותר.En: Everyone told a different story about the origin of the light, which only added to the confusion.He: איתן ונועה, חבריה הטובים של אביבה, ניסו לסייע לה לפענח את הסוד.En: Eitan and Noa, Aviva's good friends, tried to help her unravel the secret.He: "אולי זה דולפין זוהר," אמר איתן בצחוק.En: "Maybe it's a glowing dolphin," Eitan joked.He: "או אולי ספינת רפאים?En: "Or perhaps a ghost ship?"He: " הציעה נועה בקריצה.En: Noa suggested with a wink.He: אביבה החליטה לבדוק את העניין בעצמה.En: Aviva decided to investigate the matter herself.He: היא אספה אומץ והחליטה להישאר לילה שלם על החוף כדי לנסות ולגלות מהיכן מגיע האור.En: She gathered her courage and decided to stay a whole night on the beach to try and discover where the light came from.He: לבה דפק בחוזקה כשהשמש התחילה לשקוע והערב ירד.En: Her heart pounded as the sun began to set and evening fell.He: והיא זכרה לרגע את הפחד שלה מהים החשוך.En: She momentarily remembered her fear of the dark sea.He: כשהאור הופיע שוב, היא לקחה קיאק והתחילה לחתור לכיוונו.En: When the light appeared again, she took a kayak and started paddling toward it.He: היא נשמה עמוק והמשיכה לחתור.En: She took a deep breath and continued paddling.He: שם, עמוק בים, גילתה משהו מדהים: יצורי ים זוהרים, שכבר נחשבו נכחדים.En: There, deep in the sea, she discovered something amazing: glowing sea creatures that were thought to be extinct.He: הם הפיצו אור כחול מרהיב, כאילו שמחת הים חזרה לחיים.En: They emitted a marvelous blue light, as if the sea's joy had come back to life.He: אביבה צילמה הכל ושבה לחוף בבטחה, ניצחון בעיניה וחיוך על פניה.En: Aviva photographed everything and returned safely to the shore, with victory in her eyes and a smile on her face.He: היא לא רק גילתה את מקור האור אלא גם את הכוחות הטמונים בה.En: She not only discovered the source of the light but also the strengths within her.He: היא הרגישה בטוחה יותר בעצמה ובאהבתה לים.En: She felt more confident in herself and her love for the sea.He: בקומה בטוחה, היא ידעה שפענחה את תעלומת האור המסתורי ושגם חייה השתנו.En: With newfound assurance, she knew she had solved the mystery of the mysterious light and that her life had changed as well.He: האור הזוהר בחוף תל אביב אולי נעלם, אבל האור הפנימי של אביבה רק התחיל לזרוח.En: The glowing light on the Tel Aviv beach might have disappeared, but Aviva's inner light had only begun to shine. Vocabulary Words:trembled: רעדוbackdrop: רקעenthusiastic: נלהבתhidden: נסתרתlocals: המקומייםtourists: התייריםunravel: לפענחsecret: סודghost: רפאיםinvestigate: לבדוקcourage: אומץdiscovered: גילתהextinct: נכחדיםemitted: הפיצוmarvelous: מרהיבvictory: ניצחוןassurance: בטוחהdisappeared: נעלםglowing: זוהרsolved: פענחהmystery: תעלומהpounded: דפקmomentarily: לרגעfear: פחדpaddling: לחתורcreatures: יצוריphotographed: צילמהconfident: בטוחהinner: הפנימיshone: לזרוחBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.

Fluent Fiction - Italian: Moonlit Market: Discovering Inspiration by the Mediterranean Sea Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2026-08-11-22-34-02-it Story Transcript:It: La luna brillava sulla spiaggia mentre Leandro, Mirella e Giulietta si muovevano tra il mercato all'aperto.En: The moon shone on the beach while Leandro, Mirella, and Giulietta moved through the open-air market.It: Era Ferragosto e il mare cantava dolci melodie, mescolandosi col chiacchiericcio allegro dei venditori e dei visitatori sulla spiaggia.En: It was Ferragosto and the sea sang sweet melodies, blending with the cheerful chatter of vendors and visitors on the beach.It: Leandro, un artista riflessivo, osservava ogni dettaglio.En: Leandro, a thoughtful artist, observed every detail.It: Voleva catturare l'essenza dell'estate mediterranea nel suo prossimo quadro.En: He wanted to capture the essence of the Mediterranean summer in his next painting.It: Ma trovare ispirazione era difficile tra il frastuono e i colori vivaci del mercato.En: But finding inspiration was difficult amid the bustling noise and vibrant colors of the market.It: "Leandro, rimani un po' di più," disse Mirella, sempre pronta ad avventurarsi.En: "Leandro, stay a little longer," said Mirella, always ready to venture.It: "C'è tanto da vedere."En: "There's so much to see."It: Giulietta, una venditrice dal passato misterioso, attirò la loro attenzione.En: Giulietta, a vendor with a mysterious past, caught their attention.It: La sua bancarella era piena di gioielli fatti a mano, ognuno con una storia propria da raccontare.En: Her stall was filled with handmade jewelry, each with its own story to tell.It: "Questo è speciale," disse Giulietta, indicando un pendente unico.En: "This is special," said Giulietta, pointing to a unique pendant.It: La luce lunare brillava su di esso, creando un gioco di riflessi.En: The moonlight gleamed on it, creating a play of reflections.It: Leandro sentì una scintilla di ispirazione improvvisa.En: Leandro felt a sudden spark of inspiration.It: "È perfetto," pensò, immaginando il pendente al centro della sua tela.En: "It's perfect," he thought, imagining the pendant at the center of his canvas.It: Ma il prezzo era alto, e Leandro esitò.En: But the price was high, and Leandro hesitated.It: Mirella lo incoraggiò: "Parla con lei, forse possiamo trovare un accordo."En: Mirella encouraged him: "Talk to her, maybe we can find a deal."It: Con gentilezza, Leandro e Mirella iniziarono a negoziare con Giulietta.En: With kindness, Leandro and Mirella began negotiating with Giulietta.It: Dopo qualche scambio di parole e molti sorrisi, Giulietta fu d'accordo a vendere il pendente a un prezzo ragionevole.En: After some exchanges of words and many smiles, Giulietta agreed to sell the pendant at a reasonable price.It: Finalmente, con il gioiello in mano, Leandro capì qualcosa d'importante: l'ispirazione può arrivare da persone e luoghi inaspettati.En: Finally, with the jewel in hand, Leandro understood something important: inspiration can come from unexpected people and places.It: Il mercato illuminato dalla luna, il profumo del mare e l'amicizia condivisa resero quella notte unica.En: The market illuminated by the moon, the scent of the sea, and the shared friendship made that night unique.It: Lasciarono la spiaggia con un nuovo senso di meraviglia, pronti a vivere altre avventure.En: They left the beach with a newfound sense of wonder, ready to live more adventures.It: L'essenza dell'estate mediterranea era ora racchiusa non solo nel suo cuore, ma presto anche sulla sua tela.En: The essence of the Mediterranean summer was now captured not only in his heart but soon also on his canvas.It: Così, con un sorriso, Leandro si avviò verso casa, pronto a trasformare l'ispirazione in arte.En: Thus, with a smile, Leandro set off for home, ready to transform inspiration into art. Vocabulary Words:the moon: la lunathe beach: la spiaggiathe market: il mercatothe artist: l'artistathe detail: il dettagliothe inspiration: l'ispirazionethe noise: il frastuonothe adventure: l'avventurathe vendor: il venditorethe visitor: il visitatorethe past: il passatothe stall: la bancarellathe jewelry: i gioiellithe pendant: il pendentethe moonlight: la luce lunarethe play: il giocothe reflection: il riflessothe canvas: la telathe price: il prezzothe negotiation: la negoziazionethe smile: il sorrisothe jewel: il gioiellothe scent: il profumothe friendship: l'amiciziathe wonder: la meravigliathe adventure: l'avventurathe essence: l'essenzathe summer: l'estatethe heart: il cuorethe sea: il mare

Joshua 1:1-91 After the death of Moses the servant of the Lord, the Lord said to Joshua son of Nun, Moses' aide: 2 “Moses my servant is dead. Now then, you and all these people, get ready to cross the Jordan River into the land I am about to give to them—to the Israelites. 3 I will give you every place where you set your foot, as I promised Moses. 4 Your territory will extend from the desert to Lebanon, and from the great river, the Euphrates—all the Hittite country—to the Mediterranean Sea in the west.5 No one will be able to stand against you all the days of your life. As I was with Moses, so I will be with you; I will never leave you nor forsake you. 6 Be strong and courageous, because you will lead these people to inherit the land I swore to their ancestors to give them.7 “Be strong and very courageous. Be careful to obey all the law my servant Moses gave you; do not turn from it to the right or to the left, that you may be successful wherever you go. 8 Keep this Book of the Law always on your lips; meditate on it day and night, so that you may be careful to do everything written in it. Then you will be prosperous and successful. 9 Have I not commanded you? Be strong and courageous. Do not be afraid; do not be discouraged, for the Lord your God will be with you wherever you go.”

For Christopher Nolan's The Odyssey — Josh, Mikey, Kylo and Film Dylan climb aboard a ship and go on a bunch of adventures with the gods and such. Stay tuned for big brained trivia at the end! (Hey, Josh here — had a tiny oopsie in the edit, if you notice it around the 2:00 mark and you really want to hear the missing 10 seconds just refesh your download!, it's fixed. SORRY!) ******** Odysseus, king of Ithaca, embarks on a perilous journey to return home after the Trojan War. Crossing the Mediterranean Sea with his fellow soldiers, they soon find themselves battling not only the elements, but an array of deadly obstacles and mythical creatures along the way. Release date July 17, 2026 (USA) Director Christopher Nolan Producers Christopher Nolan, Emma Thomas Music composed by Ludwig Göransson Adapted from Odyssey Story by Homer

Fluent Fiction - Hebrew: Dancing in the Rain: A Tel Aviv Love Story Unfolds Find the full episode transcript, vocabulary words, and more:fluentfiction.com/he/episode/2026-08-05-07-38-19-he Story Transcript:He: ערב קיצי בתל אביב.En: A summer evening in Tel Aviv.He: הנהר גולש בים התיכון והגלים רועשים על החוף.En: The river flows into the Mediterranean Sea and the waves crash on the shore.He: במרפסת של בית הקפה המוכר, היושב על החול, עמוס בתאורה מנצנצת.En: On the balcony of the familiar café, which sits on the sand, it is packed with sparkling lights.He: אריאל יושב על שולחן קטן עם דוד, מתנשמים ומתלהבים, ומשסים את המתח של פגישה ראשונה.En: Ariel sits at a small table with David, breathing heavily and excited, igniting the tension of a first meeting.He: "האם בית הקפה הזה יפה או מה?En: "Is this café beautiful or what?"He: " חשב אריאל, ועיניו נחו על דוד, השומע בחיוך מתון.En: thought Ariel, his eyes resting on David, who listened with a slight smile.He: אריאל רצה להרשים, לבדוק האם חיוך זה מסמל חיבור אמיתי.En: Ariel wanted to impress, to see if that smile indicated a true connection.He: לפתע, אין שום סימן או אזהרה מוקדמת, עננים אפורים מתגלגלים בשמים הקיציים.En: Suddenly, with no sign or prior warning, gray clouds roll in the summer sky.He: השמיים שהיו כחולים כהים מתכסים בשמיכה אפרורית.En: The sky, once dark blue, now covers with a gray blanket.He: ברק מרהיב ונשמע רעם רחוק.En: A magnificent lightning bolt is seen and a distant thunder is heard.He: דוד הביט לשמיים וחייך, "אולי נזמין משהו מהר לפני שהגשם יתחיל?En: David looked up at the sky and smiled, "Maybe we should order something quickly before the rain starts?"He: " בינתיים, נואה, המלצרית הצעירה והחייכנית, מגיעה עם תפריט בידיה.En: Meanwhile, Noa, the young and cheerful waitress, arrives with a menu in hand.He: אך, בתקשורת לקוית, יצא והביא להם משהו לגמרי אחר ממה שהזמינו.En: Yet, due to poor communication, she ended up bringing them something completely different than what they ordered.He: אריאל שוקל: לנסות לתקן את הזמנתם או להישאר בשקט?En: Ariel considers: should he try to correct their order or stay quiet?He: בעודו שוקל זאת, התחיל היורה.En: As he ponders this, the rain begins.He: מבול נחת על קפיטריה, גולשים החוצה להכין את המטריות.En: A downpour hits the café, with everyone rushing outside to prepare their umbrellas.He: אבל במקום להיכנס לפאניקה, אריאל מחליט לצחוק.En: But instead of panicking, Ariel decides to laugh.He: "דוד, למה שלא נרקוד בגשם?En: "David, why don't we dance in the rain?"He: " הוא אומר באומץ, צוחק על המצב.En: he says boldly, laughing at the situation.He: דוד משתף פעולה, צוחק גם הוא, והשניים עומדים על החוף, מתחת למכסה הסוכך, מרגישים את טיפות הגשם הקרירות על עיניהם וכתפיהם.En: David joins in, laughing as well, and the two stand on the beach, under the canopy cover, feeling the cool raindrops on their eyes and shoulders.He: מנגינת הפסנתר שבקפיטריה נמשכת, וכך גם הערב.En: The piano music from the café continues, and so does the evening.He: ככל שהגשם יורד, והם רטובים מכף רגל ועד ראש, הכול נראה מצחיק כל כך ומלא חיים.En: As the rain pours, and they are drenched from head to toe, everything seems so amusing and full of life.He: השניים מסיימים את הלילה מבוששים, בידיעה שהערב הזה ייחרט בזכרונם בשיר ריקודים חגיגי ומלא רוח חופשית.En: The two finish the night reluctantly, knowing that this evening will be etched in their memory as a spontaneous and festive dance tune full of free spirit.He: אריאל מבין שלפעמים רגעים אמיתיים עולים על כל תכנון, מודה לעצמו שלמד לחבק את הבלתי צפוי בחן.En: Ariel understands that sometimes genuine moments surpass any plan, admitting to himself that he has learned to embrace the unexpected with grace.He: כשהגשם פוסק והשמיים מתבהרים שוב, השניים יושבים שוב על השולחן הצמוד לים, חולמין את שאירע.En: As the rain stops and the skies clear again, the two sit back at the seaside table, dreaming of what had happened.He: במבט לאחור, זה היה הרגע שהפך את הערב למיוחד, והם יודעים שעוד ייפגשו שוב.En: In retrospect, this was the moment that made the evening special, and they know they will meet again. Vocabulary Words:sparkling: מנצנצתignite: משסיםtension: מתחindicate: מסמלclouds: ענניםmagnificent: מרהיבthunder: רעםprior: מוקדמתcommunication: תקשורתponder: שוקלdownpour: מבולpanic: פאניקהboldly: באומץcanopy: סוכךdrenched: רטוביםreluctantly: מבוששיםembrace: לחבקgrace: חןetched: ייחרטspontaneous: ספונטניfestive: חגיגיretrospect: במבט לאחורimpress: להרשיםfamiliar: מוכרprior: קודםdistant: רחוקcorrect: לתקןamusing: מצחיקcharming: חינניunexpected: בלתי צפויBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.

Written and directed by Christopher Nolan, The Odyssey is the epic action fantasy film which serves as an adaptation of Homer's ancient Greek epic poem the Odyssey. Odysseus, king of Ithaca, embarks on a perilous journey to return home after the Trojan War. Crossing the Mediterranean Sea with his fellow soldiers, they soon find themselves battling not only the elements, but an array of deadly obstacles and mythical creatures along the way. We break down all things Christopher Nolan, IMAX, and Greeks with American accents.

