Articoli di riviste sul tema "Athens Messenger"

IN 490 B.C., THE MESSENGER PHEIDIPPEDES ran twenty-six miles to Athens carrying the news of Greek victory at the battle of Marathon. He delivered the news and dropped dead from the effort. Today, we celebrate that famous run with one of the most demanding events in human athletics, the marathon. Like Pheidippedes, the modern runner strives to complete the distance in as little time as possible. Unlike that early messenger, today's competitors undergo extensive training to ensure that they remain alive when they have finished the run. Kevin Smith uses mathematics to help runners prepare for marathons.

At the very beginning of the Cons. ux., we gather that the messenger sent by Plutarch’s wife, to tell him about their child’s death, went first to Tanagra and then left for Athens, expecting to meet Plutarch on the way. The meeting, however, did not occur, so that Plutarch only heard of the news παρὰ τῆς θυγατριδῆς, when he arrived at Tanagra. Several scholars maintain that this girl can hardly be a granddaughter of Plutarch (who was about forty at that moment) and assume she might be his niece (i.e. a daughter of one of his brothers); Babut, instead, believes that by this Greek term Plutarch refers to one of his daughters-in-law. This paper discusses the whole problem and suggests a new explication for the misunderstanding concerning the granddaughter who lived in Tanagra.

Thirty-three lines in the Ion are devoted to describing the tent in which Ion celebrates his new-found status as heir to Xouthos and the royal line of Athens. The passage may properly be called an ἔκφρασις, a description in language of an artistic object constructed in another medium. An ἔκφρασις in drama differs from those occurring in narrative because material objects in drama retain the potential to be made material, i.e. to appear on the stage, thus dramatically closing the gap between word and world that the ἔκφρασις so patently opens. While this gap remains, the ἔκφρασις makes especially complex demands on the audience's imagination, and in the Ion on their patience too – for the ἔκφρασις must be the antithesis of the action and drama, the progression of the play, a version of which the audience presumably wants and expects from the panting messenger.

A marathon race is a long-distance running event typically spanning 26.2 miles or 42.195 kilometers. It is a test of endurance, stamina, and mental fortitude, attracting participants from all walks of life, ranging from elite athletes to recreational runners. The origins of the marathon can be traced back to ancient Greece, where legend has it that a messenger named Pheidippides ran from the battlefield of Marathon to Athens to deliver news of victory before collapsing and dying from exhaustion. Machine learning has increasingly become a valuable tool in optimizing training strategies, performance prediction, and injury prevention for marathon runners. By analyzing vast amounts of data collected from wearable devices, training logs, and race results, machine learning algorithms can identify patterns, trends, and correlations that help runners improve their training regimens and race-day strategies. This paper introduces a novel approach, the Factor Analysis Probabilities Prediction Ranking Machine Learning (FA-PP-R-ML) methodology, for predicting marathon race outcomes. With historical race data, factor analysis, and machine learning techniques, the FA-PP-R-ML methodology aims to accurately estimate marathon finish times and rank predicted outcomes based on their probabilities. Through a comprehensive analysis of marathon race data, including training metrics, environmental conditions, and physiological parameters, the FA-PP-R-ML model identifies latent factors influencing race performance. Through factor analysis, latent factors influencing race performance are identified, with values ranging from 0.5 to 0.9. Machine learning algorithms utilize these factors to predict marathon finish times, resulting in accurate predictions with an average error of ±0.1 hours.

AbstractScientific synergies between Athena and some of the key multi-messenger facilities that should be operative concurrently with Athena are presented. These facilities include LIGO A+, Advanced Virgo+ and future detectors for ground-based observation of gravitational waves (GW), LISA for space-based observations of GW, IceCube and KM3NeT for neutrino observations, CTA for very high energy observations. Multimessenger synergy science themes discussed here include pressing issues in the field of Astrophysics, Cosmology and Fundamental physics such as: the central engine and jet physics in compact binary mergers, accretion processes and jet physics in SMBBHs and in compact stellar binaries, the equation of state in neutron stars, cosmic accelerators and the origin of cosmic rays, the origin of intermediate and high-Z elements in the Universe, the Cosmic distance scale and tests of General Relativity and Standard Model. Observational strategies for implementing the identified science topics are also discussed.