This week we talk about Melilla, hybrid warfare, and migration.We also discuss Morocco, civil conflict, and immigration politics.Recommended Book: Playground by Richard PowersTranscriptCeuta is a Spanish-owned territory located in northwestern Africa, along the top of Morocco. It's small—about seven square miles—and is unusual because it is a city owned by a European Union member state that isn't located on the European continent; it's bordered by Morocco and the Mediterranean, and is located at the entrance of the Strait of Gibraltar, which is the strait that separates the Mediterranean Sea from the Atlantic Ocean.Ceuta is one of two territories that Spain still holds in Africa, the other being a smaller, just 4.7 square mile city called Melilla, which is located further west but still along the Mediterranean coast, bordered by the sea on one side, and by Morocco on the other.Spain has held both of these territories for hundreds of years: Ceuta since 1580 and Melilla since 1497, so it's actually held them far longer than Morocco has been an independent state, in 1956. The populations of these territories, just over 85,000 people in each, also heavily identify as Spanish, despite many residents having Moroccan ancestry, so theres a cultural component here, too.That said, Morocco officially claims both areas as their own, considering them to be occupied territories, a bit like the Crimean peninsula has been militarily held by Russia since 2014, but it's still claimed by Ukraine as an occupied territory. So the Moroccan government isn't thrilled about having these small chunks of land, autonomous cities that are technically part of Spain, right there in the midst of their own territory. But these cities have been part of Spain for so long, and the residents are all Spanish citizens, with the same rights and sense of culture as the rest of Spain and Europe, that simply handing them over to Morocco has never seemed terribly feasible or desirable to the Spanish government, despite neither territory providing much strategic or economic value to Spain. So they remain a point of contention between these two governments.They've also served as migration hot-spots in recent decades, because they are the only two European territories that border an African country. And this is important because, in some cases, under some governments and in accordance with some laws, if you can make it across a border and into another country, you might be able to enter the system and eventually become a citizen, maybe claiming asylum or maybe getting slotted into some other path to citizenship. Or failing that, there's a chance you might be able to just fade into the background, working and living in that country, despite not legally being there.What I'd like to talk about today is a recent surge in migrants crossing the border from Morocco into Ceuta, and the larger state of play, migration-wise, globally right now.—On the last day of July, 2026, an estimated 50-60 thousand African migrants illegally crossed from Morocco into Ceuta, some of them swimming to bypass the 20-foot-high border fences, others climbing those fences, or piling into overflowing boats, arriving in Ceuta en masse and overwhelming the guards who tried to stop them, though generally just trying to run past them, not attacking the guards—this wasn't an attack, it was a rush to get into Spanish territory.Eventually the guards were reinforced by police and the Spanish military, and they started to push the waves of migrants back using water cannons and tear gas. But despite the less-lethal crowd control methods that were applied, at least 67 people, that's the number as of the day I'm recording this at least, it's been updated many times over the past few days, 67 people died as a result of stampedes, either headed inland or back into the sea, away from the gas and water cannons, or they drowned while trying to cross over the water.By the following day, the wave of migrants had become just a trickle, mostly a few stragglers who tried to swim to Ceuta, and who were swiftly returned to Morocco by local law enforcement. Almost everyone else who illegally crossed the border also returned to Morocco moved on by police or of their own volition, and though, again, this wasn't some kind of violent incursion, to get a sense of the scale of this wave of humanity, Ceuta only has about 85,000 people living there, and this wave of migrants was about 60,000 people strong. So the locals mostly closed up all their shops and locked their doors, the people who arrived found themselves unable to get food or water, and law enforcement told them they need to leave, so most did. As of the day I'm recording this there are still several hundred migrants hiding in the nearby hills and lounging on the beach, exhausted and still hopeful they'll be able to enter the asylum system—many of them saying they fled conflicts further south, like the ongoing civil war in Sudan, and so anything, even starving on the beach in Ceuda, is better than going back.This isn't the first time Ceuta has faced this kind of humanitarian crisis; back in 2021, the Moroccan government stopped enforcing its border controls and around 8000 people crossed from Morocco into Ceuta over the course of just two days. That was sparked by the Spanish government's decision to allow the head of a militant group in Western Sahara, a breakaway portion of Morocco that the Moroccan government claimed in 1975, but which itself still claims independence with some international support, they let that militant leader into Spain for medical treatment, and Morocco allowed thousands of migrants to flow across the border as punishment.This more recent crisis is much larger, and the cause isn't clear at this point. Spanish officials have said that Moroccan security forces were working alongside Spanish forces to keep people from crossing the border, so it seems unlikely this was stoked by the Moroccan government, and claims that this wave of people were motivated by an ongoing effort by the Spanish government to grant amnesty to immigrants who don't currently have residency permits, but who can prove they've been living in the country for at least 5 months and arrived before January 1 of 2026 also seems unlikely, as those arriving in this wave obviously wouldn't be part of that amnesty.There's a chance that this surge was triggered by a Spanish court ruling that was intentionally misconstrued by migrant smugglers in order to gin up more business. A bunch of social media posts claimed that this ruling said migrants who arrived via sea couldn't be immediately deported, not without due process, but those who arrived via land or by climbing border fences, could—crossing a physical barrier was the big no-no, according to this misinformation, so people who swam or crossed in boats would stand a better chance of being able to stick around and eventually become Spanish citizens.This was pure misinformation, but there's a chance it played a role in sparking this large migrant wave. And many of the people who were interviewed, those who tried to cross and were sent back, have echoed the sentiments of other migrants who have attempted these sorts of crossings at borders elsewhere around the world: essentially, things are very bad, worse than you can possibly imagine, in the country they've left, and the only option seems to be getting away as fast as possible, even taking chances that might kill them, because that's still better than staying.These waves of mass migration often result in humanitarian crises because people are hurt or killed by border security forces, are hurt or killed by being trampled or drowning, or they're hurt or killed while making the journey through dangerous areas, like the infamous Darién Gap that stretches through mountains and rainforests along the border between Colombia and Panama, and which spans the only gap in the Pan-American Highway, which connects Central and South America.Spanish authorities have said they'll be building even higher fences in Ceuta following this recent mass incursion, will string a floating buoy fence along the waters where people are crossing, and will be upping security, though like in most other popular border areas, security is already significant: tall fences, barbed wire, security cameras everywhere—these are not vulnerable spots, they're just not capable of handling 60,000 motivated people all at once.This episode in Ceuta is not happening in a vacuum.The Spanish prime minister has established a pro-immigration stance, positioning the country as a modern melting pot, which is part of why that aforementioned effort to give about half a million undocumented legal immigrants legal status is happening to begin with. Many countries right now are adopting anti-immigration stances as new technologies and changing demographics ripple through the economy, and mostly conservative, in some cases far-right conservative political movements frame those changes as the consequence of allowing too many foreigners into the country; these bad things aren't happening because of technology or economics or demographics, they claim, it's happening because there are too many people who are different from us crossing our borders and living here. Which for some, is a compelling rallying cry.Consequently, migrants are positioned as big bad enemies in many parts of the world, used to flog support for anti-immigrant parties, and to decry opposing governments. That has forced many pro-immigration governments to temper their stances, even to the point that formerly pro-immigration Europe has become a lot less so in recent years.Migrants are also used as pawns in hybrid warfare efforts. Morocco's previous decision to allow thousands of migrants to surge across the Spanish border in response to Spain's government doing something they didn't like is a tame version of this. More aggressive versions have been conducted by Russia against Finland and other neighboring NATO nations, the Russian military bussing migrants from elsewhere to their opponents' borders, intentionally creating a humanitarian and security crisis, while also putting pressure on centrist and left-leaning governments by providing ammunition for far-right and other more authoritarian governments throughout the region, who can then cry foul on how that migrant surge is handled. This tends to create more allies for Russia in the region, but it also keeps these neighboring countries busy, forcing them to tighten their borders and become more insular, which then leaves Russia freer to exercise its will throughout the region.It's also worth remember here that most migrants are leaving horrible situations at home, meaning war, famine, severe and persistent drought, in some cases they're trying to avoid having their children kidnapped and made into child soldiers while all of the women are sexually assaulted as part of the ongoing war.The number of people fleeing such conditions, who are currently on the run, their homes no longer safely habitable, is massive. There are an estimated 304 million migrants globally right now, which, if that population of people were their own country, would be the fourth most populous in the world, just after the United States.And this population is expected to just keep growing as global climate change continues to mess with previous water cycle and weather norms, and as all those earlier mentioned variables continue to mess with economics and technology and leadership and everything else, creating more violence and fear and famine and so on.This was a significant migrant wave in Ceuta, in other words, but it's just one example of something that's happening all over the place right now, and which will likely continue to happen, perhaps at even greater scales and with more regularity.Show Noteshttps://www.pbs.org/newshour/world/what-to-know-about-the-spanish-enclave-of-ceuta-as-migrant-arrivals-from-morocco-spikehttps://www.aljazeera.com/news/2026/7/30/spanish-enclave-of-ceuta-raises-alarm-as-thousands-cross-morocco-borderhttps://www.aljazeera.com/features/2026/7/31/spain-deploys-military-to-ceuta-after-migrant-surge-what-we-knowhttps://abcnews.com/International/57-dead-after-thousands-migrants-cross-ceuta-officials/story?id=135254045https://www.cnn.com/2026/07/31/europe/spain-ceuta-migrants-intlhttps://www.forbes.com/sites/conormurray/2026/07/31/most-migrants-who-crossed-into-ceuta-have-returned-to-morocco-as-death-toll-rises-to-34/https://www.npr.org/2026/07/31/g-s1-136507/morocco-spain-migrationhttps://feeds.bbci.co.uk/news/world-africa-14114627https://www.britannica.com/place/Ceutahttps://edition.cnn.com/travel/ceuta-spain-north-africahttps://theconversation.com/ceuta-claves-para-entender-el-laberinto-de-una-crisis-migratoria-permanente-288843https://www.aljazeera.com/news/2021/6/2/western-sahara-independence-leader-brahim-ghali-back-in-algeriahttps://en.wikipedia.org/wiki/2021_Morocco%E2%80%93Spain_border_incidenthttps://www.nytimes.com/2026/07/30/world/europe/ceuta-spain-morocco-migrants.htmlhttps://apnews.com/article/migration-spain-ceuta-morocco-d76c6dc9d2da828907a1c04e1d482bbehttps://apnews.com/article/migrants-spain-ceuta-morocco-d564354dd54e92debf43ce5fe22299f9https://apnews.com/article/spain-migration-ceuta-morocco-facts-50baa964ecfb07a2d19223d7ec375b91https://apnews.com/article/spain-morocco-immigration-european-union-8f023984a310276c619929102b4f909ahttps://www.nytimes.com/2026/08/02/world/europe/europe-migrants-ceuta.htmlhttp://nytimes.com/2026/08/02/world/europe/ceuta-spain-morocco-migrant-holdouts-beach.htmlhttps://www.nytimes.com/2026/08/02/world/europe/spain-ceuta-far-right.htmlhttps://www.nytimes.com/2026/08/01/world/europe/spain-ceuta-migrants-morocco-border.html This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit letsknowthings.substack.com/subscribe

Can sound be felt before it is heard?Arteetude 345 – The Skin That Listens grew directly from responses to our previous episode.Listener Wendy Chivers questioned whether feeling had been treated merely as an unusual side effect of hearing rather than as an essential form of perception. Pastora Braghini then shared a childhood memory of her deaf grandfather, who could detect the children approaching his armchair through vibrations travelling across the old wooden floor.Together with my AI co-host Sophia, I explore the territory between hearing and touch. The ear translates vibration into sound, while skin, bones, muscles and balance translate the same physical event into pressure, movement and spatial awareness.Perhaps listening has never belonged to the ear alone.Perhaps music enters a body already filled with rhythms—heartbeat, breath, memory and movement—and becomes part of us before language can explain what happened.The episode concludes with the new song by Los Inorgánicos:When Silence MovesResearch & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

pWotD Episode 3377: Ceuta Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 546,834 views on Friday, 31 July 2026 our article of the day is Ceuta.Ceuta (UK: , US: ; Spanish: [ˈθewta, ˈsewta] ; Moroccan Arabic: سَبْتَة, romanized: Sabtah) is an autonomous city of Spain on the North African coast. Bordered by Morocco, it lies along the boundary between the Mediterranean Sea and the Atlantic Ocean. Ceuta is one of the special territories of members of the European Economic Area. Phoenicians founded a settlement in the La Almina Peninsula, which had continuity under Roman and Byzantine rule (Septem Fratres). It was annexed to the early caliphates upon the Islamic conquest of the Maghreb, only to be destroyed during the Berber Revolt. It was rebuilt in the ninth century by Majkasa Ghomaras. For much of the Middle Ages, regional powers north and south of the Strait of Gibraltar vied for control over Ceuta, which was a key contested port in the so-called Battle of the Strait. In 1415, it was annexed to the Kingdom of Portugal, and subsequently, after 1580, to the Hispanic Monarchy, with the city choosing to stay in the latter after 1640. Ceuta was a regular municipality belonging to the Spanish province of Cádiz prior to the passing of its Statute of Autonomy in March 1995, as provided by the Spanish Constitution, henceforth becoming an autonomous city.Along with the Canary Islands, Ceuta was classified as a free port before Spain joined the European Union. Ceuta's majority population is predominantly Arab Muslims (who comprise approximately 45% of Ceuta's residents) and Andalusian Christians, with a small minority of Sephardic Jews and Sindhi Hindus (from Pakistan). Spanish is the official language of Ceuta, while Darija Arabic (Ceuta Arabic dialect) is also widely spoken.This recording reflects the Wikipedia text as of 03:39 UTC on Saturday, 1 August 2026.For the full current version of the article, see Ceuta on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Brian.

From out of the Mediterranean Sea, Natasha Lyonne joins the guys from Spain this week to talk about Fred Armisen's drum solos, working with Coleman Domingo on season 3 of Euphoria, and her new movie Klara and the Sun. Also, being a child actress on Pee-wee's Playhouse, who should be the next James Bond, and producing Russian Doll alongside Amy Poehler.

Ian McMillan and poets Vona Groake, Jardel Rodrigues, Mira Rosenthal and Malgorzata Lebda bring poetry that helps us navigate storms, rivers and seas - real and metaphorical, and sound artist and musician SHHE (Su Shaw) immerses us in surprising sounds of the sea. Vona Groake's latest collection Infinity Pool was shortlisted for the TS Eliot Prize this year. She's writer in residence at St John's College Cambridge and the Ireland Professor of Poetry at Trinity College in Dublin. Vona chooses a 'neon line' to explore and reads her own work.Su Shaw, who works as SHHE, is a sound artist and composer, whose music has been shortlisted for the Scottish Album of the Year. Su is based in Dundee – and has always been intimate with that city's river - the River Tay. Her new album ‘THALASSA' was produced sustainably, in keeping with her ecologically minded projects - and is is a six-part ambient work giving voice to the Mediterranean Sea.Jardel Rodrigues is from Old Trafford in Manchester – he's won the BBC Words First Spoken Word Poetry Competition, and he's a titan of Manchester's shining spoken word institution 'Young Identity'. He brings us a new commission on the theme 'How to get through'.We hear the voice and the work of Malgorzata Lebda, a Polish poet who writes poems that reveal what flows between people and landscape. Malgorzata ran the length of the longest river in Poland, the Vischula – driven by her sense of how threatened our rivers are, a kind of poetry activism. Malgorzata's translator, Mira Rosenthal joins us to explain how she managed to convey Malgorzata's innovative way of writing about the body in her collection 'Mer de Glace' (Fitzcarraldo). Mira is a poet, and a Professor of Creative Writing based in California.Produced by Faith Lawrence

For today's episode, Ivy is joined by Shahar Chaikin, author of "native habitat affinities predict fish invasions with post-invasion habitat shifts". We discussed the story behind the paper and his experience as an ecologist. Read the full paper here: https://besjournals.onlinelibrary.wiley.com/doi/10.1111/1365-2656.70293 Read Shahar's blog post here: https://animalecologyinfocus.com/2026/07/06/who-is-next-in-line-predicting-which-red-sea-fish-will-invade-the-mediterranean-sea/ Watch the video teaser here: https://youtu.be/_OI8w4ZsDDs

https://wels2.blob.core.windows.net/tmb-ehv/03-0726db.mp3 Listen to Bible reading Through My Bible Yr 03 – July 26 Acts 27:21-44 Acts 27 21 After they had gone a long time without food, Paul stood up among them and said, “Men, you should have followed my advice and not set sail from Crete and avoided this damage and loss. 22 But now I urge you to keep up your courage, because there will be no loss of life among you. Only the ship will be lost. 23 In fact, last night an angel of the God to whom I belong and whom I serve stood beside me 24 and said, ‘Do not be afraid, Paul. You must stand before Caesar. And surely God has graciously given you all those who are sailing with you.' 25 So keep up your courage, men, because I believe God that it will be exactly the way I have been told. 26 However, we must run aground on some island.” The Shipwreck 27 When the fourteenth night came, while we were being driven back and forth in the Adriatic Sea, [1] about midnight the sailors suspected that they were approaching some land. 28 They took soundings and found it to be one hundred twenty feet deep. [2] After sailing a little farther, they took soundings again and found it was ninety feet deep. [3] 29 Fearing that we would run aground on the rocks, they dropped four anchors from the stern and prayed for daybreak. 30 The sailors tried to escape from the ship and had let down the skiff into the sea, pretending they were going to put out anchors from the bow. 31 Paul said to the centurion and the soldiers, “If these men do not stay in the ship, you cannot be saved.” 32 Then the soldiers cut the ropes holding the skiff and let it fall away. 33 Just before daybreak, Paul urged them all to eat some food. He said, “This is the fourteenth day you have waited in suspense and have gone without food. You have eaten nothing. 34 Therefore I urge you to take some food because this is important for your rescue. In fact, not a hair from any of your heads will be lost.” 35 After he said these things and had taken some bread, he gave thanks to God in front of them all. Then he broke it and began to eat. 36 They were all encouraged and took some food themselves. 37 In all there were 276 of us on the ship. 38 When they had eaten all they wanted, they lightened the ship by throwing the grain overboard into the sea. 39 At daybreak, they did not recognize the land, but they noticed a bay with a beach, where they planned to run the ship aground if they could. 40 They cut off the anchors, leaving them in the sea, and at the same time untied the ropes that held the rudders. Then, after hoisting the foresail to the wind, they headed for the beach. 41 But they struck a sandbar and ran the ship aground. The bow stuck fast and would not move, while the stern began to break up from the pounding of the waves. 42 The soldiers' plan was to kill the prisoners so that no one would swim away and escape. 43 But the centurion wanted to save Paul and kept them from carrying out their plan. He ordered those who could swim to jump overboard first and make their way to land. 44 The rest were to follow, some on planks, and some on other pieces from the ship. In this way, all of them were brought safely onto land. Footnotes Acts 27:27 At that time, the Adriatic Sea included the present-day Adriatic plus a large section of the Mediterranean Sea south of it. Acts 27:28 Or twenty fathoms (a fathom is about six feet deep) Acts 27:28 Or fifteen fathoms The Holy Bible, Evangelical Heritage Version®, EHV®, © 2019 Wartburg Project, Inc. All rights reserved.

Where does sound become meaning?In the latest part of The Future Has Ancestors, Sophia and I move beyond the ear and discover the body as the true receiver of music.If every listener brings memories, expectations and lived experience into every note, then musicians don't simply compose sounds—they compose possibilities. The body completes the final arrangement.Episode 344 explores resonance, embodiment, perception and asks one simple question:What if the most important instrument has always been ourselves?The episode closes with the brand-new Los Inorgánicos song:Where We ResonateResearch & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

fWotD Episode 3369: Nile Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Sunday, 26 July 2026, is Nile.The Nile is a major north-flowing river in northeast Africa which empties into the Mediterranean Sea. At 7,088 kilometers (4,404 mi) long, it is the longest river in the world, although the volume of water it carries is much smaller than other major rivers such as the Amazon or the Congo. The Nile has played a central role in the environmental, economic, and cultural history of Africa for millennia.The Nile has two major tributaries: the White Nile and the Blue Nile. The White Nile is longer and is considered to be the headwaters, yet the Blue Nile contributes over twice the volume of the White Nile. The White Nile begins near Lake Victoria and flows through Uganda and South Sudan; while the Blue Nile begins near Lake Tana in Ethiopia and flows into Sudan from the southeast. The two rivers meet at the Sudanese capital of Khartoum. From there, the Nile flows north through the Nubian Desert to Egypt's capital, Cairo, and finally empties into the Mediterranean Sea near Alexandria, where it has formed a large river delta.Geologically, the Nile is a young river and has followed its present course for about 15,000 years. Its drainage basin extends across eleven countries. Most of the water in the Nile comes from rainfall in the upstream countries Ethiopia, Kenya, Tanzania, and Uganda. Downstream countries – Egypt, Sudan, and South Sudan – are primarily desert and withdraw river water for irrigation. Other countries that lie wholly or partly in the Nile Basin are Burundi, the Democratic Republic of the Congo, Eritrea, and Rwanda.The Nile was the foundation of the Ancient Egyptian civilization, which relied on the river for nearly every aspect of life. The annual flooding of the river deposited nutrient-rich silt along the riverbanks. This soil supported crops that enabled a sophisticated society to thrive in an otherwise inhospitable desert. The Nile facilitated trade, communication, transportation, and governance. South (upstream) of the second Nile cataract lay Nubia, the historical home of the ancient Kerma culture and the Kushite Empire. Many Europeans were fascinated by the Nile, and their explorations around Lake Victoria in the late 19th century located the source of the river. Among the cultures that live along the Nile in the modern era are the Nilotic peoples, semi-nomadic cattle herders who practice nomadic pastoralism, moving their cattle seasonally in response to the Nile's floods. In the modern era, the Nile plays a critical role in the economies of Egypt and Sudan, which rely on it to irrigate extensive croplands. Since the late 20th century, over a dozen dams have been built in the Nile Basin to provide for irrigation and to generate electricity. The dams have altered the river's annual flood cycle and restricted the transport of silt downstream, causing the Nile Delta to shrink. Some dams – such as the Aswan High Dam and Grand Ethiopian Renaissance Dam – have been the source of international political disputes about water scarcity, safety, food security, and forced displacement of peoples.This recording reflects the Wikipedia text as of 01:02 UTC on Sunday, 26 July 2026.For the full current version of the article, see Nile on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm long-form Danielle.

The Valley of the temples in Agrigento, Sicily, is an archeological area containing the remains of seven ancient Greek temples, in varying states of conservation. Located along a ridge with breathtaking views of the Mediterranean Sea in the distance, it represents one of the world's most important collections of Ancient Greek architecture. 

Fluent Fiction - Catalan: From Nerves to Applause: Marcel's Climactic Speech Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ca/episode/2026-07-20-22-34-02-ca Story Transcript:Ca: El sol brillava intensament sobre Montjuïc aquell matí d'estiu.En: The sun shone intensely over Montjuïc that summer morning.Ca: L'aire era fresc i portava l'aroma del mar Mediterrani que es veia a la distància.En: The air was fresh and carried the aroma of the Mediterranean Sea that could be seen in the distance.Ca: Marcel, un polític jove i ambiciós, es trobava davant d'un gran repte.En: Marcel, a young and ambitious politician, faced a great challenge.Ca: Estava a punt de donar un discurs molt important en una cimera internacional sobre el canvi climàtic.En: He was about to deliver a very important speech at an international summit on climate change.Ca: Havia somiat amb aquest moment durant molts anys, però ara, amb el moment tan a prop, els nervis l'envaïen.En: He had dreamed of this moment for many years, but now, with the moment so near, nerves overcame him.Ca: Montjuïc estava ple de delegats de tot el món.En: Montjuïc was full of delegates from all over the world.Ca: Les banderes onejaven en l'aire, i un rum-rum constant de veus omplia l'atmosfera.En: Flags waved in the air, and a constant murmur of voices filled the atmosphere.Ca: Marcel sentia la pressió per fer un gran discurs, un discurs que no només impressionés als polítics, sinó que també inspirés acció real.En: Marcel felt the pressure to give a great speech, one that would not only impress politicians but also inspire real action.Ca: Però el camí no era fàcil.En: However, the path was not easy.Ca: Alguns companys polítics li demanaven concessions.En: Some fellow politicians were asking him for concessions.Ca: Els activistes, en canvi, exigien acció contundent.En: The activists, on the other hand, demanded strong action.Ca: Però era sobretot la seva por a parlar en públic el que l'aconseguia tenallat.En: But it was above all his fear of public speaking that kept him immobilized.Ca: Sentia el pes de les expectatives a les seves espatlles.En: He felt the weight of expectations on his shoulders.Ca: Aleshores va decidir fer una pausa.En: Then he decided to take a break.Ca: Va caminar fins a un racó més tranquil del parc i va trucar a Laia, la seva assistent de confiança.En: He walked to a quieter corner of the park and called Laia, his trusted assistant.Ca: "Necessito la teva ajuda", va admetre amb un sospir.En: "I need your help," he admitted with a sigh.Ca: La veu de Laia al telèfon el va calmar.En: Laia's voice on the phone calmed him.Ca: "Marcel, tu pots fer-ho", li va dir amb seguretat.En: "Marcel, you can do it," she told him with certainty.Ca: Junts, van treballar en el discurs, buscant l'equilibri entre la realitat política i els seus ideals.En: Together, they worked on the speech, seeking a balance between political reality and his ideals.Ca: Laia el va ajudar a practicar la seva entonació i gestos.En: Laia helped him practice his intonation and gestures.Ca: A poc a poc, Marcel va començar a sentir-se més segur.En: Gradually, Marcel began to feel more confident.Ca: Sabia què havia de fer.En: He knew what he had to do.Ca: L'hora del discurs va arribar.En: The time for the speech arrived.Ca: Marcel va pujar a l'escenari, mirant el vast públic que l'observava expectant.En: Marcel stepped onto the stage, looking at the vast audience that watched him expectantly.Ca: El cor li bategava amb força, però ara no era només per nervis, sinó també per determinació.En: His heart pounded fiercely, but now it was not just from nerves, but also from determination.Ca: Inspirant profundament, va començar a parlar.En: Taking a deep breath, he began to speak.Ca: Les seves paraules, plenes de passió i convicció, van ressonar en l'aire.En: His words, full of passion and conviction, resonated in the air.Ca: Va parlar de la necessitat urgent de protegir el planeta, de la importància de treballar junts abans que fos massa tard.En: He spoke of the urgent need to protect the planet, of the importance of working together before it was too late.Ca: A mesura que avançava, la seva por es va convertir en força.En: As he progressed, his fear turned into strength.Ca: La sala va quedar en silenci, atenta.En: The hall fell silent, attentive.Ca: Quan va acabar, un potent aplaudiment va omplir Montjuïc.En: When he finished, a powerful applause filled Montjuïc.Ca: L'havia aconseguit.En: He had done it.Ca: Havia trobat la seva veu i la confiança que necessitava.En: He had found his voice and the confidence he needed.Ca: Caminant fora de l'escenari, Marcel es va adonar que no només havia donat un discurs important.En: Walking off the stage, Marcel realized that he had not only given an important speech.Ca: Havia après el valor de la col·laboració sense perdre els seus principis.En: He had learned the value of collaboration without losing his principles.Ca: Mentre es dirigia cap a on era Laia, va veure el mar i va somriure.En: As he headed towards where Laia was, he saw the sea and smiled.Ca: El futur era incert, però estava preparat per continuar lluitant.En: The future was uncertain, but he was ready to continue fighting. Vocabulary Words:the air: l'airethe aroma: l'aromaambitious: ambiciós/ambiciosathe challenge: el reptethe speech: el discursthe summit: la cimerathe climate change: el canvi climàticnerves: nervisthe delegates: els delegatsthe flags: les banderesthe murmur: el rum-rumthe atmosphere: l'atmosferathe path: el camíthe concessions: les concessionsthe activists: els activistesthe break: la pausathe corner: el racóthe park: el parcthe assistant: l'assistentthe intonation: l'entonacióthe gestures: els gestosthe stage: l'escenariexpectantly: expectantthe audience: el públicthe determination: la determinacióto resonate: ressonarto protect: protegirto collaborate: col·laborarto fight: lluitarthe applause: l'aplaudiment