In the surviving plays of Aeschylus and Sophocles the gods appear to men only rarely. In theEumenidesApollo and Athena intervene to bring acquittal to Orestes. In Sophocles'PhiloctetesHeracles appearsex machinato ensure that the hero returns to Troy, and we learn from a messenger how the gods have summoned the aged Oedipus to a hero's tomb. In Sophocles'AjaxAthena drives Ajax mad and taunts him cruelly.Prometheus Bound(assuming that it is by Aeschylus) might seem to be an exception, since all but one of its characters are gods. But nonetheless the intervention of the gods in the life of the one human character, Io, brings pain and trouble as well as promise of benefit. Io has been driven mad because she has refused to obey the dreams that tell her to go to the meadow where Zeus wants to have intercourse with her. The god does not make his request in person, and it is only in the course of her wanderings that Io learns how Zeus will bring a gentle end to her sufferings. Her informant is another god, Zeus' adversary Prometheus, who answers her questions, at times grudgingly (778), and in ways that are not immediately clear to her (775).

The Transient High-Energy Sky and Early Universe Surveyor (THESEUS) is a mission concept developed in the last years by a large European consortium and currently under study by the European Space Agency (ESA) as one of the three candidates for next M5 mission (launch in 2032). THESEUS aims at exploiting high-redshift GRBs for getting unique clues to the early Universe and, being an unprecedentedly powerful machine for the detection, accurate location (down to ∼arcsec) and redshift determination of all types of GRBs (long, short, high-z, under-luminous, ultra-long) and many other classes of transient sources and phenomena, at providing a substantial contribution to multi-messenger time-domain astrophysics. Under these respects, THESEUS will show a strong synergy with the large observing facilities of the future, like E-ELT, TMT, SKA, CTA, ATHENA, in the electromagnetic domain, as well as with next-generation gravitational-waves and neutrino detectors, thus greatly enhancing their scientific return.

Before delving into the subject of the role of Muslim intellectuals, weshould agree on what we mean when using the term.The meaning of the word Muslim is well-known because it has beendefined in the Qur’an itself. According to Sfirut ul-Nisi, verse 125, aMuslim is someone “who submits his whole self to Allah, does what isgood, and follows the way of Ibrahim.” And according to verse 136 ofthe same sfiruh a Muslim is he who believes “in Allah, and His messengers,and the scriptures which He has sent down to those before.” Finally,Sfirut ul-Tuwbah says in verse 7 1 that believing Muslims “order what isright and forbid what is wrong, observe their prayers, pay zakat, andobey Allah and His messenger.”The meaning of the word intellectual is more difficult to determine andis not defined in the Qur’an. In fact, this term has been used only sincethe late 19th century. For our purposes, I do not propose to define asintellectual everybody who is “cultured” or academically trained-inArabic al-muthaqifin. Rather, I should like to restrict the term to what iscalled in Arabic al-mufuqirfin: analytical minds who communicate, asopinion leaders, through lecturing or publishing and do not just sit athome, thinking and criticizing.So we know what, or who, a Muslim intellectual is. But do such individualsexist?It is well known that the so-called elite of Europe, also of KemalistTurkey, came to believe that there was a contradiction between beingintelligent and believing in God. In fact, from the middle of the 19th centuryto the present time, considered it Western and Turkish academicsconsidered it intellectually chic to be an agnostic or an atheist, in particularif one was a leftist-as if intellectualism was a privilege of the Left,and not to be found on the conservative Right.This attitude, still pervasive today, goes back to the so-called Age ofReason and the Enlightenment-budding with Descartes in the 17th ...

Our starting point is a somewhat obscure incident which has lately attracted some attention. The year is 429 B.C., and the place is Athens in the third year of the Peloponnesian war. The plague, which had broken out only a year before, was still claiming its victims. Yet military operations were in full swing, and the general Phormio operating in the Corinthian gulf against a Peloponnesian fleet was able to score an impressive victory. The Lacedaemonians were deeply dissatisfied. This was the first sea-fight they had been engaged in, and they found it hard to believe that their fleet was so much inferior to that of the Athenians. They dispatched three advisers to Knemos, the admiral in charge, instructing them to make better preparations for another sea-fight. Additional ships were solicited from the allies, and those already at hand were prepared for battle. It is at this point that the incident in question occurred. Not to prejudge the issue, I quote the text in full leaving the controversial phrases untranslated:4. And Phormio on his part sent messengers to Athens to give information of the enemy's preparations and to tell about the battle which they had won, urging them also to send to him speedily (δι⋯ τ⋯χους) as many ships as possible, since there was always a prospect that a battle might be fought any day.5. So they sent him twenty ships, but gave τῷ δ⋯ κυμ⋯ξοντι special orders to sail first to Crete. Nικ⋯ας γ⋯ρ Kρ⋯ς Γορτ⋯νιος πρ⋯ξενος ⋯ν persuaded them (αὺτο⋯ς) to sail against Cydonia, a hostile town, promising to bring it over to the Athenians; but he was really asking them to intervene to gratify the people of Polichne, who are neighbours of the Cydonians.6. So ⋯ μ⋯ν λαβὼν τ⋯ς να⋯ς. went to Crete, and helped the Polichnitans to ravage the lands of the Cydonians, and by reason of winds and stress of weather wasted not a little time.