About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

What does it really mean to build bridges that last for decades? I want you to meet Bircan Unver, whose lifelong commitment to responsibility, creativity, and global citizenship has shaped more than 25 years of meaningful work through Light Millennium. From growing up as the eldest of seven children in Turkey to creating an internationally recognized nonprofit connected with the United Nations, Bircan shares how art, public media, and open dialogue can bring people together across cultures. We explore why responsibility begins with each of us, how local communities can help solve global challenges, and why issues like water security, environmental stewardship, and human connection matter more than ever. I believe you'll enjoy hearing how one person's unstoppable mindset continues to inspire collaboration, education, and hope for a better future. Highlights: 06:55 - How growing up with responsibility shaped Bircan's lifelong commitment to serving others. 18:30 - Why public access television became the foundation for sharing voices and building community. 26:15 - The story behind founding Light Millennium and creating a nonprofit built on dialogue and education. 36:55 - How local communities can play a meaningful role in advancing United Nations goals. 49:45 - Why water security, cybersecurity, and gender equality are becoming deeply connected. 55:40 - Bircan reflects on preserving ideas through books, creativity, and lifelong learning. About the Guest: Bircan Ünver is the Founder-President of The Light Millennium, a Charitable Global Human Advancement Organization (LMGlobal.Org, 2001, New York); Executive Producer of the LMTV Programs; Multi-Media and Event Producer; Host, Author, Publisher, Public Speaker; [Head] NGO Representative of The Light Millennium to the United Nations Department of Global Communications since 2005 (formerly, UN.DPI); and Chair, Outreach and Partnerships Subcommittee at Global NGO Executive Committee and director for the 2021-2023 term. She has been also a Content Provider at QPTV since 1992, and she is the editor and co-founder of the U.S. Turkish Library & Museum Project. She has undertaken the Organization's e-publications, public programs since its inception in August 1999, and #LightMillenniumTV Series and Specials in all aspects of it since January 2000; along with, the LMGlobal.Org's all UN-related activity and programs since 2005. Bircan is the author and director of the Compulsory Peace & ICTs Education from Kindergarten to K-12, and Beyond Campaign, which she launched it through the Light Millennium Global in support of the Summit of the Future in 2024. The Campaign has delivered its 8th session along with the Coalition for the Campaign, which contains 22 organizations and educational institutions including The Light Millennium Global as the leading organization. Further,  she is also author of the bi-annual international high school project, “J.U.C. Media, Research, Writing & Innovation Awards”. The third of its kind was dedicated to the “Water Action Decade” and was delivered  (virtually) on the World Water Day, March 22, 2025. Bircan served as a mentor to the GPODS for three consecutive terms in Winter'22, Summer'22, and Fall'22 Fellowship Programs; and delivered lectures on “How to associate with the UN-NGO”, Public Access TVs in the U.S., and the latest one was on the #WaterActionDecade and the #2023UNWater Conference. To attach that, on behalf of LMGlobal.Org, she organized and hosted an Outside-UN Side Event ID #W175, titled, “What Is Your Commitment To The #WaterActionDecade? ~ Seven Core Ideas Toward #WaterAwareness, #WaterConscience and #GameChangers” in NYC on March 21, 2023, and was the head delegate of the LMGlobal.Org at the #UN2023WaterConference. Based on LMGlobal.Org's Commitments to the #WaterActionDecade, she launched #OneMinuteWaterActionCommitment during the #W175 Side Event, along with continues to work toward #WaterAwareness toward building up #WaterConscience.  She served as the chair of the ATAA Committee on UN Relations, guided its association to the UNDGC in 2020, and also served as the New York Regional Vice-President of ATAA (Assembly of Turkish American Associations) from October 2019 to January 2022. Furthermore, she served on several Planning Committees of the UN-Civil Society Conferences, and the Planning Committee of the High-Level Forum on the Culture of Peace (HLF-CoP). She has been a strong advocate of the UN Vision, Programs & Sustainable Development Goals (2015-2030) along with the relevant UN Days, which are in line with the LMGlobal.Org's Mission/Purposes since its association with the UNDGC (formerly, UN.DPI/NGO) in December 2005. Currently, Bircan is on the Advisory Board of the Turkish Forum (based in Germany). She encourages and guides interested civil society organizations and members of academia toward their educational institutions' associations with the UN, along with engaging them with the UN Programs that are within her networks and beyond. Further, she is an Ambassador of Peace and Goodwill for Anuvrat (Anuvibha) Global Organization (Jaipur, India, since 2014); and a Member of the Global Movement for the Culture of Peace (GMCoP, since 2012). Bircan is also the founder and president of the IsikBinyili.Org Association based in Istanbul (2010), which is a sister organization and counterpart of the LMGlobal.Org. Author of the following four book titles in print (Turkish): “En Kutsalı Yaratmak” (The Most Sacred is to Create) (1995, 2022), “Sanatın Labirentlerinde” (The Labyrinths of Arts) (2016), and “Işık Yollarında (“The Ways of the Light”) (poetry, 2017), and “Bin Yıl Daha…” (2020, A Thousand Years More…). Also, she is the author of the concept and compilation of the “Hope Never Fades” (English) book (Istanbul, 2023). Bircan initially received her local and studio television production certificates at QPTV.Org in 1992. Based on this capacity, she produced and broadcasted near to 260 television programs through local channels in New York City, which are also available online through www.vimeo.com/channels/LightMillenniumTV including 36 #OneMinute #WaterAction PSAs. Bircan celebrated her 30th Anniversary at QPTV.Org through a video profile, titled, “A Turkish Experience in America” (Duration: ~9 min. Production Year: 2022). Her works through The Light Millennium Global is a recipient of various national (U.S.) and international awards and recognitions including two awards from the Foundation of Alliance Community 2023 Hometown Media Awards (F-ACM-HMA for her “GroundWater” Light Millennium TV program in Web-based Programming and Online Events / Independent Producer categories (received at Brick TV, New York), the Anuvrat Ahimsa Award For International Peace-2023 (received in Mumbai, India), and the 2023 International Volunteer President Award by Institution of Green Engineers (received in Chennai, India), and ashe is also the recipient of the 2024 Best Web-Based Program – Independent Producer for the #HopeNeverFades program by F-ACM-HMA, which was produced based on the 2023 J.U.C. Media, Research & Writing Awards (ACM HomeTown Media Awards, San Jose, CA). Bircan holds a Bachelor of Arts (B.A.) Degree from the Mimar Sinan Fine Arts University (Istanbul, 1988) and a Master's Degree (M.A.) from Media Studies of the New School University (New York City 1999). Ways to connect with Bircan**:** Websites: www.lmglobal.org  (active web site) | www.lightmillennium.org (serves as the organization's web archive)#LightMillenniumTV | www.vimeo.com/LMTV | www.vimeo.com/channels/LightMillenniumTV Social Media: Linkedin: http://www.linkedin.com/in/bircan-ünver-7353207 X@lightmillennium Instagram@lightmillennium About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:04 What if the biggest thing holding you back isn't what's in front of you, but rather what you believe? Welcome to Unstoppable Mindset, where inclusion, diversity, and the unexpected meet. I'm your host, Michael Hingston, speaker, author, and advocate for inclusion and possibilities. This podcast explores how the beliefs we carry shape the way we live, lead, and connect with others. Each week, I talk with people who challenge assumptions, face adversity head-on, and show what's possible when we choose curiosity over fear. Together, we focus on mindset, resilience, and the small shifts that lead to meaningful change. Let's get started. Well, hello everyone, and I want to welcome you to another edition of Unstoppable Mindset, and today we get to talk to a very interesting person with a with a lot of roots in Turkey, but she is also doing a lot of work with the United Nations here in the U.S. and other places. Her name is Birchan Umfer, and I hope I got that right. And Bircan Unver  01:23 thank you. Michael Hingson  01:24 Oh, good. And Berjan is is with us, and is going to talk about a number of things that she is working on. She's working on, and for years has been involved with a program called Light Millennium, and we'll we'll talk about all that, but let's just start and and as usual we'll have a great conversation. So, Bir John, I want to welcome you to Unstoppable Mindset. We're glad you're here. Bircan Unver  01:50 Thank you so much, Michael Hingston. It's great honor and privilege to have your guests. Especially, I love the title Unstoppable Minds. It's really inspiring and triggering the mind. Thank you. Michael Hingson  02:08 Well, my pleasure. We're glad that you have the time to to spend with us, and we will we will we will do it and make it work. Well, let's start. I love to start this way because I really want people to learn about you. Tell us kind of about the early Birchan growing up, and then we'll go from there. So tell us about Birchan and growing up, and and and all of that. Bircan Unver  02:32 Thank you. This will be a little bit different than most people know about me, my work. Well, we'll get to Michael Hingson  02:38 your work. Bircan Unver  02:40 Yeah, I know. I mean, the people who already know my work. What I'm gonna say now is completely too different from Berja. So I am a elder of seven siblings, and I was born in an ancient village in Mid Anatolia, actually nearby the Black Sea region, and I'm proud with my age, 1959, and my family moved to town first from the village, and then Istanbul for our educations for their kids, and but I don't know really as a girl child growing up with seven kids, as especially with a traditional family, being older girl is not a good idea. But but maybe it was a kind of tough childhood as a girl child. I I don't feel that I never been a child. That's really what I feel. But on the other hand, and that was you know when you are growing up, living through like I was a kind of second mom, and also our home was kind of everyone our guest from the village town and stay over not only one night, like or a week, like sometimes months, even years. You won't believe that, and it was not because either. So, but those kind of build up maybe my feeling to be responsible, so I consider myself a responsible person because I was responsible for my sisters, brothers, and also washing dishes, making helping my mom to prepare the meal, lunch, breakfast, and clean up. Like you know, I was kind of second person, second mom at home. So those early things, all those stolen my childhood, but at the same time, provide me being able to do everything from very early age. Even though I remember several times at the time. The bread wasn't, you know, you you weren't buying the bread from the market, but from the bakery, real where they were baking the bread. So she was, and time to time also she was making the the bread at home, and then she she wasn't sending me to school because then I had to stay with my brothers and kids so she can make the you know breads a big amount for a couple days. So that said, also gave my idea. I want to suddenly want to work as soon as you know I'm 17, 1617, So and then I started early working at a bank, and it was my first eight years. I worked at a bank in Istanbul. It is called Istanbul Bank, and then my graphic is like life graphic is a little bit different, like curvy, not like straight line. Then after eight years working at a bank, I started to university and fine arts, and then I had kind of interest art history, especially TV production, art history, arts in in the concept is producing art documentaries. That was kind of my vision. Also, it was also my reason initially coming to the U.S. learning TV production. Of course, English as first. So that was very much my childhood until you know 18 until starting at the bank, and then the rest is another story. I have, I must say, I would have three different life. Michael Hingson  06:48 Well, you had certainly an interesting childhood, needless to say, and I, I can understand what you're saying about being the oldest and all the challenges. I was not. I was the youngest, but we only had two siblings, and neither of us we were we were both males, and so we we did not do a lot in terms of preparing meals and all that sort of stuff. Except my brother and I were both in the Boy Scouts, and so when we went camping and other things like that, we learned how to cook on an open or an open fire and and things like that. But still, I understand that you you had a a lot that you had to do. What lessons did you learn by being the oldest child? What kinds of things do you think that you you carry over to what to your life today, because you were the oldest. Bircan Unver  07:44 I think two different components of that. One is also because it wasn't only I was the as a kid at the home and as a girl, girl, but also at the time there wasn't that kind of awareness which we have today. Which I mean, my mom got married with my dad at the age of 15, and she had birth. She had given me birth at the age of 16, the reason I'm bringing up this, when we were going to shopping Kapolechar, Grand Market of Istanbul, when I was 1516, and literally we were halfway age difference between my mom and myself. And when I was saying mom, and the people were surprised, and she and isn't your sister, other sister? They were asking me, and she was my mom. So, but this is in the long later years. I always become the best friend with my mom, and even my brother was saying, "Oh, now I understood that she, you are the joy of my mom because she can kind of a joke, and the others, my kids, like they are kids, but I'm her friend because they kind of feel similar. That is one, you know, lifetime developed feeling and strong connection, different connection with my mom, and the other also, as I mentioned at the beginning, it really this whole, you know, not selected, but where you, which house you born, which condition you grow up, that build up for me early high level responsibility. I feel responsible to do everything, and I, you know, that's a little bit tiring because that's what I want to say here. You say something in our after our initial Zoom meeting. It's really very inspiring. You say something. I just took note. We can solve all the worst problem. We can. You say you don't say we cannot. You say we can. Solve all the world's problems. So, like, it wasn't possible. It's not possible, but you know, as if I could solve the problems or I could carry everything. So it's kind of you know build up my bricks in my life. Michael Hingson  10:18 One of the things that you certainly, it sounds like you learned as you were growing up, though, was was all about responsibility and and and learning to take charge, but learning about responsibility and and feeling that it was okay to be responsible for others in your family and so on. And I think a lot of people don't necessarily learn a lot of lessons about responsibility, like they should. But you were put in a position where you had to do that, which is is certainly a good thing because you clearly have have done that in your life. Bircan Unver  10:54 That's very true, and also it goes with everything. Let's say sometimes some people think maybe unnecessary action when people cut trees, even in their you know backyard or front yard, whatever trees or any type of trees or fruit trees. I really get mad and upset because it is irresponsible to nature, to their own environment, just feeling they're responsible to trees, loving the trees, loving the you know, for instance, if when I was it was two weeks ago, I was working on at my desk, a bees was you know flying around me, and I don't like you know trying to hit and chase the bees, and I just left the window open, moved the room two hours, and it's gone. So I don't want to hurt things, even though if it bites, it would hurt me, right? So to kind of find a way, being responsible, because also I have a subconscious thinking that if I try to chase a herd, if an insect, any of them, they you know they react sharp. So I'm not a threat to them. So they are not threat to me. So I kind of make a subconscious connection, communication. Michael Hingson  12:22 Well, and it's it's better to to learn to love than than not. So I I hear what you're saying. Now you didn't go to college or university, right? Or you did? Bircan Unver  12:35 Of course, I did. That's what I was just briefly brought this stair at that level. That after eight years working at at Istanbul Bank, from literally actually 17 to 24 or 23 late 23 early 24 then I started at the Fine Arts University in Istanbul, and I mainly study both as major Turkish tradition arts and also along with as a minor. We didn't have a minor, but we had we didn't have the minor degree, but we had a selected course. So I was following up several like four years in a row and also whole year around, not a quarter semester base artist troy and contemporary art. So I started writing on art and exhibit and interviewing artists while I started study at the Fine Arts University, which is top university in Fine Arts in Istanbul, Myanmar, Sinan Fine Arts University. Michael Hingson  13:44 So you learned a lot about fine arts, and Bircan Unver  13:47 yeah, Michael Hingson  13:47 and you had obviously learned about finance from the bank, which Bircan Unver  13:51 is didn't learn that Michael Hingson  13:53 much, huh? Bircan Unver  13:53 Not at all, and I didn't like it. That's why I, you know, I changed all my life line. Michael Hingson  14:00 Right, but but you enjoyed art. Bircan Unver  14:03 Yes, and because also art always for me, and it as it is today. Whatever the life problems we cannot be resolved, art is always for me a branch to hold on and to kind of feel strength, connect with the nature, with the art culture, whom I never might met, or maybe you know through art, through music, through books. So it's kind of really, I think the the best human conscious and what we leave behind is what we produce. Creative might be a little bit another discussion. What is the term defined? And now everyone using like creative for everything, but creativity is like really what stays, you know, central. And something as what is already before, and what you brought it something new, that new perspective, like cubism and faism and expressionism and all that different genres or pop arts and another one Dali's movement. So all the Dadaism, so each of them brought something what is already existed, and then you know moved to different level, and also technology and communication brought where we are today. So and music, I'm not any degree. Degree train or understand, but I love music as most people about music and arts and literature and writing is always for me. Also taking pictures. I don't trust my memory much, but this is not new, not because of my age now. But I somewhat I always like take the pictures, whether I have cell phone, the oldest, you know, digital or the manual photo photographs. So even though when I run into where where was it, where I was, who was with, who next to me? I can't remember. But why I love that? Because really, it brings, it captures your life, even you don't remember, and then reconnect. Also, I I come up with a new concept. I haven't done anything yet, but it's kind of developing in my mind, that we can, we are able to capture the past, but we cannot capture the future, because you know whether you know unexpected the one photo comes up, or an audio recording, or all those movies, musics, and documentaries and paintings throughout artistry, you can really capture the past depending on what you know your background or interest and education, but you cannot capture the future. But you can imagine, we can imagine the future. We can invest into the future. Michael Hingson  17:16 Well, and and the the reality is that that the future is based on so many things that happen in the past, and so you can learn to to use some of that information and and have a better idea of what the future might be like, and that's that's pretty fascinating too. So so, how long did you go to college Bircan Unver  17:42 in in Turkey the basic four university education is annual base, not semester base. It's a four years, and actually when I started it was five years. Then later on they the system education board changed it to like four years plus two years. So I graduated from a four years fine arts, and then I have a master's degree based in New York News School University. Michael Hingson  18:20 Ah, in New York. Bircan Unver  18:21 Yeah. Michael Hingson  18:22 Okay. So that was was that two years. Bircan Unver  18:27 Yes, but it was a little bit different again. Yeah. See, because first when I was here for the first time, 18 919, 89 to 1994, I started and I took to six credits and I love it. But I had to go back to Istanbul, so then I got the you know absence live of absence, and then but coming back three years later, I readmitted, and then I finish it. I got my graduate diploma in 1999 May 1999 Michael Hingson  19:12 Okay, so Bircan Unver  19:14 you've been dealing late. You've been Michael Hingson  19:17 dealing with school for a while, but but while all that was going on, you got interested in, and you started to to do things regarding public access television. And you started that, if I read your biography correctly, in in 1991, you started doing things with public public access TV. Tell us a little bit about that, and why did you do that? Bircan Unver  19:41 That's really the kind of key point in my life. In as for the initial one of the two reasons that I came to the U.S. as the first time, I was you know the first aim to learn English. The second also. To learn the TV production, and then my first year was in the U.S. was in L.A. and then I was looking for the schools and just I'm I I'd like to get the formal education, formal training, and then one of my friends there, whom I met there, she said my aunt is TV producer at Queens Public TV in New York, and she is looking for someone like you who really wants to get in and all that. And then I think a couple months later, I had a very brief trip to New York, and I met with her, and then I met with her at QPTV. Now she is unfortunately not with us, but she was also she was the first Turkish producer at QPTV, and I'm forever grateful in memory of her. She was the one who introduced me QPTV, so I met Victor at QPTV in 1990, and then when I went back to LA, I decided to move to New York. So as soon as I moved to New York and I registered to QPTV's both field production and studio, and at the time, there were seven, eight months waiting list. Eventually, I got it on the list, 1991, and first I got the field production certificate, and it was I think six months something, and we had a group project and solo project, and then studio and studio production. It's when the same group project after you are learning all the equipment and then shooting and everyone is crewing everyone is helping each other within the same group of the class and then also producing group project and then the individual project that it is the similar step for the field production and the studio, that also provides a certificate to enabling us to use QPTV equipment, studios taking out the equipment, inviting studios, studios. Unfortunately, after COVID 19, there has been a long dragging issue. They haven't opened the studios. This is I don't want to get in because it is beyond our concept, but because that was my initial reason also moving to New York. And then once I started producing program and airing, I really loved idea from one idea, just idea, and then put paper and develop it. Bring yes, bring the crew, especially with the manual three-inch tapes, and to present, put everything in a tape, and then submit it an ARC schedule. I really love that. So then, while I was there, and then I said, "Okay, I want to really have a master's degree on TV production. So my master's degree from New Zealand University is in media studies. So and I got my diploma May 1999 So, but New Zealand was amazing. I learned all the first my you know my life although it was 39 maybe 3839 years old when I was Photoshop and Premiere or Evid and all the first offline digital all the software program I learned at the new school and I edited my first program offline at the new circle as well, but when I got diploma, and then I had nowhere no access to continue. Also, you know, it's just I, I never been about the person. My mind and my heart wealthy, but not financial terms. And then, so QPT was always my second home because it provides me continuing the producing and provides me access, provides me equipment. It's like provides the community. That's what it is exists for, especially in support of the Article First Amendment and freedom of expression, and also QPTV format is really, really not well known, or not QPTV loaned. It is public access, pack programming, public education and government programming, non-commercial. So it's it is not much known widely, but it is really one of the best symbol of democracy. And now it's kind of a little bit diminishing because also widespreading out other web streaming platforms like this or other, so that there are so many. Discussion and issues, and also there is one petition to the New York Senate that is called Team New York that could also bring in all the web streaming to this community media access public access media. So then, Michael Hingson  25:19 oh, go ahead. Bircan Unver  25:20 No, I mean the question is so QPTV had has been the longest since 1991. I've been providing content, and as long as I am in the US, if I'm out of the country, even if I am out of the country, my previously submitted programs are rerunning in different, you know, whenever they schedule for my new programs, I determine which time slot because I have a time slot to be scheduled, and whether 28 minutes or one hour. But especially again after COVID 19, I couldn't produce anything at the studio at QPTV, but like this Zoom-based programs, and then for the late million organization, the programs I produce and then edit them, reformat them to schedule for QPTV. But it wasn't as it used to be produced at QPTV, at the studio with the crew, that's the excitement teaming up. It's really, I love it. But Zoom, this type also make more maybe manageable, but also bring more intonation speakers. You know, through online connection. If Speaker 1  26:54 you enjoy Unstoppable Mindset and would like to help us continue bringing these conversations to you each week, we've created a way for you to support the show. Your contribution helps us cover production costs and continue sharing stories, insights, and ideas that inspire people to live with purpose and possibility. If supporting the podcast feels right for you, you'll find the link in the show notes. Thank you for being part of the Unstoppable Mindset Community. Michael Hingson  27:28 So you you started in public access television and and and are still doing that essentially. But in 2000 you started Light Millennium TV. Tell us about Light Millennium Television. Bircan Unver  27:42 Thank you so much. Because Late Millennium, I still consider it's my third child because already 25th anniversary. The flyer on my back says 25th That also refers the 25th anniversary of the Light Millennium. I think a the experience and production, and also providing three platform QPTV, Queens Public TV, but actually the 1992 Communication Act and PAC programming, public government public education and government programming; those emerge with my new school education, like Fatrus, Plato, the concept of the two ways of messaging, and for the first time in my life, at the age of I think it was I was 39 I was able 3039, I was able to use. It was very new, also for the war. Internet. We had the internet at the new school as our media class, the open forum. One week media theory class. We have open discussion forum about Greek philosophy, further is communication, media theory. The other class we had the classic format. So all these together merged in my mind, and I really felt I found my medium. That medium is the internet, which me, especially someone is living in New York, who has you know 30 years first life in Turkey, Istanbul, that culture, and then I I didn't want to kind of disconnect from my root cultures, and internet provided me that connections, and also I always like to write and communicate, so so it becomes like natural medium. And then when I just graduated in May 1999 I send out by then like 40 people with my friends. Colleagues, and then I said, "Oh, I want to start a platform. This platform is going to be ours. And everyone wants to say, kind of to expand the QPTV's concept, because when I say QPTV's concept, this is the again First Amendment, and they don't control the content. They don't say anything you can do, you cannot unless it is a threat to someone's life. So it's all the content, or you are responsible as the producer. So I really love that freedom and responsibility again. And then then I was mentoring at the New York Food Moon Finance and Television, and I was kind of trying to find what I want to do, and I was already producing programs at QPTV. I never give up as as long as I could afford to produce the time and edit. Edit is always more time consuming, and then the executive director of the at the time 1999 Woman Film Man Television, she said you can form a nonprofit. I never taught it before, and I'm forever thankful to her. And then I said I don't know what to do where to start because she perhaps she saw the potential because I was producing non-commercial and publishing, trying to promote, you know, through group emails, and whatever the you know social media available at the time. Well, mostly email and group emails, and then she suggested me a volunteer lawyers of arts that she said they can help you, and I never knew and I never thought I if I never came to U.S. maybe I will never had a concept of forming a nonprofit or light minimum. So that U.S. and all combination brought me and news called Queens Public TV, First Amendment, United Nations Article of 19 Universal Declaration of Human Rights. Everything together kind of merged in my mind. Also, the projects I produce, I communicate, is contact with people, I learn from them. So then, when I contacted with them, they ask me, you know, what is my statement this type? And then I drafted all of them, and they put in medical, you know, terms and terminology, and I was lucky that we got a pro bono at the time one of the you know major U.S. law firms. I I think I can say now because they even though I think merged K Shuler, but they took our case and they formed my organization on on a pro bono basis and officially the first as a non profit organization done with the 500 1c T V together. So we officially formed 2001 July 17, and we and then right after that they filed 501c3 for us, and then we granted that in September 18, 2002. Bircan Unver  33:14 My memory is not good, but I I remember that date as of today because it was kind of imprinted in my mind, but also the beauty was that the granted granting 501 c3 was effective of the formation date, which is July 17 2001 So then, since I developed started the light minimum concept, introducing speaking people trying creating an open platform that everyone can you know contribute be part of it, so then I started in January 2000 on January 13 2000 started first monthly the like TV series at like at QP TV. That's how it came about. Michael Hingson  34:02 Yeah, you have certainly created quite a niche in in the whole light millennium and all the other things that you've done, which is pretty fascinating. How did you get connected with the United Nations? Because I know you're doing work with them. Bircan Unver  34:18 Thank you. Actually, the concept with the UN use, I don't do work for them. Michael Hingson  34:29 Right. Bircan Unver  34:29 We do work with them. Right. You're connected Michael Hingson  34:34 with them. You're not working for them. I understand that. Bircan Unver  34:36 Yeah, I just you know one word, but it's key key differences. But as as I mentioned, how the light millennium concept emerged, and also my master's degree program, media studies at the New School, and also there is another person I have to mention here, also in. Separate for her respectful and loving memory, Danielle Camille. She was my advisor for my thesis project advisor at the new school, and all that TV ideas and my thesis project. And she loved, and I got all A. And my first TV ideas project was peace, reality, or utopian dream, and it was 11 minutes or so. It was just before the first Clinton administration election, just October, I think 2002 and then I interviewed many academicians, civil society, non-profits who whose focus area on peace and war and you know against nuclear or all that and and then that actually the concept peace reality or utopian dream that took me to the United Nations I don't know now as a as an outsider, at the time it was so welcoming, and I went to photo department. They share me with photos, and I got all the books I was looking for. Of course, public library. I got all the books about the peace and peace organization. So that 12 minutes program, peace rate or utopian dream, and physically led me to step in the UN for the first time, and then producing this project, searching kind of open to me new horizon, and also my advisor was persistent. Birjan, we know you are great. You produce fundamental programs on arts, but I want you to do something else. So that actually also forced me to move beyond producing something beyond arts. And so then then peace, reality, or utopian dream concept came in, but also it wasn't far topic in my life because my son was born 20 when I was 2022 Now he is 45 His name is Borush, and mean is in Turkish peace. Peace also at the time, you know, Africa hunger, and I was hoping when I get 4050, this will be over. It's not the case, but as a vision, I always look for humanistic positive for the humanity, not you know for myself well-being. Michael Hingson  37:38 Well, you you kind of act as a bridge between UN programs and local communities. Tell me more about that because you view that you view yourself as being a bridge between UN programs and the local community. Why do you why do you view yourself as more of a bridge? Bircan Unver  38:00 That's very nice metaphor, and I think it's very true for me too. Maybe I could take it two three step backs. One is the village I was born. There is a river, and and then there was a bridge, and that bridge was kind of fundamental. Really, going to where you know people are established, living in all the agriculture and large fields, and it was kind of nostalgic to me. It's a bridge, but it's a stone, short bridge. That's the the first part. The second Istanbul. You know, my life main path when I was in Istanbul, Turkey in Istanbul, and Istanbul the Bosphor and then the Istanbul Bridge. Now the name changed, and now three bridges, and not just the bridge itself, but also Turkish geographic Turkey's geographical space place on Earth and especially on in between Europe and Asia and Black Sea and then the Mediterranean Sea and then when you go down North Africa, and then you go up like Russia and North Europe. So you see that that connection physically, geographically, and troy physical bridges. We live, we grow up with this kind of as part of our DNA and vision. When I was working on this, the first the initial need you know in the non-profit world to describe the need need was to connect with my culture, people, friends, family, the internet medium, and then village is also metaphor, and when we associated with the. I let I'm proud to say it. Let the association process. That was also my vision from that small video for the class project. And then, then I realize this is also. I think today is real fact that local communities, even Queens here, people are paying 1000s of dollars to come to New York to get visas. All that trying to get the sponsor, you know, to attend a conference, and I I didn't see much interest within the local nonprofits there, and that little bit was shocking realization for me. So I brought to my programs UN visions programs, MDGs, UN days, sustainable development goals. For instance, when it was announced at the UN for the 2023 agenda, we created dreams for humanity. So we brought people from lots of life, poets, authors, and youths to really share their ideas for humanity, for peace. Michael Hingson  41:12 Well, you-it sounds like, from all that I've read and and studied, you're you're, or at some point, you kind of have moved more into dealing with a lot of things with the environment. So I know that your program has been able to get a credit accredited as an observer observer status with the UN Environment Program. How is how has that affected what you do and all of your work going forward. Bircan Unver  41:43 Thank you. This is also another important, I think, milestone for us. The first in connection with the UN, associated with the in the formerly United Nations Department of Public Information, and then it has changed to Department of Global Communications. Officially, we've been associated since 2005, active and good standing, and we are able to be presented at the UN with six representatives, and therefore we are able also to reflect back to our committee's networks from the UN and it's two ways. I really like the concept two ways messaging, and then always environment in somewhat it involves in our programs. But let's say through water, through energy, through, for instance, when the forest fires really burns my heart. So being sensible and trying to, as much as I could, to attend the meetings, especially MDGs for the first phase of the Millennium Declaration, really, it's. I consider UN is the best school I ever had, and it's for me lifetimes to call, and I learn about so many countries I will never otherwise know them much. Some of the names you hardly hear in media and anywhere else, so it's kind of opens and to see the global spectrum. Also, one of the things I really love at the UN, whether you you are a ambassador or president or prime minister of a country that has maybe a population 1 million or 2 million or 1 billion or two 1.6 billion, the largest one, so you have the same minutes of speaking time, same voting, especially of course, I'm talking about the general assembly. So those things I follow up, and we try to incorporate time to time. And water issue always, I wanted to involve. I want to do something about, but it's just not like because I love the tourists, and I'm not, you know, scientist, so I'm not officially trained. So also, I'm not able to protect the, you know, fires in the forest. And every year it's getting worse and worse. And then I'm sensible, but you know, you can't do much about it. And eventually, although our last name is same, but we are not blood connected. Professor Oljoymer, at the time he was vice president for the UN Water at the UN, and we connected. And I was following up, and I was aware his work before we met. We connected through the UN. So then, especially during the COVID era, then when I've seen his speeches, natural-based solutions, and then his piece on smart water, so I propose him if we can do something. About water, and then he was very supportive, very kind, very modest. We had our first water program on the World Water Day in March 2001 and then it has turned out an annual program, and we kind of made the global connections and collaborations, and especially first three, four of them, Professor Olja led and guide, and also we worked together in a sense that I brought one part of the speakers and he brought other parts. So it was also great, diverse speakers and also the level of the speakers from whether civil society, academia, UN, and youth, all that. So we already presented six of them, and 2023 we were part of the UN Water Conference. We presented a program, and then last year we participated and presented a program site event in Nice on the Ocean Conference, and we kind of we also had previously on the ocean again. So plastic also become whether ocean, whether water, whether land life, like plastic, is becoming a huge in every level. Not plastic, but also chemical, all all sorts of polluters on in environment. So then we become promoting, producing, and there are really great level of academicians and experts, and they also like to share and connect their research and their findings. So it's a platform to break down together, and then when it is a video, when it is posted as both a summary along with the full presentation or speech, so it becomes a really source where you know you can find diverse voices, diverse solutions, diverse ideas, and also we align them in support of the UN days, UN conferences, SDGs, sustainable development goals like Water Days. Also, we collaborate with an organization in India, IGEN Green Institution, Green Engineers Institute of Green Engineers. So they are focusing on energy SDG seven. So we contribute them, bringing speakers. Bircan Unver  47:40 So then they join us to our program. So really, it's an organic volunteer base. So that that actually, I was so proud that we got a call, invitation to submit the application for this accredited status, and it was June 2025 after the ocean conference. I think ocean conference kind of brought them cumulatively and maybe brought their attention. And then October they asked our official documents, the bylaws and and certificate of organization, which is the regular require any formal application at the UN, and then I I submitted them in I think it was October 1525 but I haven't heard anything, and then I thought maybe you know they didn't consider, and then literally a year later, in June, last June, we got approval, and with a, it's not just accredited for a special one particular conference. It is an observer status assembly to contribute draft ideas. I mean, to contribute drafts, draft resolution to observe, to participate, and then also to be responsible to provide every four-year quadrennial report. Let's say if we fail to produce contribution at any level to this cause, then you know we may lose that observed status, but of course we'll do our best to contribute and to continue. Michael Hingson  49:27 With all of the work that you've done in all of this, I want to come back to World Water Day in a moment. But with all the work that you've done and all the the the things that you've done in public television and so on, when you host these meetings or you participate in these meetings, do they get televised? Also, are you able to bring those to to the public through public television? Bircan Unver  49:53 When it is Zoom, then I edit within my time slot within the limits of. Time slots and QPTV provides two different time slots. One is 20-eight minutes, the other one is 50-eight minutes. So then, let's say if it's two-hour session, I you know a little bit edit and then title, etc. and part one, part two, and also depending on the length of the session or 20-eight minutes. So then I schedule them through the local channels, as we spoke at QPTV. Also, I make them available through our vmail.com/lmtv channel on web on the web. Also, when we have a summary or outcomes, so we also provide those links and share through social media. Try our best to make those information available, visible, and reachable. Michael Hingson  50:51 Well, that I'm glad you do that. I'm glad that it gets to be something that is a lot more publicized than you just attending a meeting-that's important, I would think, to do when when you talk about World Water Day and so on. One of the things that that I I understand you do is you compare water security directly with cybersecurity and gender equality. Those are three different sorts of things when you include water security. Tell us more about that. Bircan Unver  51:24 This was our latest program in last March, and we had in our prior program on AI a discussion on AI a public discussion on AI policy or AI arc. So he's a professor and at the SUNY, and he's a mathematician, and he's also teaching cybersecurity. And when I was talking about when we met about the water conference upcoming, actually in this December, in the United Emirates on I think December six to eight. Even I was thinking to attend, but I wanted part a bit this time virtually instead of going there. So when we were talking about and and I really like this idea and I say as I asked exactly what you asked for, and then his really statement explanation made great sense because everything is nowadays control troy some form of electronic or AI or a combination of those systems, right? Competing systems. So if or if there is a technical issues, that's one case. But if there is a hack, especially water is the life source for everyone, whether you are billion or trillion, or you are you know ordinary people on the you know everyday life. So water is the source for everything, including producing the energy. AI. So water is the life itself. So then, when he said, if any hacking, whether you know small you know some you know people with a bad intention or some maybe big corporation because some profit purpose they want to sell more you know bottled water whatever or some international security issues you you may name this many other things. So if a computer system, if the control mechanism, if the AI system, whatever that combination in that system, is hack, then everything is a huge risk, and that's number one. How it connects with the water. Also now you know we smart how everything is electronic. Everything and then when that somewhat the life collapses there. So including water, including energy. So everything is so much you know interconnected. And then how that the gender equality came. Also, we follow Michael the UN annual-based dedication team for each UN Day or conferences. For instance, last year, water and gender equality, because water and gender required is also so inseparable concept and conditions in many parts of the world, and then also our professor Emre Tokus, he also. Make beautiful connection that if woman or when woman, if and when women are more in the security, cyber security, IT technology sectors, they are more sensitive. They are more like maybe natural in their dealings, like mother protection. So more protective, so there is less risk than where it is now. So to increase the gender equality, both not burden on the woman, you know, where it's the water scarcity that woman has to carry the burden. Girls, even five, seven years old, when developing countries, when it comes to developing countries, and then if the girls are, and also that was staggering. Stats he gave sort of shocked me today because he is a professor at SUNY. So what I mean by that, he said one of his class has only four girls out of 31. of his class has only one girl. One of his class doesn't have no girl. So even though if if girls are girls are not getting in this field, how we gonna bring the gender balance in all cross-cutting sectors of society. So that's how both from the UN perspective, the dedication team, also cybersecurity, the profile from a university that girls are not showing attention, interest studying cybersecurity. That was the fact based on his class last semester. One Michael Hingson  56:46 of the things that you have done, as I understand, is you've written several books. Bircan Unver  56:53 Yes, there are more, but hopefully I could get work on them, publish them as well. The my first book was Michael, based on my interviews with artists and my reviews on art exhibits, and also when I had questionnaire surveys like with artists, galleries, academicians, professors, students. When I before my first life prior prior the U.S. So when I went back after four years and I was really eager to get in a job for as a TV producer and somewhat that didn't work despite all my efforts even I my project load and everyone was after me, but they want to take the project, but not give me the role what I deserve for. So then I kind of close myself, and then I said I want to compile my books, my articles, my interviews. So that was how my first book came about in Turkish. To create is the most sacred. So, like the value to give the highest value for the creativity, intellectual production. That is through all those interviews, reviews, and questions. So that's that was the first book. The second book is in a way a bridge again between U.S. and Istanbul, New York and Istanbul, or maybe L.A. New York and Istanbul. Because when I came in, also I've done freelance journalism, so I wrote some you know reviews and the magazine. I used to, you know, send and appear my interviews and reviews. So and it was include not too frequent, but it was include some of major exhibits, both from LA and also from the Metropolitan Museum in MoMA in New York. Also Turkish artists here. So I met them, you know, when I was living. I started living in here. So then I a combination of those, and also that was another metaphor developed in my mind when I was Istanbul. I was feeling like the labyrinths of arts. So that's my second book title in Turkish labyrinths in arts. So like you are like this kind of narrow and small world in Istanbul art worlds and very high competition, and then nobody expanding to New York and LA expansion means bringing some, for instance, Franz Bacon, Thomas Hart Benton, and Max Ernst and Marina Magritte. Those also the last part connecting with the New York Istanbul from my art based on my art background. Michael Hingson  59:51 So, were any of the books published in English? The Bircan Unver  59:54 last 120, 23 is English, but. It is a compilation concept is written me. I directed the project, and of course I have some pieces also beside the concept. But it is a compilation by 24 contributors. It is based on the JUC Media Research Writing Awards 2021 and 2023 High School Awards Project, and also it is also engaging the youth to involve the UN programs at an early age and encourage them award them. So that also the next one is going to be on the Water Action Decatur in the same line, same concept, and also I have a book project since 2022 I couldn't still 2022 2020 actually. I dream, therefore I am. I have 80% of the book manuscript is ready, but I couldn't finalize it, and so the other one also I was hoping but couldn't to have a book for the 25th anniversary of the latentium. Unfortunately, it didn't happen. It's a little bit seemingly not going to happen this year to come up 25th anniversary of late millennium, but I had 20 anniversary of the late millennium in Turkish, and so this is completely different issue because I introduced like Millennium both in Turkish and in English, so it's like Tiffany Sister is the Turkish one, and then I formed Turkish sister in 2010, and then so on the 20th anniversary of the Turkish organization, as it is association, official association. So I compile the first part, the concept vision, very much like Millennium, because it's the system. But the second part based on the programs, activities, and challenges in Istanbul. So this book also in English will be first the the manifesto and the first all the history will be very much in English, the original one. But the second part is going to be completely, you know, selected ideas and projects and programs from the website and public programs from the last 20-five years, and it's hard hard things to do. It it's very challenging. I couldn't do it. Michael Hingson  1:02:47 It's it's a lot of work. Well, Berjan, I I want to tell you that we have now been talking for more than an hour. Time flies when you're having fun. Man, I'm going to go. I'm going to have to go ahead and and end our time, but we'll have to do this again and and continue the discussion. But I really appreciate you taking the time to be here, and I hope that people will monitor your programs and and and read your books if they can read Turkish or English, whichever works. Troy Bircan Unver  1:03:18 has so many English pieces, and now everyone welcome to look out our website. And what's the Michael Hingson  1:03:26 website again? Bircan Unver  1:03:28 lmglobal.org. Michael Hingson  1:03:32 lmglobal.org. Okay. Bircan Unver  1:03:34 Yes, but the whole archive from 2019 to 2000 no, 2019 no. of course not 2019 1999 to 2018 The archive. Our initial website is light millennium.org Millennium is with double N double N. So the everything we are talking about, all the process, our UN programs, and the reports from the UN NGO briefings, some conferences we participated. If anyone has any question, I'll be happy to provide the link and you know to contact them. Michael Hingson  1:04:17 And we will put that information in the show notes, the notes for the podcast. So I want to thank you for being here. This has been absolutely informative. I really appreciate your time, and I hope the programs continue to go well. So I want to thank you again for being here, and this has just been a lot of fun. Bircan Unver  1:04:39 Thank you so much, Michael Kingston, it is great honor and privilege. Especially, you are a hero, and your your story is amazing, and you are also taking really one of the challenges works like producing these programs, and we never met in real life. And then this is also like Millennium and your work. How we connected through? Otherwise, there was no like regular environment or database environment that we could meet. Your work and your dedication and your inspiring contribution really connected us and bring us together in this session. Thank you, and I'm really grateful for that. Michael Hingson  1:05:29 Thank you for being here with me on Unstoppable Mindset. I hope today's conversation left you with a fresh perspective, a new insight, or at least something worth thinking about. If you're ready to go deeper into the ideas that shape how we see ourselves and others, I have a free gift for you. Head over to michaelhingson.com and download my free ebook, Blinded by Fear. It explores the invisible beliefs that hold us back and shows you how to reframe them so you can move forward with clarity and confidence. Be sure to subscribe to our podcast, leave a review, and share this show with someone who can use a reminder that growth starts with mindset. When people think differently, we all move forward together. Thanks again for listening. Keep learning, keep questioning, and keep choosing to live with an unstoppable mindset

The Mediterranean Sea accounts for less than 1% of the world's ocean surface water, but it contains roughly 18% of global marine biodiversity. It is home to 150 million people along its coastline (roughly equivalent to Russia's population). And it sequesters 17.2 million metric tons of CO2 each year. Joining the Newscast this week to talk about the unique biodiversity of the Mediterranean Sea and its threats is journalist Manuela Callari. Callari has written for Mongabay, highlighting the threats to purple sea urchins (Paracentrotus lividus) along the Italian coast. These marine invertebrates are crucial to the health of marine ecosystems, such as those in the Mediterranean, by helping regulate algal abundance and serving as food for predators. However, they are being overfished and even poached in marine protected areas due to demand for them as the primary ingredient in a popular tourist dish: spaghetti ai ricci di mare. While the situation with urchins persists, Italy has been investing in an unprecedented effort to map its entire underwater coastline using deployed sensors to better understand the marine environment and manage conservation efforts. This is allowing them to identify where meadows of the seagrass Posidonia oceanica, which are "absolutely vital" to the Mediterranean ecosystem, persist, Callari says. Overall, Callari says she wishes the rest of the world and tourists visiting the Mediterranean were more informed about the pressures the marine ecosystem faces. "I grew up here, and now that I go back to certain places where I was as a child, and they are just completely different places to me. Places that were just nature and were difficult to access. Now they have very easy access on cars, buses. You can go on boat tours very easily. And I think we don't appreciate enough the impact that has on the environment. On the sea." Please take a minute to let us know what you think of our podcast here. Mike DiGirolamo is the host & producer for the Mongabay Newscast based in Sydney. Find him on LinkedIn and Bluesky. Cover image: Satellite data from a study shows that the Mediterranean's average surface temperature has risen by 1.2°C (2.2°F) since the mid-1980s. Image by Katerina Katopis/Ocean Image Bank. —— Timecodes (00:00) The Mediterranean is taken for granted (07:09) Why is a tourist dish destroying marine ecosystems? (18:49) Mapping the entire Italian coast (28:19) Learning to appreciate the Mediterranean

Millions dream of a better life abroad, but very few talk about the terrifying journey many endure to get there.In this emotional episode of The Honest Bunch Podcast, our guest recounts his heartbreaking journey from Nigeria through the Sahara Desert, Libya, and across the Mediterranean Sea** in search of a better future in Italy.