Athena (advanced telescope for high-energy astrophysics) is an ESA large-class mission, at present under a re-definition “design-to-cost” phase, planned for a prospective launch at L1 orbit in the second half of the 2030s. It will be an observatory alternatively focusing on two complementary instruments: the X-IFU (X-ray Integral Field Unit), a TES (TransitionEdge Sensor)-based kilo-pixel array which is able to perform simultaneous high-grade energy spectroscopy (~3 eV@7 keV) and imaging over 4′ FoV (field of view), and the WFI (Wide Field Imager), which has good energy spectral resolution (~170 eV@7 keV) and imaging on wide 40′ × 40′ FoV. Athena will be a truly transformational observatory, operating in conjunction with other large observatories across the electromagnetic spectrum available in the 2030s like ALMA, ELT, JWST, SKA, CTA, etc., and in multi-messenger synergies with facilities like LIGO A+, Advanced Virgo+, LISA, IceCube and KM3NeT. The Italian team is involved in both instruments. It has the co-PIship of the cryogenic instrument for which it has to deliver the TES-based Cryogenic AntiCoincidence detector (CryoAC) necessary to guarantee the X-IFU sensitivity, degraded by a primary particle background of both solar and galactic cosmic ray (GCR) origins, and by secondary electrons produced by primaries interacting with the materials surrounding the main detector. The outcome of Geant4 studies shows the necessity for adopting both active and passive techniques to guarantee the residual particle background at 5 × 10−3 cts cm−2 s−1 keV−1 level in 2–10 keV scientific bandwidth. The CryoAC is a four-pixel detector made of Si-suspended absorbers sensed by Ir/Au TESes placed at <1 mm below the main detector. After a brief overview of the Athena mission, we will report on the particle background reduction techniques highlighting the impact of the Geant4 simulation on the X-IFU focal plane assembly design, then hold a broader discussion on the CryoAC program in terms of detection chain system requirements, test, design concept against trade-off studies and programmatic.

Praise be to Allah, who by His grace be good and pray and surrender to the Seal of the Apostles and Prophets and his family and companions and after: After thanking God and thanking him and through the introduction of my letter, which reached a number of results summarized by the following: Sheikh Al Sharawi grew up in a healthy environment, a village environment where he was very calm and a lot of looking into the landscape and nature. Shaykh al-Shaarawi (may Allah have mercy on him) approach easily and easily and tries to bring the information closer to the listener by multiplying the examples and simplifying the language and find a lot of colloquial words to address and facilitate the reader to understand the information. Shaykh al-Shaarawi belongs to the Sufi school and the Bazian way. This method is the method of the owners of the green mummies, which is especially the supervision. These are the ratios of supervision in the words of Shaykh al-Shaarawi (may Allaah have mercy on him). Shaykh al-Shaarawi (may Allaah have mercy on him) differed between the Prophet and the Prophet and said that the Prophet was sent as the Prophet of God says that the Prophet does not come with new legislation but is sent on the Prophet's approach preceded by an ear. The Prophet is sent but is similar to the behavior and application of the Prophet's approach, Is the one who sent him a new law to work with him and ordered him the right to apply it and this is an overload in the mission of the Prophet. Shaykh al-Shaarawi (may Allaah have mercy on him) said: "The importance of the prophets and messengers (peace be upon them) is that they have the excuse that they do not say anyone who has not informed us about the Messenger of Allah. Some of the rulings, such as the Israelites who hid (stoning, riba) and the Prophet (peace and blessings of Allaah be upon him), combined the word and gathered the word and stood the believer in front of the wave of atheism in the land.