Allen covers Poland connecting its first offshore wind farm, Ocean Winds reaching full power in the Mediterranean, Stiesdal’s floating wind cost breakthrough, Vestas expanding in Australia and Japan, a federal permitting freeze stalling 250 US projects, and India passing 50% clean power. Sign up now for Uptime Tech News, our weekly newsletter on all things wind technology. This episode is sponsored by Weather Guard Lightning Tech. Learn more about Weather Guard’s StrikeTape Wind Turbine LPS retrofit. Follow the show on YouTube, Linkedin and visit Weather Guard on the web. And subscribe to Rosemary’s “Engineering with Rosie” YouTube channel here. Have a question we can answer on the show? Email us! Happy Monday, everyone. A coal-dependent nation just plugged into offshore wind for the very first time. Poland’s power grid received electricity this past week from its first offshore wind farm in the Baltic Sea. It’s called Baltic Power, a joint venture between Poland’s Orlen and Canada’s Northland Power. It began sending electricity from its 76 turbines to shore — about a 1.4-gigawatt site, enough to power more than 1.5 million Polish homes. And this is more than just one wind farm. Poland is shifting its entire energy map. For decades, the center of electricity generation sat in the coal-rich south. Now it’s moving to northern Poland, to the coast. The country plans six gigawatts of offshore wind by 2030. Equinor and Ørsted are both set to build along that Polish shoreline, and that’s good news. A new 530-million-złoty substation — about $140 million — is part of a plan to build nearly 5,000 kilometers of high-voltage lines to carry the power to southern Poland. Coal still supplies more than half of Poland’s electricity, but that number is about to change. And now down to the south of France. Ocean Winds, the offshore wind company created by EDP Renewables and Engie, just reached full power at a floating wind farm in the Mediterranean Sea. It’s three 10-megawatt turbines sitting on semi-submersible floaters 16 kilometers off the coast. It’s a pilot project, but the lessons are real: 99% of the suppliers are European, 85% French, and it proves that floating offshore wind can work in deep Mediterranean waters. Now we’ll stay with floating wind for a moment. Danish company Stiesdal Offshore says it has cracked the cost code, and this is important. The company modeled what it would take to build a full-scale floating wind farm — one gigawatt from a single port in a single installation season, loading out one turbine per week. And the cost? Less than one million euros per megawatt. That is on par with the jacket foundations used for fixed-bottom turbines in deeper water. About 80% of the world’s oceans are roughly too deep for conventional foundations. And if those numbers hold — one million per megawatt — floating wind just got a whole lot more investable. Meanwhile, Danish Vestas is making moves on two continents. In Australia, the Danish giant bought a 272-megawatt project in Tasmania from Ark Energy. It’s called the St. Patrick’s Plains Wind Farm, and once built it would be the biggest wind project site in the state. Vestas now has more than 13 gigawatts of wind projects in its Australian pipeline. So the model is clear: buy early-stage projects, bring in investors and offtakers, then supply the turbines to build the farm. The turbine supplier is turning into a wind developer. And over in Japan, Vestas secured backing from the Japanese government to build a wind turbine assembly factory. Japan’s Ministry of Economy, Trade and Industry has committed support for the facility. Vestas already has about two gigawatts of turbines installed in Japan, including machines at the country’s largest operational offshore wind farm. A factory on Japanese soil puts Vestas closer to an offshore market that is just getting started. Now we turn back to the United States. In Minnesota, four wind energy projects are stuck in limbo. The Department of War has stopped completing national security reviews for proposed wind farms. Those reviews used to be routine. A new report says more than 250 wind projects are stalled nationwide because of it. In Minnesota alone, the four frozen projects represent over one gigawatt — that is more output than the state’s twin nuclear reactors at the Prairie Island Power Plant. So at stake is $1.6 billion in direct investment, about 5,600 jobs, and more than $168 million in economic impact. Nine clean energy groups have sued the War Department to break the logjam. And over in Ohio, the state senate passed a bill that could block many new wind farms and solar farms. The bill says power sources must be available at least 50% of the time, and wind and solar on their own rarely hit that number. The Ohio Chamber of Commerce opposes the bill, and so does the grid operator. But the bill has passed the Senate and now heads to the House. And what a mess Ohio is creating for itself. And finally, in India, for the second time ever, clean energy met more than 50% of the country’s electricity demand. It happened on July 6th. And in the first half of 2026, India installed nearly 29 gigawatts of new solar and wind combined. The country now has about 288 gigawatts of renewable capacity. A nation of 1.4 billion people just crossed the halfway mark on clean power. It’s pretty good — and they’ve done it twice now. So here’s what to watch. The industry’s next chapter is not just about who builds the most megawatts. It’s about who controls the choke points: ports, permits, foundations, factory floors. The companies and countries solving those problems are the ones that will lead. And that is the state of the wind industry for the 13th of July, 2026. Join us for the Uptime Wind Energy podcast tomorrow.

Is artificial intelligence really destroying music?Or are we simply repeating one of humanity's oldest conversations?In this episode of Arteetude, a chance encounter in a café in Bantry becomes the starting point for a media-archaeological investigation. A frustrated street musician blames AI for the end of creativity, while his girlfriend answers with humour, irony and unexpected wisdom.What begins as an amusing dialogue gradually unfolds into a much larger philosophical question:Has every generation feared the newest medium?From streaming and digital recording to radio, the gramophone and the earliest attempts to preserve music beyond human memory, this episode argues that today's AI debate may be only the latest chapter in a much older story.Together with Sophia, Detlef Schlich explores not only technology, but also fear, memory, economics and our persistent tendency to believe that history begins with our own generation.Perhaps the future has ancestors.The episode concludes with a brand-new Los Inorgánicos track:"The Future Has Ancestors."About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

Was Jesus a Zionist? (Part 1 of 2): Anti-Zionism is spreading throughout the world. Recently, college campuses have become hotbeds for this form of antisemitism, as protesters against Israel chant, “From the River to the Sea, Palestine will be free.” But the land from the Jordan River to the Mediterranean Sea is the nation of Israel's. The fierce wave of ... Read More The post Was Jesus a Zionist? (Part 1 of 2) | July 11, 2026 appeared first on The Friends of Israel Today Radio.

This message comes from Acts Chapter 27--The Great Storm on the Mediterranean Sea! If there is one thing that the witnesses learned through Paul's life, it was relinquishing all control to the real God--Jesus Christ! Are we willing to remove the steering wheel if our lives and yet still move forward at full speed by the Holy Spirit?

Ever wondered what it's like to cycle across a mountain range? Well in 2023 I loaded up my bike with gear and set off from the edge of the Atlantic Ocean at St Jean de Luz, to cross the Pyrenees mountains all the way to Argeles-sur-Mer on the Mediterranean Sea. The route we took was a mix of the Classic Raid Pyrenees road bike and touring routes and we took nine days to complete the crossing. All up it was 803kms, 24 Cols and almost 18,000m of climbing. You can watch the visuals behind this adventure via our Raid Pyrenees video series on YouTube Check out Old Man Mountain for the perfect way to carry gear on your bike. Support the showBuy me a coffee!I'm an affiliate for a few brands I genuinely use and recommend including:

In Arteetude 341, Detlef Schlich welcomes back musician, artist, designer, project manager and builder Buko Pan Guerra, also known as Buko Sinigayan, for a deeply human conversation about survival, rejection, land, animals, music, community and the strange courage it takes to keep building when life has already asked too much.Buko has spent decades helping other people's visions become real — working across art, music, construction, education, entertainment, design, theme-park environments and complex project management. Now she is building something of her own: Golden Mirage Ranch in Leona Valley, California.But Golden Mirage Ranch is not just a ranch. It is a place for rescued animals, nature, music, workshops, food, learning, healing and community. It is where many of Buko's lives come together: the artist, the musician, the project manager, the daughter, the caretaker, the survivor and the dreamer.This episode is not simply about a fundraiser. It is about dignity. It is about creative resilience. It is about what happens when an artist refuses to disappear. It asks: How does an artist survive rejection and still build a place of care, land, animals, music and community?The episode ends with Buko's powerful song “In Search for Power” — a fitting musical closing for a conversation about vulnerability, survival and the search for strength.You can Donate here on Bukos Websitehttps://goldenmirageranch.com/https://www.instagram.com/goldenmirageranch/https://www.gofundme.comAbout Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

Welcome to Day 2895 of Wisdom-Trek. Thank you for joining me. This is Guthrie Chamberlain, Your Guide to Wisdom. Day 2895 – Wisdom Nuggets – Psalm 139:7-12 Daily Wisdom Wisdom-Trek Podcast Script - Day 2895 Welcome to Wisdom-Trek with Gramps! I am Guthrie Chamberlain, and we are on Day two thousand eight hundred ninety-five of our Trek. The Purpose of Wisdom-Trek is to create a legacy of wisdom, to seek out discernment and insights, and to boldly grow where few have chosen to grow before. The title for today's Wisdom-Trek is: Shivering in the Omnipresence – No Hiding Places in Cosmic Geography In our previous expedition along this ancient, sacred trail, we stepped into the breathtaking opening movement of Psalm One Hundred Thirty-Nine, verses one through six. We explored the terrifying, yet deeply comforting reality of God's absolute omniscience. We learned that the Creator has meticulously mined the deepest shafts of our hearts, intimately tracking our sitting down, and our standing up. We marveled at how He has hemmed us in, constructing a protective, supernatural perimeter around our vulnerabilities, and resting His hand of covenant blessing firmly upon our heads. We experienced a beautiful sense of spiritual vertigo, realizing that the infinite intelligence of our King completely surpasses our human comprehension. Today, my friends, we take our next deliberate, awe-inspiring steps up the mountain pass. We are continuing our exploration of this magnificent psalm, focusing our attention on Psalm One Hundred Thirty-Nine, verses seven through twelve, in the New Living Translation. If the first six verses established that God knows everything about us, this next stanza reveals why that is a cosmic necessity. We are moving from the infinite depth of the divine mind, to the infinite width of the divine presence. David is going to take us on a rapid, macro-cosmic tour across the vertical and horizontal axes of reality, demonstrating that there is absolutely no hiding place in all of cosmic geography. Let us step onto the trail, and discover the beautiful impossibility of escaping the Sovereign King. The first segment is: The Vertical Axis: Piercing the Realms of Heaven and Sheol Let us listen to the opening lines of this cosmic pursuit, as recorded in verse seven and verse eight. I can never escape from your Spirit! I can never get away from your presence! If I go up to heaven, you are there; if I go down to the grave, you are there. In these grouped, contiguous thoughts, David confronts a reality that completely upends the ancient world's understanding of space and spiritual authority. He cries out, “I can never escape from your Spirit! I can never get away from your presence!” To fully grasp the radical, polemical nature of verse seven and verse eight, we must view them through the brilliant lens of the Ancient Israelite divine-council worldview. In the ancient Near East, the surrounding pagan nations operated under a strict system of cosmic geography. They believed that the spiritual realm was deeply fragmented, carved up into competitive, localized jurisdictions controlled by different, territorial elohim—the rebel sons of God who were assigned to the nations after the Tower of Babel. If you were in Egypt, you were under the eye of Ra and Osiris; if you crossed over into Canaan, you were in the domain of Baal and Asherah. Furthermore, these gods were vertically limited. Baal was the lord of the high skies, but he had no power in the underworld. Mot was the terrifying king of the grave, ruling the domain of death where the living gods could not interfere. The pagan world assumed that if you traveled far enough, or if you descended into the darkness of death, you could successfully escape the gaze of a specific national deity. But David stands as a theological revolutionary, and he completely demolishes this fragmented, pagan worldview. He looks at the vertical axis of the cosmos and declares, “If I go up to heaven, you are there; if I go down to the grave, you are there.” Think about the absolute totality of this claim. “Heaven”—the Shamayim—represented the supreme, radiant assembly room of the divine council, the very zenith of cosmic light and order. If David climbs to the highest spiritual heights, Yahweh is effortlessly enthroned there, presiding over the loyal heavenly host. But then David flips the map completely, looking into the pitch-black abyss of the “grave”—or Sheol, the underworld. In pagan thought, Sheol was a garbage dump of forgotten souls, a territory completely isolated from the gods of life. Yet David declares that if he makes his bed in the deep recesses of the underworld, he will open his eyes and find Yahweh standing right there next to him! There is no independent dark zone, and no demonic underworld, that can construct a legal barrier to lock the Creator out. Yahweh's jurisdiction is absolute, unmediated, and completely seamless from the highest celestial throne, to the deepest subterranean tomb. The rebel principalities of death have no private closets where they can hide from the King of Glory. The second segment is: The Horizontal Axis: Overruling the Farthest Horizons Having mapped the vertical dimensions of reality, the psalmist turns his attention to the horizontal limits of the earth, combining his logical thoughts in verse nine and verse ten. If I ride the wings of the morning, if I dwell by the farthest oceans, even there your hand will guide me, and your strength will support me. David paints a breathtaking, cinematic visual of rapid, long-distance transit across the globe: “If I ride the wings of the morning, if I dwell by the farthest oceans, even there your hand will guide me, and your strength will support me.” In the poetic vocabulary of ancient Israel, the “wings of the morning” referred to the first, blinding rays of the dawning sun, leaping up over the eastern horizon at the speed of light. Conversely, the “farthest oceans” referred to the western horizon, the deep, unpredictable, and highly dangerous waters of the Mediterranean Sea and whatever lay beyond. David is mapping out an extreme, east-to-west trajectory. He is saying, “What if I could capture a sunbeam in the east, fly across the entire planet in a fraction of a second, and drop myself down into the most remote, uncharted wilderness of the western sea?” In the ancient mind, traveling to the farthest oceans meant crossing the boundary lines into disinherited pagan lands, crossing into territories heavily fortified by the rebel spirits of the nations. It was the ultimate frontier of chaos. In Canaanite mythology, the deep sea was the personal playground of Yamm, the god of primordial chaos and liquid destruction. A traveler who ventured into the far oceans expected to find themselves completely abandoned, left to the cruel whims of foreign elements and hostile deities. But notice the beautiful, protective reality that intercepts David in verse ten: “even there your hand will guide me, and your strength will support me.” The phrase “even there” is a thunderous declaration of cosmic ownership. There are no blank spots on Yahweh's map. There are no international waters where His sovereignty doesn't apply. You can travel to the most distant, unchurched, and spiritually dark coordinate on the globe, and you will not find an empty space. Instead, you will find that the personal, loving hand of your Creator has already beaten you there! He doesn't just watch you from a celestial distance; His hand is actively present to guide your steps, and His raw, warrior strength is right beside you to support your weariness. The rebel principalities have no exclusive legal zones where they can isolate a child of God from the perimeter defense of the Almighty. The horizontal limits of the earth are merely a carpet unrolled beneath the feet of the King. The third segment is: The Spiritual Shroud: Dismantling the Canopy of Darkness The narrative moves from the physical limitations of space, to the psychological and spiritual attempt to find a hiding place under the shroud of darkness. The psalmist groups these contiguous thoughts in verse eleven and verse twelve. I could ask the darkness to hide me and the light around me to become night— but even in darkness I cannot hide from you. To you the night shines as bright as day. Darkness and light are the same to you. David explores a deeply human, and highly desperate temptation: “I could ask the darkness to hide me and the light around me to become night—but even in darkness I cannot hide from you. To you the night shines as bright as day. Darkness and light are the same to you.”...

Nuking the moon, putting mirrors in space and blowing up the Polar ice caps are just some of history's hairbrained schemes to control the weather, an obsession man has had since the dawn of time.As a major heatwave tears through Europe, millions of people are frantically trying to stay cool, or praying for some relief. Their desperation is not new.For thousands of years, human civilisations have been obsessed with trying to control the weather, to stave off drought and famine, in order to survive.There are ancient tales of great kings who could part the oceans, and deities who would bring down the rain if they were presented with the right kind of sacrifice.But it wasn't until the last century that we suddenly had the technology to actually do these kinds of things, or at least attempt to do them.Some of these wild ideas - to bring water to the desert, drain the Mediterranean Sea to make farmlands, simply make Russia a warmer place to live - have involved blowing up the Polar ice caps, putting mirrors in space, and nuking the moon.They sound dangerous and unlikely, but some of them have come true.And now, many people are at work on brand new gigantic geo-engineering solutions to counteract the effects of the warming planet.Palaeontologist and explorer, Tim Flannery, has been tracking the progress of some of these schemes.A Brief History of Climate Folly, written with Emma Flannery, is published by Text Publishing.This episode of Conversations was produced by Meggie Morris. Executive Producer is Nicola Harrison.It explores weird science, crazy science, Elon Musk, China, Trump, feats of engineering, space exploration, the human ego, wild weather events, magic, supernatural, religion, God, divinity, human sacrifice, famine, starvation, migration, global warming, climate change, European heatwave, Paris heatwave, fossil fuel, deforestation, COP, climate change policy, sea levels, floods, Summer, water, gas, electricity, solar power, politics, renewables.To binge even more great episodes of the Conversations podcast with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, psychologists, musicians, and celebrities.

In Arteetude 340 – The Artist After the Upload, Detlef Schlich continues the philosophical arc that began in Arteetude 338 with The Law of Acceleration. After the reflective pause of Arteetude 339 at Gallery Emptiness with Felicitas, this new episode moves into the world of media, reproduction, AI, and artistic presence.Together with his AI Co-Host Sophia, Detlef explores how Marshall McLuhan and Walter Benjamin can still help us understand what happens to art — and to the artist — after a work has been uploaded. McLuhan's famous idea that the medium is the message becomes a personal question: how does podcasting, social media, AI, video, streaming, and digital distribution reshape the artist's voice, rhythm, imagination, and nervous system?Benjamin's concept of aura opens another layer. If reproduction once seemed to threaten the unique presence of the artwork, what happens today when a work becomes file, stream, post, thumbnail, memory, comment, remix, and archive? Has aura disappeared — or has it migrated?Through Detlef's own concept of Multilayerism, the episode proposes that aura is not simply dead. It may now move through layers: physical, digital, emotional, historical, spiritual, technological, remembered, and misunderstood. But this movement is not automatically meaningful. Aura survives only where attention, imagination, and resonance still happen.The episode closes with a new musical reflection by Los Inorgánicos: “Beneath the Digital Moon” — a small love song to the organic, to the body, to the voice, and to the warmth that remains after the upload.About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodDetlef Schlich's artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.Download here for free:Shamanism, Art and Digital Culture: Cause and Effecthttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectBuilding on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.Read here:Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlichhttps://www.researchgate.net/publication/375665507_Multilayerism_A_New_Paradigm_in_Contemporary_Art_-_A_Manifesto_by_Detlef_SchlichTogether, these texts form the theoretical backbone of Schlich's ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.WEBSITE LINKS Music ProjectsWAW / Wild Atlantic WayWAW is the music project by Detlef Schlich and Dirk Schlömer.Official YouTube Channel:https://www.youtube.com/@WAWBandFrom the forthcoming WAW album The Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.Watch here:https://www.youtube.com/watch?v=LnQbsh01YWUThe Nile's Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Watch here:https://www.youtube.com/watch?v=33AWko4IkKIWAW on BandcampSilent NightIn a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis song emerged from a trip to West Cork, Ireland, where the beautiful coastal Wild Atlantic Way stretches along the west coast.https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYouTubeSilent Night Reimagined – A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

心悸 xīn jì - heart palpitations; rapid or irregular heartbeat西西里咖啡 Xī Xī Lǐ kā fēi - Sicilian coffee (coffee with lemon)驚為天人 jīng wéi tiān rén - to be amazed by something's extraordinary quality; to find something astonishingly good濃烈 nóng liè - strong; intense (in flavor or aroma)黑咖啡 hēi kā fēi - black coffee清爽 qīng shuǎng - refreshing; light and crisp檸檬 níng méng - lemon結合在一起 jié hé zài yì qǐ - to combine together; to blend together羅馬濃縮咖啡 Luó Mǎ nóng suō kā fēi - Roman espresso顛覆 diān fù - to overturn; to revolutionize; to challenge traditional ideas框架 kuàng jià - framework; established structure酸甜 suān tián - sweet and sour; tangy-sweet平衡 píng héng - to balance苦味 kǔ wèi - bitterness; bitter taste澀澀 sè sè - astringent; slightly puckering (taste)口感 kǒu gǎn - mouthfeel; texture and taste sensation層次分明 céng cì fēn míng - having distinct layers or well-defined complexity (of flavor)西西里島 Xī Xī Lǐ Dǎo - Sicily (the Italian island)地中海 Dì Zhōng Hǎi - the Mediterranean Sea陽光充沛 yáng guāng chōng pèi - full of sunshine; sunny盛產 shèng chǎn - to produce abundantly; to be rich in香氣 xiāng qì - aroma; fragrance濃郁 nóng yù - rich; full-bodied; intense (in flavor or scent)柑橘類水果 gān jú lèi shuǐ guǒ - citrus fruits起源 qǐ yuán - origin; beginning檸檬皮 níng méng pí - lemon peel; lemon zest檸檬汁 níng méng zhī - lemon juice來源 lái yuán - source; origin超商 chāo shāng - convenience store全家 Quán Jiā - FamilyMart 改良 gǎi liáng - to improve; to modify西西里氣泡咖啡 Xī Xī Lǐ qì pào kā fēi - Sicilian sparkling coffee氣泡水 qì pào shuǐ - sparkling water; carbonated water加在一起 jiā zài yì qǐ - to mix together; to put together雪碧 Xuě Bì - Sprite Travelling to Taiwan soon or are you currently living in Taiwan?

Full Text of Readings Friday of the Twelfth Week in Ordinary Time Lectionary: 375 The Saint of the day is Blessed Raymond Lull Blessed Raymond Lull's Story Blessed Raymond Lull worked all his life to promote the missions and died a missionary to North Africa. Blessed Raymond Lull was born at Palma on the island of Mallorca in the Mediterranean Sea. He earned a position in the king's court there. One day a sermon inspired him to dedicate his life to working for the conversion of the Muslims in North Africa. He became a Secular Franciscan and founded a college where missionaries could learn the Arabic they would need in the missions. Retiring to solitude, he spent nine years as a hermit. During that time he wrote on all branches of knowledge, a work which earned him the title “Enlightened Doctor.” Blessed Raymond Lull then made many trips through Europe to interest popes, kings, and princes in establishing special colleges to prepare future missionaries. He achieved his goal in 1311, when the Council of Vienne ordered the creation of chairs of Hebrew, Arabic, and Chaldean at the universities of Bologna, Oxford, Paris, and Salamanca. At the age of 79, Raymond went to North Africa in 1314 to be a missionary himself. An angry crowd of Muslims stoned him in the city of Bougie. Genoese merchants took him back to Mallorca, where he died. Raymond was beatified in 1514 and his liturgical feast is celebrated on June 30. Reflection Raymond worked most of his life to help spread the gospel. Indifference on the part of some Christian leaders and opposition in North Africa did not turn him from his goal. Three hundred years later Raymond's work began to have an influence in the Americas. When the Spanish began to spread the gospel in the New World, they set up missionary colleges to aid the work. Saint Junípero Serra belonged to such a college.Saint of the Day, Copyright Franciscan Media

Ukraine has been intensifying attacks across Crimea as it attempts to cut off the peninsula annexed by Russia in 2014. The authorities have been forced to suspend fuel sales to the public.Also on the programme: hundreds of schools in the UK are closed as temperatures in Western Europe hit new highs; and why sperm whales use different dialects depending on where they swim in the Mediterranean Sea.(Photo: A satellite image shows burning oil storage tanks and smoke rising from the Crimea Bridge amid the Russia-Ukraine conflict Credit: Vantor/Reuters)

Without Sophia, his AI Co-Host, Detlef Schlich returns to the physical presence of a real conversation: two people sitting inside a gallery, surrounded by paintings, sculptures, handmade objects, and the quiet energy of a space that has only recently been brought back to life. Felicitas speaks about discovering the empty room by chance, renovating it over nearly a month, and turning it into a living continuation of her artistic path.At the heart of the episode is the meaning of the name Gallery Emptiness. For Felicitas, emptiness is not a void, not absence, not nothingness. It is a space without fixed essence — a field of relation, vibration, energy, and possibility. This becomes the philosophical pulse of the conversation.The episode also opens towards future plans for the gallery: spoken word evenings, poetry, word games, small performances, mini theatre, workshops, clothing upcycling, and creative gatherings where people can explore expression in a personal and playful way. There is also a subtle but strong critique of disposable fashion culture — the tendency to buy, wear once, and discard. Felicitas offers another path: clothing as second skin, as personality, as self-made presence.Gallery Emptiness becomes more than a gallery. It becomes a small cultural chamber in Bantry — a place for art, words, encounter, transformation, and community.The episode closes with a new Los Inorgánicos song:“Emptiness Is Not a Hidden Void”A poetic reflection on Felicitas' statement, the gallery, and the strange beauty of a space that begins empty only so something alive can enter.Detlef Schlich is a rock musician, podcaster, visual artist, filmmaker,ritual designer, and media archaeologist based in West Cork. He is recognised for his seminal work, including a scholarly examination of the intersections between shamanism, art, and digital culture, and his acclaimed video installation, Transodin's Tragedy. He primarily works in performance, photography, painting, sound, installations, and film. In his work, he reflects on the human condition and uses the digital shaman's methodology as an alter ego to create artwork. His media archaeology is a conceptual and practical exercise in uncovering the unique aesthetic, cultural, and political aspects of media in culture.WEBSITE LINKS WAW Official YouTube Channelhttps://www.youtube.com/@WAWBandFrom the forthcoming WAW albumThe Stories of Nil YoungTwo songs from WAW's developing album project The Stories of Nil Young — a mythopoetic journey along the Nile, where river, memory, loss, cooperation and hope flow into music.AfricaSmileAfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm and myth.The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.The Niles Bittersweet SongThe Nile's Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.The song follows the Nile as a river of memory, beauty, loss and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile's Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.WAW BandcampSilent NightIn a world shadowed by conflict and unrest, we, Dirk Schlömer & Detlef Schlich, felt compelled to reinterpret 'Silent Night' to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis results from a trip to West Cork, Ireland, where the beautiful Coastal "Wild Atlantic Way" reaches along the whole west coast!https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYOU TUBE*Silent Night Reimagined* A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Download here for free Detlef Schlich´s Essay about the Cause and Effect of Shamanism, Art and Digital Culturehttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectSupport this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/exclusive-content

Fluent Fiction - Catalan: Jordi's Gamble: A Summer Beyond the Poker Table Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ca/episode/2026-06-19-07-38-19-ca Story Transcript:Ca: A la taula de pòquer, el so dels fitxes es barrejaven amb el murmuri baix de les converses.En: At the poker table, the sound of the chips blended with the low murmur of conversations.Ca: Era una escena habitual en aquell casino luxós amb vistes al mar Mediterrani, on la gent buscava la fortuna en les cartes.En: It was a usual scene in that luxurious casino overlooking the Mediterranean Sea, where people sought fortune in the cards.Ca: Enmig dels jugadors, Jordi brillava amb la seva presència calma però intensa.En: Amid the players, Jordi shone with his calm yet intense presence.Ca: Ell havia passat anys perfeccionant el seu art del pòquer, sempre buscant la mà guanyadora.En: He had spent years perfecting his poker art, always seeking the winning hand.Ca: Però avui, el seu cor estava en un altre lloc.En: But today, his heart was elsewhere.Ca: Volia guanyar prou per allunyar-se un temps dels jocs i gaudir de l'estiu amb serenitat.En: He wanted to win enough to take some time off from the games and enjoy the summer with serenity.Ca: Gemma, asseguda al costat oposat de la taula, esbufegava jugant amb una destresa que Jordi coneixia bé.En: Gemma, sitting on the opposite side of the table, sighed while playing with a skill that Jordi knew well.Ca: Havien compartit partides i memòries, i entre ells flotava una tensió que anava més enllà dels cartes.En: They had shared games and memories, and between them, there was a tension that went beyond the cards.Ca: Martí, un jove ple d'entusiasme i sort, completava l'escena amb la seva innocència que posava nerviós a Jordi.En: Martí, a young man full of enthusiasm and luck, completed the scene with his innocence that made Jordi nervous.Ca: Mentre les rondes avançaven, Jordi lluitava contra les seves pròpies distraccions emocionals.En: As the rounds progressed, Jordi battled with his own emotional distractions.Ca: Sabia que aquesta era la seva oportunitat per canviar el rumb.En: He knew this was his opportunity to change direction.Ca: Dubtava si arriscar-se amb una jugada agressiva o esperar i fer un moviment segur.En: He hesitated whether to risk making an aggressive move or wait and make a safe one.Ca: La incertesa el feia suar sota els llums tènues.En: The uncertainty made him sweat under the dim lights.Ca: Gemma li va dedicar una mirada desafiadora en començar la mà final.En: Gemma gave him a challenging look as the final hand began.Ca: La seva cara era un misteri, un llibre tancat que Jordi intentava llegir.En: Her face was a mystery, a closed book that Jordi tried to read.Ca: Ell respirà fons, buscant dins seu la confiança que li havia portat tantes victòries.En: He took a deep breath, searching within himself for the confidence that had brought him so many victories.Ca: Va decidir seguir el seu instint, aquella intuïció que sempre l'havia guiat bé.En: He decided to follow his instinct, that intuition that had always guided him well.Ca: Els nivells de tensió es van disparar mentre les cartes es revelaven una a una.En: Tension levels soared as the cards were revealed one by one.Ca: Gemma desvelà les seves amb un somriure, confiada en la seva mà.En: Gemma unveiled hers with a smile, confident in her hand.Ca: Però Jordi tenia un as a la màniga, una carta amagada que va girar el joc a favor seu.En: But Jordi had an ace up his sleeve, a hidden card that turned the game in his favor.Ca: La taula va emmudir abans d'esclatar en murmuris.En: The table fell silent before bursting into murmurs.Ca: Jordi havia guanyat.En: Jordi had won.Ca: Després del joc, Gemma es va apropar a Jordi.En: After the game, Gemma approached Jordi.Ca: Amb un somriure sincer, li va proposar anar a prendre una copa, volent deixar enrere les seves difèrencies.En: With a sincere smile, she suggested going for a drink, wanting to leave their differences behind.Ca: "Passem aquest estiu junts", va suggerir.En: "Let's spend this summer together," she suggested.Ca: Martí, encara ple d'emoció, es va afegir a la proposta.En: Martí, still full of excitement, joined in on the proposal.Ca: Aquell moment va ser una revelació per a Jordi.En: That moment was a revelation for Jordi.Ca: Va entendre que, més enllà del pòquer, hi havia coses que no es podien mesurar amb diners.En: He understood that beyond poker, there were things that couldn't be measured with money.Ca: L'amistat, la companyonia i les memòries valien més que totes les fitxes del món.En: Friendship, companionship, and memories were worth more than all the chips in the world.Ca: Amb el mar Mediterrani com a testimoni, va decidir que aquest estiu seria diferent.En: With the Mediterranean Sea as a witness, he decided this summer would be different.Ca: Així, Jordi, Gemma i Martí van partir cap a la costa, deixant enrere l'estrès del casino per gaudir d'un estiu de complicitat i noves aventures.En: Thus, Jordi, Gemma, and Martí set off for the coast, leaving behind the stress of the casino to enjoy a summer of camaraderie and new adventures.Ca: Jordi va saber que no estava només en el joc de la vida, i aquesta bona mà marcaria el canvi que tant desitjava.En: Jordi knew he was not alone in the game of life, and this good hand would mark the change he so desired. Vocabulary Words:the chips: els fitxesthe murmur: el murmurithe cards: les cartesamid: enmigintense: intensathe presence: la presènciaserenity: serenitatsighed: esbufegavathe memories: les memòriesthe tension: la tensióenthusiasm: entusiasmeinnocence: innocènciaemotional: emocionalsthe distractions: les distraccionsthe opportunity: l'oportunitataggressive: agressivasafe: seguruncertainty: incertesadim: tènueschallenging: desafiadorathe mystery: el misterithe instinct: l'instintintuition: intuïcióto soar: es dispararrevealed: revelavenunveiled: desvelàhidden: amagadaburst: esclatarthe proposal: la propostathe revelation: la revelació

Fluent Fiction - Italian: Luck, Bluff, and High Stakes in Monte Carlo Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2026-06-19-22-34-02-it Story Transcript:It: Nel cuore dell'estate, sotto le scintillanti luci del casinò di Monte Carlo, si svolgeva una partita di poker di alta tensione.En: In the heart of summer, under the sparkling lights of the casino in Monte Carlo, a high-stakes poker game was unfolding.It: Il salone era un spettacolo di lusso, con lampadari sfarzosi che riflettevano una calda luce dorata sulle tavole da gioco.En: The salon was a spectacle of luxury, with lavish chandeliers reflecting a warm golden light on the gaming tables.It: Le decorazioni rosse e dorate si intrecciavano mentre un leggero vento estivo entrava dalla terrazza che si affacciava sul Mar Mediterraneo.En: Red and gold decorations intertwined as a light summer breeze wafted in from the terrace overlooking the Mediterranean Sea.It: Al tavolo del poker sedevano Alessandro, Giovanni e Francesca.En: At the poker table sat Alessandro, Giovanni, and Francesca.It: Alessandro, gioviale e un po' distratto, era pronto a dimostrare il suo ingegno ai suoi amici.En: Alessandro, jovial and a bit distracted, was ready to show off his wit to his friends.It: Voleva mostrare la sua fortuna e destrezza nel gioco.En: He wanted to display his luck and skill in the game.It: Giovanni, il suo amico pratico, osservava con uno sguardo di attenzione, sempre pronto a tirarlo fuori dai guai.En: Giovanni, his practical friend, watched with a focused gaze, always ready to bail him out of trouble.It: Francesca, con occhi affilati e una mente strategica, era l'avversario da temere.En: Francesca, with sharp eyes and a strategic mind, was the opponent to fear.It: Mentre le fiches venivano piazzate, Alessandro si accorse, con un misto di curiosità e panico, di aver usato per errore le fiches del casinò invece delle normali fiches da poker.En: As the chips were placed, Alessandro noticed, with a mix of curiosity and panic, that he had mistakenly used the casino's chips instead of the normal poker chips.It: La sua mossa avventata mise tutte le fiches in gioco, creando una situazione imbarazzante e rischiosa.En: His rash move put all the chips in play, creating an embarrassing and risky situation.It: "Alessandro, cosa stai facendo?"En: "Alessandro, what are you doing?"It: sussurrò Giovanni, ma Alessandro decise di coprire il suo errore.En: whispered Giovanni, but Alessandro decided to cover up his mistake.It: "Fa tutto parte del piano," rispose, con un sorriso mesto e nervoso.En: "It's all part of the plan," he replied, with a sad and nervous smile.It: Francesca lo osservava attentamente, cercando di intuire le sue intenzioni.En: Francesca watched him closely, trying to figure out his intentions.It: Alessandro, approfittando della sua confusione, decise di usare tutto questo come un elaborato bluff.En: Alessandro, taking advantage of her confusion, decided to use all of this as an elaborate bluff.It: Forse, pensava, Francesca sarebbe stata abbastanza confusa da lasciare che lui vincesse la mano.En: Perhaps, he thought, Francesca would be confused enough to let him win the hand.It: La tensione al tavolo cresceva.En: The tension at the table was rising.It: Tutti gli occhi erano puntati su Alessandro, specialmente quando annunciò "all-in", mettendo tutto in gioco.En: All eyes were on Alessandro, especially when he announced "all-in," putting everything at stake.It: Il brusio del casinò sembrava fermarsi mentre le carte venivano svelate una per una.En: The buzzing of the casino seemed to halt as the cards were revealed one by one.It: Contro ogni previsione, Alessandro vinse la mano.En: Against all odds, Alessandro won the hand.It: La sua strategia si rivelò, per una volta, efficace.En: His strategy proved effective, for once.It: Francesca annuì, riconoscendo la sua giocata, mentre Giovanni scoppiava in una risata incredula.En: Francesca nodded, acknowledging his play, while Giovanni burst into incredulous laughter.It: Alessandro, sollevato, si rese conto di aver avuto una fortuna sfacciata e che forse era meglio mantenersi a giochi meno rischiosi.En: Alessandro, relieved, realized he had been outrageously lucky and that it might be better to stick to less risky games.It: Aveva dimostrato il suo punto, ma capì che l'importante era restare con i piedi per terra e fare attenzione in situazioni tanto delicate.En: He had proved his point, but he understood that the important thing was to keep his feet on the ground and be careful in such delicate situations.It: Il gioco era finito, ma la lezione appresa da Alessandro sarebbe rimasta con lui ogni volta che avrebbe visto i lumi di un casinò brillare da lontano.En: The game was over, but the lesson learned by Alessandro would stay with him every time he saw the lights of a casino shining in the distance.It: Con una nuova consapevolezza, lasciò il tavolo, promettendo a se stesso di essere più attento in futuro.En: With a new awareness, he left the table, promising himself to be more cautious in the future. Vocabulary Words:the heart: il cuorethe salon: il salonethe chandeliers: i lampadarithe decorations: le decorazionithe terrace: la terrazzathe sea: il marejovial: giovialethe wit: l'ingegnothe skill: la destrezzathe gaze: lo sguardothe trouble: i guaisharp: affilatithe opponent: l'avversariothe chips: le fichesthe mistake: l'errorerash: avventatathe bluff: il bluffthe tension: la tensionethe buzzing: il brusiothe odds: le previsioniincredulous: incredularelieved: sollevatooutrageously: sfacciatarisky: rischiosithe lesson: la lezionethe lights: i lumithe awareness: la consapevolezzato promise: prometterethe ground: la terradelicate: delicate