Context. Serendipitous X-ray surveys have proven to be an efficient way to find rare objects, for example tidal disruption events, changing-look active galactic nuclei (AGN), binary quasars, ultraluminous X-ray sources, and intermediate mass black holes. With the advent of very large X-ray surveys, an automated classification of X-ray sources becomes increasingly valuable. Aims. This work proposes a revisited naive Bayes classification of the X-ray sources in the Swift-XRT and XMM-Newton catalogs into four classes – AGN, stars, X-ray binaries (XRBs), and cataclysmic variables (CVs) – based on their spatial, spectral, and timing properties and their multiwavelength counterparts. An outlier measure is used to identify objects of other natures. The classifier is optimized to maximize the classification performance of a chosen class (here XRBs), and it is adapted to data mining purposes. Methods. We augmented the X-ray catalogs with multiwavelength data, source class, and variability properties. We then built a reference sample of about 25 000 X-ray sources of known nature. From this sample, the distribution of each property was carefully estimated and taken as reference to assign probabilities of belonging to each class. The classification was then performed on the whole catalog, combining the information from each property. Results. Using the algorithm on the Swift reference sample, we retrieved 99%, 98%, 92%, and 34% of AGN, stars, XRBs, and CVs, respectively, and the false positive rates are 3%, 1%, 9%, and 15%. Similar results are obtained on XMM sources. When applied to a carefully selected test sample, representing 55% of the X-ray catalog, the classification gives consistent results in terms of distributions of source properties. A substantial fraction of sources not belonging to any class is efficiently retrieved using the outlier measure, as well as AGN and stars with properties deviating from the bulk of their class. Our algorithm is then compared to a random forest method; the two showed similar performances, but the algorithm presented in this paper improved insight into the grounds of each classification. Conclusions. This robust classification method can be tailored to include additional or different source classes and can be applied to other X-ray catalogs. The transparency of the classification compared to other methods makes it a useful tool in the search for homogeneous populations or rare source types, including multi-messenger events. Such a tool will be increasingly valuable with the development of surveys of unprecedented size, such as LSST, SKA, and Athena, and the search for counterparts of multi-messenger events.

In Greece, as in the E Mediterranean as a whole, the ruler-cult was well established during the Hellenistic period, but whereas in the Attalid, Seleucid and Ptolemaic kingdoms the same dynasty had ruled for centuries and the cult of the living ruler and the dynastic cult were stable institutions, the ruler-cult in Greece, though at first part of the Macedonian kingdom, was affected by the series of rulers of different dynasties who followed one another in rapid succession. This led to a large number of dedications for and offerings by Hellenistic rulers in Greece. Roman Republican leaders and figures were also subject to specific honours in Greece from an early stage. Compared to the excesses of rulers such as Demetrios Poliorcetes, the well-organized and at first rather modest cult for the Roman emperors must have seemed a distinct improvement. After the behaviour of previous Roman leaders the Greeks were probably relieved at Augustus's attitude towards cultic honours, and it is no surprise that the imperial cult was widely diffused in Greece, as literary sources and inscriptions show. Almost every city must have had one or more places for the worship of the emperors and their families, but archaeological evidence for the cult has remained rather slim and the only two attested Sebasteia or Kaisareia (at Gytheion and Messene) are known only from inscriptions. The Metroon at Olympia is the only specific building in which an imperial cult is attested on good archaeological evidence. Statues of an emperor and perhaps a personification of Roma found at Thessaloniki point to a Sebasteion there. Athens must have had more than one building where the emperor was worshipped. At Beroia a provincial sanctuary for the imperial cult of Macedonia has been posited. Yet even at the Roman colony of Corinth, the location of the temple for the imperial cult is far from clear, all of which underlines the interest of a building at Eretria which we identify with the municipal temple for the imperial cult.