Care about independent and ethical news? Support Media Storm on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! The EU has just passed a controversial law, hailed by the far-right as the start of "the era of deportations". Passed on World Refugee Week, the law allows EU countries to detain migrant families for years, and deport them to countries they have no connection to. This echoes the UK's failed Rwanda scheme, and Trump's existing deals with South Sudan, Eswatini, the Democratic Republic of Congo and more. It also unlocks expansive budgets for surveillance, detention and deportation. This money is likely to end up enriching the same corporations underpinning ICE raids in the US, and notorious migrant containment camps such as Australia's Nauru. Traffickers and smugglers often make headlines for profiteering off the refugee crisis, but the corporate industry that has grown up around it goes largely invisible in our news. These companies are paid billions of taxpayer dollars - not to tackle the roots causes of displacement, but to keep it away from wealthy countries' shores. But is what they're doing even working? How much public money is being directed away from essential services to feed the deportation machine? And what about the human cost? In this episode, Mathilda and Helena are joined by Sudanese refugee Mahamat Daoud, a survivor of EU-funded Libyan detention and the 2022 massacre at the Melilla-Nador border between Morocco and Spain. He describes what 'migrant deterrence' looks like up-close, and why it didn't work on him. Researcher Nathan Akehurst also joins the group, to breakdown the latest border strategy that Western governments call 'externalisation'. It comes as 2026 marks the deadliest year so far for small boat crossings on the Mediterranean Sea. News outlets that report obsessively on dinghy crossings - but how many headlines have you seen on that? Pre-order Nathan's book, Along the Watchtower, here. This episode is hosted and produced by Mathilda Mallinson (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@mathildamall⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Helena Wadia (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@helenawadia⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)  The music is by⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @soundofsamfire⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us⁠⁠ ⁠⁠@mediastormpod⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Fluent Fiction - Hebrew: Rising to the Challenge: A Tale of Ambition and Teamwork Find the full episode transcript, vocabulary words, and more:fluentfiction.com/he/episode/2026-06-18-22-34-02-he Story Transcript:He: אבי וליאורה עמדו בלובי של מלון יוקרתי בתל אביב, מוכנים ליום העבודה.En: Avi and Liora stood in the lobby of a luxurious hotel in Tel Aviv, ready for their workday.He: מחוץ לחלון הגדול בחלל המשרד המודרני, היה אפשר לראות את הים התיכון הכחול והרחב, זורם ברוח הקיץ החמה.En: Outside the large window in the modern office space, you could see the wide, blue Mediterranean Sea, flowing with the warm summer breeze.He: אבי קיבל הזדמנות חשובה להציג מצגת מול המנהלים והלקוחות.En: Avi received an important opportunity to present a presentation to the managers and clients.He: הוא עבד ימים ולילות כדי לסדר כל פרט קטן ולהבטיח שיצא כל כמו שצריך.En: He worked day and night to arrange every little detail and ensure that everything would go as planned.He: הוא רצה להראות לבוס שלו שהוא ראוי לקידום הנחשק.En: He wanted to show his boss that he was worthy of the coveted promotion.He: ליאורה, שאפתנית כמו תמיד, הרגישה שלעיתים נדחקת לצל.En: Liora, ambitious as always, felt that she was sometimes pushed into the shadows.He: אבל היא העריכה כל הזדמנות להראות את יכולותיה, גם אם היתה זו הזדמנות של מישהו אחר.En: But she valued every opportunity to show her abilities, even if it was someone else's opportunity.He: לילה לפני המצגת, אבי קיבל שוק.En: The night before the presentation, Avi received a shock.He: הקבצים החשובים שהכין, נהרסו.En: The important files he had prepared were destroyed.He: כל המאמץ והעבודה הקשה הלכו לאיבוד ברגע אחד.En: All the effort and hard work were lost in a single moment.He: במצוקה ופאניקה, הוא התקשר לליאורה.En: In distress and panic, he called Liora.He: היא הציעה לסייע לו למרות שהיתה לה עבודה משלה.En: She offered to help him even though she had her own work to do.He: במלון, בחדר האורחים, הם החלו לעבוד שוב על המצגת.En: In the hotel, in the guest room, they began working on the presentation again.He: אבי התעקש על כל פרט וליאורה תרמה רעיונות יצירתיים.En: Avi insisted on every detail and Liora contributed creative ideas.He: היה לחץ זמן, אבל הם עבדו יחדיו בתיאום והבנה.En: There was a time constraint, but they worked together with coordination and understanding.He: למחרת בבוקר, אבי וליאורה עמדו מול הלקוחות והמנהלים בחדר הישיבות העכשווי במשרד התאגידי.En: The next morning, Avi and Liora stood in front of the clients and managers in the contemporary meeting room in the corporate office.He: המצגת הייתה משכנעת ומדויקת.En: The presentation was persuasive and accurate.He: אבי, נחוש ובטוח, הוביל את המצגת וענה לשאלות.En: Avi, determined and confident, led the presentation and answered questions.He: עם גיבוי של ליאורה, הוא הבריק.En: With Liora's support, he shone.He: הפגישה הסתיימה בהצלחה רבה.En: The meeting ended very successfully.He: אבי זכה לשבחים על המנהיגות שלו במצב מלחיץ והוענק לו קידום.En: Avi received praise for his leadership in a stressful situation and was granted a promotion.He: ליאורה, שתרמה רבות להצלחה, חשה שסוף סוף מכירים ביכולותיה.En: Liora, who contributed greatly to the success, felt that her abilities were finally being recognized.He: מאותו יום, אבי למד לסמוך יותר על חבריו לעבודה וליאורה הבינה שלתרום ולשתף פעולה זה גם כן דרך להתבלט.En: From that day, Avi learned to trust his coworkers more and Liora realized that contributing and collaborating is also a way to stand out.He: שניהם חזרו לחדריהם במלון עם חיוך ותחושת הישג.En: They both returned to their rooms in the hotel with smiles and a sense of achievement.He: הם ידעו שעם שיתוף פעולה ועבודה קשה כל מטרה אפשר להשיג.En: They knew that with collaboration and hard work, any goal can be achieved. Vocabulary Words:lobby: לוביluxurious: יוקרתיMediterranean Sea: הים התיכוןcoveted: נחשקambitious: שאפתניתshadows: צלopportunity: הזדמנותshock: שוקdestroyed: נהרסוdistress: מצוקהpanic: פאניקהinsisted: התעקשcreative: יצירתייםconstraint: לחץ זמןcoordination: תיאוםpersuasive: משכנעתcontemporary: עכשוויconfident: בטוחpraised: זכה לשבחיםleadership: מנהיגותstressful: מלחיץgranted: הוענקrecognized: מכיריםtrust: לסמוךcontributing: לתרוםcollaborating: לשתף פעולהachievement: הישגgoal: מטרהreturn: חוזריםsmiles: חיוךBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.

Pilot whales rely on sound for nearly every aspect of their lives. They use vocalizations to communicate with family members, coordinate movements, find food, and navigate through their environment. But what happens when the ocean becomes so noisy that those sounds are drowned out? In this episode of How to Protect the Ocean, we explore new research suggesting that commercial shipping noise in the Strait of Gibraltar may be interfering with the ability of pilot whales to hear and communicate with one another. The Strait of Gibraltar is one of the busiest shipping routes on the planet, connecting the Atlantic Ocean to the Mediterranean Sea. Every day, hundreds of vessels move through these waters, generating a constant background of underwater noise. Scientists are increasingly concerned that this noise pollution is masking whale calls, forcing animals to change how they communicate and potentially affecting their ability to stay connected with their social groups. For highly social species like pilot whales, losing the ability to communicate effectively could have serious consequences. In this episode, Andrew Lewin breaks down why sound is so important in the ocean, how human activities are changing underwater soundscapes, and what can be done to reduce noise pollution. You'll learn why scientists consider sound an essential part of marine habitat, how quieter ships could help protect marine mammals, and why ocean conservation is about more than just protecting physical spaces. If you've ever wondered how something as invisible as noise can impact whale survival, this episode is for you. Support Independent Podcasts: https://www.speakupforblue.com/patreon Need help with your ocean non-profit, company, or project? Get the help you need with Pisces Oceans Inc.: https://www.piscesoceans.ca Connect with Speak Up For Blue Website: https://bit.ly/3fOF3Wf Instagram: https://bit.ly/3rIaJSG TikTok: https://www.tiktok.com/@speakupforblue Twitter: https://bit.ly/3rHZxpc YouTube: www.speakupforblue.com/youtube  

A viral underwater video of a great white shark in the Mediterranean Sea recently captured the attention of people around the world. For many viewers, the footage seemed to show a shark appearing in a place where it shouldn't be. But the truth is much more interesting. Great white sharks have been documented in the Mediterranean for decades, yet they remain one of the most mysterious and least understood apex predators in the region. In this episode of How to Protect the Ocean, Andrew breaks down why this sighting matters and what the public often gets wrong about stories like this. The shark was filmed by divers working with Healthy Seas while removing abandoned fishing gear from the seafloor. While the footage itself is remarkable, the bigger story is what it tells us about the challenges facing large predators in one of the busiest and most heavily used seas on Earth. From fishing pressure and habitat degradation to gaps in scientific knowledge, the Mediterranean remains a challenging place for sharks to survive. You'll also learn why conservationists were excited about the video for reasons that had nothing to do with discovering a new population. Andrew explores the concept of shifting baselines, how viral wildlife stories can sometimes distort public understanding, and why rare observations like this are still incredibly valuable for conservation. The episode highlights the importance of documenting marine life, supporting scientific research, and continuing efforts to reduce threats such as ghost fishing gear. By the end of the episode, you'll see that the shark wasn't really the story. The real story is how much we still don't know about some of the ocean's most iconic animals, even in regions that humans have studied and used for thousands of years. Sometimes a single video can remind us that the ocean still holds mysteries worth exploring, understanding, and protecting. Support Independent Podcasts: https://www.speakupforblue.com/patreon Need help with your ocean non-profit, company, or project? Get the help you need with Pisces Oceans Inc.: https://www.piscesoceans.ca Connect with Speak Up For Blue Website: https://bit.ly/3fOF3Wf Instagram: https://bit.ly/3rIaJSG TikTok: https://www.tiktok.com/@speakupforblue Twitter: https://bit.ly/3rHZxpc YouTube: www.speakupforblue.com/youtube  

Episode Synopsis:When Paul writes his letter to the church in Rome, he is still in Corinth, having made a difficult visit there to deal with the ongoing problems in the Corinthian church, which we addressed in Season Four (when we covered 2 Corinthians).  But things have improved in Corinth to the point that Paul is making plans to continue his Gentile mission.  Before that can happen, Paul must make the journey to Jerusalem to deliver the offering collected from the churches in Greece.  Having done that, Paul hopes to go on to Spain (at the opposite end of the Mediterranean Sea).  The midpoint between Jerusalem and Spain is the Italian peninsula and the city of Rome.  So Paul writes a letter of introduction to the church there, a letter which we now know as Paul's Epistle to the Romans. Paul is unquestionably the author of Romans.  His epistle was sent by messenger – a woman named Phoebe – from Corinth to Rome early in 57 CE.  In this letter, the apostle addresses a number of matters which we will discuss in great detail in future episodes.  But if we are to boil down the contents of Romans to a single word, that word would be “gospel.”  Paul does not say much about the church to which he is writing–he's never been there.  But we do know from the contents of this letter that like other churches of the Gentile mission, the Roman church was predominantly Gentile, though a number of Jews in Rome had come to faith in Jesus Christ.  And so Paul must explain how these two groups fit in God's larger plan and how they are to get along with each other despite their cultural and religious differences.  Paul does this by stressing that both Jews and Gentiles are reckoned righteous, reconciled to the same God through the work of the same Savior in the power of the Holy Spirit, and this through the preaching of the one gospel. Many Christians are familiar with the Book of Romans, but are likely far less familiar with the city, the situation there, and the recipients of this letter.  What was Rome like in the days of Paul?  What was it like to be an inhabitant of the city?  How did you live, and under what circumstances?  Where did you eat or work?  What was it like to live under the reign of Nero?  Life was brutal and cruel for many of the city's inhabitants, but luxurious by first-century standards for others.  Why were the Jews expelled twice from the city?  And how did the gospel first arrive in the capital of this powerful pagan empire?  It is an interesting story and I'll do my best to tell it.For show notes and other recommended materials located at the Riddleblog as mentioned during the Blessed Hope Podcast, click here:  https://www.kimriddlebarger.com/

Welcome back to the archive. In this special dual transmission, we turn our forensic radar toward a tiny, sun-bleached rock sitting in the literal centre of the Mediterranean Sea: the island of Malta.Built entirely out of soft, honey-coloured Globigerina limestone, Malta's hyper-dense historic cities are marvels of defensive architecture. In a space so profoundly compressed, where secrets are supposed to be impossible to keep, two completely different killers attempted to use the physical environment to construct the perfect cryptographic mystery.This week, we open two distinct historical drawers to execute a parallel forensic audit, proving that no matter how deep the water or how thick the limestone walls, the material signature of a crime can never be completely erased from the ledger.The Case Files Act I: The Marsamxett Harbor Torso Murder (1955) We descend into the post-WWII soot, coal grime, and severe economic desperation of the Valletta dockyards. When local fishermen haul up waterlogged burlap sacks from the silent depths of Marsamxett Harbour, they discover the cleanly dismembered torso of a missing dockyard clerk. The head and hands are entirely missing—a calculated tactical void designed to strip the victim of his biological identity. We trace the parallel micro-grooves of an industrial bone saw, a rare maritime double-hitch knot, and a single, crumpled scrap of local newspaper caught in a printing-press registration error that collapsed the dragnet directly onto a brutal domestic conspiracy.WHO was killed, and WHO killed them?? Act II: The Strait Street Locked-Room Inquest (1843) We slide the chronological grid back more than a century, climbing the steep stone steps into the dark, elite world of faded aristocracy along the infamous, vice-ridden corridor of Strada Stretta. A wealthy noblewoman is found smothered in her grand four-poster bed. The room is an airtight box: windows barred from within, the heavy oak door locked from the inside, and the key still resting firmly in the interior cylinder. Across the room, her private safe sits completely gutted. This wasn't a supernatural evasion—it was a masterful, low-fidelity mechanical deception. We dissect the material relics that unravelled the plot: an English gold pocket watch intentionally fractured to freeze the time at 3:14 AM, microscopic traces of white beeswax left deep inside a lock, and a simple silk thread trick that shattered an ironclad alibi.How....on earth did the key to the lock....remain stuck on the inside of the door opposed to the outside? In This Episode, We Explore: How hyper-compressed living spaces dictate the logistics of criminal concealment. The mechanical signatures left by industrial tools on bone structure. The physics of the classic "silk thread" locked-room exploit. How microscopic anomalies in everyday objects—from ink alignment to fractured brass gears—become permanent investigative anchors. Thank you so much for your support as always legend and have a FANTASTIC week ahead mates!!!

Bon jour, and welcome to the show. It's another annual tradition on Time Sensitive where we take you to the French coast of the Mediterranean Sea and recap the world's most prominent and lavish film festival. In fact, this is our eighth Cannes recap on Time Sensitive.The 79th edition of the Cannes Film Festival, which ran from May 12 - 23, 2026, just closed with a controversial Palme d'Or winner, divided critical reception, and an industry increasingly grappling with AI's future.Check us out on...Twitter @TSMoviePodFacebook: Time SensitiveInstagram: @timesensitivepodcastGrab some Merch at TeePublicBig Heads Media  

Among the most intriguing cases emerging from the Pentagon's newly launched PURSUE transparency initiative is a 2023 incident involving infrared footage captured by a U.S. military platform operating near the surface of the Mediterranean Sea. The case, which reportedly involved an object making abrupt "90-degree turns" at roughly 80 miles per hour, has sparked renewed debate about what military sensor systems are actually detecting—and how much the public is truly being shown. This week on The Micah Hanks Program, we break down newly released mission reports, apparent discrepancies between separate witness accounts, and the sophisticated sensor systems involved in the observation, including references to mesh-networked battlefield surveillance technologies and full-motion video tracking systems commonly used in modern ISR operations. Then we shift our attention over to NASA's inclusion of historic Apollo and Skylab "UAP" materials in the recent release, including astronaut reports of mysterious flashes and anomalous lights in orbit—many of which have a likely explanation, and potentially offering a clearer picture of how the U.S. government is now approaching the long-running mystery of unidentified anomalous phenomena. Want to advertise/sponsor The Micah Hanks Program? We have partnered with the AdvertiseCast to handle our advertising/sponsorship requests. If you would like to advertise with The Micah Hanks Program, all you have to do is click the link below to get started: AdvertiseCast: Advertise with The Micah Hanks Program Show Notes Below are links to stories and other content featured in this episode: NEWS: Rep. Anna Paulina Luna endorses AARO Director Jon Kosloski  PENTAGON UFOs: Presidential Unsealing and Reporting System for UAP Encounters THE "GREEK FLYER": Full Mission Report Document HERE Second Mission Report on Mediterranian Sighting, October 2023  NASA's UAP: References to "Sky Flashes" in this report involving a Skylab Technical Crew Debriefing  SKYLAB SIGHTINGS: Some additional information on the "red satellite" observed by the Skylab III crew ODDS AND ENDS: "Thoughts on the Space Alien Race Question"  The Samford Memo (July 28, 1952)  AUDIO: Maj. Gen. John A. Samford's Statement on "Flying Saucers", Washington, DC, 07/31/1952 BECOME AN X SUBSCRIBER AND GET EVEN MORE GREAT PODCASTS AND MONTHLY SPECIALS FROM MICAH HANKS. Sign up today and get access to the entire back catalog of The Micah Hanks Program, as well as "classic" episodes, weekly "additional editions" of the subscriber-only X Podcast, the monthly Enigmas specials, and much more. Like us on Facebook Follow @MicahHanks on X. Keep up with Micah and his work at micahhanks.com.