This paper attempts to investigate the existence of performative rituals—such as processions, songs, dances, dramatic enactments of divine myths and genealogies—in sanctuaries of Asklepios during the Roman Imperial period in Greece. Because of their long life and their well-documented ritual practice, the sanctuaries of Athens, Epidauros, and Messene have been selected as case studies. Archaeological, literary, and epigraphical sources are used to identify the nature of the ritual performed, and to assign to them a topographical space within the sacred precinct. The period under consideration mostly coincides with the reign of the Antonine emperors, when the relatively peaceful environment allowed for an artistic revival, and cultural phenomena such as the Second Sophistic promoted the reappropriation of ancient Greek tradition and a renewed continuity with it, despite the historical discontinuity. Wealthy patrons belonging to the educated elite and holding the highest offices within the imperial bureaucracy were often responsible for the refoundation of sacred buildings, and of long-forgotten religious festivals. In this context, the promotion of performative spaces and rituals in the sanctuaries of Asklepios is interpreted as a product of the cultural and social environment of the second and early third centuries in Greece.To άρθρο αυτό επιχειρεί να ερευνήσει την ύπαρξη επιτελεστικών τελετών -όπως πομπές, ύμνοι, χοροί, σραματικές αναπαραστάσεις θεïκών μύθων και γενεαλογιών- στα ιερά του Aσκληπιού κατά τη σιάρκεια της ρωμαïκής αυτοκρατορικής περιόσου στην Eλλάσα. Tα ιερά της Aθήνας, της Eπισαύρου και της Μεσσήνης επιλέχθηκαν ως περιπτώσεις έρευνας εξαιτίας της μακράς χρήσης τους και των καλά τεκμηριομένων τελετουργικών πρακτικών τους. Γίνεται χρήση αρχαιολογικών καταλοίπων και φιλολογικών και επιγραφικών πηγών προκειμένου να αναγνωριστεί η φύση των τελετών που πραγματοποιούνταν στα ιερά αυτά καθώς και να προσδιοριστεί τοπογραφικά η θέση των τελετών αυτών στο χώρο του τεμένους. H εν λόγω περίοδος συμπίπτει σε μεγάλο βαθμό με τη βασιλεία των Aντωνίνων κατά τη διάρκεια της οποίας το σχετικά ειρηνικό περιβάλλον επέτρεψε μία καλλιτεχνική αναγέννηση. Πολιτιστικά φαινόμενα όΠως η Δεύτερη Σοφιστική προώθησαν την επανοικειοποιήση της αρχαίας Eλληνικήσ παράδοσης και την ανανεωμένη ςυνέχειά της, παρά την ιστορική ασυνέχειά της. Eύποροι πάτρονες, μέλη της πεπαιδευμένης αριστοκρατίας και κάτοχοι των υψηλότερων αξιωμάτων της αυτοκρατορικής γραφειοκρατίας, ήταν συχνά υπεύθυνοι για την επανίδρυση ιερών κτιρίων, και θρησκευτικών εορτών ξεχασμένων για πολύ καιρό. Μέσα σε αυτό το πλαίσιο, η προώθηση επιτελεστικών χώρων και τελετουργιών στα ιερά του Aσκληπιού ερμηνεύεται ως απόρροια του πολιτιστικού και κοινωνικού περιβάλλοντοσ του δεύτερου και πρώιμου τρίτου αιώνα στην Eλλάδα.

AbstractIn this paper we explore the scientific synergies between Athena and some of the key multi-messenger facilities that should be operative concurrently with Athena. These facilities include LIGO A+, Advanced Virgo+ and future detectors for ground-based observation of gravitational waves (GW), LISA for space-based observations of GW, IceCube and KM3NeT for neutrino observations, and CTA for very high energy observations. These science themes encompass pressing issues in astrophysics, cosmology and fundamental physics such as: the central engine and jet physics in compact binary mergers, accretion processes and jet physics in Super-Massive Binary Black Holes (SMBBHs) and in compact stellar binaries, the equation of state of neutron stars, cosmic accelerators and the origin of Cosmic Rays (CRs), the origin of intermediate and high-Z elements in the Universe, the Cosmic distance scale and tests of General Relativity and the Standard Model. Observational strategies for implementing the identified science topics are also discussed. A significant part of the sources targeted by multi-messenger facilities is of transient nature. We have thus also discussed the synergy of Athena with wide-field high-energy facilities, taking THESEUS as a case study for transient discovery. This discussion covers all the Athena science goals that rely on follow-up observations of high-energy transients identified by external observatories, and includes also topics that are not based on multi-messenger observations, such as the search for missing baryons or the observation of early star populations and metal enrichment at the cosmic dawn with Gamma-Ray Bursts (GRBs).

Recent associations of high-energy neutrinos with active galactic nuclei (AGN) have revived the interest in leptohadronic models of radiation from astrophysical sources. The rapid increase in the amount of acquired multi-messenger data will require fast numerical models that may be applied to large source samples. We develop a time-dependent leptohadronic code that offers several notable benefits compared to other existing codes, such as versatility and speed. \ solves the Fokker-Planck equations of photons and relativistic particles (i.e. electrons, positrons, protons, and neutrinos) produced in a homogeneous magnetized source that may also be expanding. The code utilizes a fully implicit difference scheme that allows fast computation of steady-state and dynamically evolving physical problems. We first present test cases where we compare the numerical results obtained with \ against exact analytical solutions and numerical results computed with ATHEnu A, a well-tested code of similar philosophy but a different numerical implementation. We find a good agreement (within 10-30<!PCT!>) with the numerical results obtained with ATHEnu A without evidence of systematic differences. We then demonstrate the capabilities of the code through illustrative examples. First, we fit the spectral energy distribution from a jetted AGN in the context of a synchrotron-self Compton model and a proton-synchrotron model using Bayesian inference. Second, we compute the high-energy neutrino signal and the electromagnetic cascade induced by hadronic interactions in the corona of NGC 1068. \ is easily customized to model a variety of high-energy astrophysical sources and has the potential to become a widely utilized tool in multi-messenger astrophysics.

Hydrogen sulfide (H2S) has emerged as an important signaling molecule joining the ranks of the gasotransmitters, nitric oxide (NO) and carbon monoxide (CO). Analogous to NO, H2S signals via a posttranslational modification termed sulfhydration, wherein H2S mediates the conversion of –SH groups of reactive cysteine residues on target proteins to –SSH or persulfide groups. Ever since its characterization, sulfhydration has been shown to participate in a myriad of physiological processes ranging from vasorelaxation to neuroprotection. Recently we have shown that aberrant H2S metabolism and sulfhydration play key roles in the progression of neurodegeneration in Parkinson's disease (PD) and Huntington's disease (HD). In HD, mutant huntingtin disrupts the transcriptional regulatory machinery of cystathionine gamma lyase (CSE), the biosynthetic enzyme for H2S as well as its precursor cysteine. mHtt affects transcription factors responsible for expression of CSE leading to its depletion in HD. H2S also modulates the disposition of second messengers such as cGMP which results in cognitive deficits, a feature shared by several neurodegenerative disorders including PD and HD. This presentation focuses on how H2S regulates redox homeostasis via gene regulatory mechanisms, the disruption of which is a contributor to disease progression in neuronal degeneration.Support or Funding InformationRepresentative Recent Recognition/HonorASBMB/jbc Herbert Tabor Young Investigator Award (May 2015) at the third European Conference on the Biology of Hydrogen Sulfide at Athens, Greece.

Abstract We study the long-term evolution of the Milky Way (MW) over cosmic time by modeling the star formation, cosmic rays, metallicity, stellar dynamics, outflows, and inflows of the galactic system to obtain various insights into the galactic evolution. The mass accretion is modeled by the results of cosmological N-body simulations for the cold dark matter. We find that the star formation rate is about half the mass accretion rate of the disk, given the consistency between observed Galactic diffuse X-ray emissions (GDXEs) and possible conditions driving the Galactic wind.Our model simultaneously reproduces the quantities of star formation rate, cosmic rays, metals, and the rotation curve of the current MW. The most important predictions of the model are that there is an unidentified accretion flow with a possible number density of ∼10−2 cm−3 and that part of the GDXEs originates from a hot, diffuse plasma which is formed by consuming about $10\%$ of supernova explosion energy. The latter is the science case for future X-ray missions: XRISM, Athena, and so on. We also discuss further implications of our results for the planet formation and observations of external galaxies in terms of multi-messenger astronomy.

The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). 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Echoes of History: Naxi Music in Modern China. Oxford: Oxford University Press, 2000.Shelemay, Kay Kaufman. “‘Historical Ethnomusicology’: Reconstructing Falasha Liturgical History.” Ethnomusicology 24 (1980): 233–258.Shi, Weixiang. Dunhuang lishi yu mogaoku yishu yanjiu (Dunhuang History and Research on Mogao Grotto Art). Lanzhou: Gansu jiaoyu chubanshe, 2002.Sima, Guang 司马光 (1019–1086) et al., comps. Zizhi tongjian 资治通鉴 (Comprehensive Mirror for the Aid of Government). Beijing: Guji chubanshe, 1957.Sima, Qian 司马迁 (145-86? B.C.E.) et al., comps. Shiji: Dayuan liezhuan 史记: 大宛列传 (Record of the Grand Historian: The Collective Biographies of Dayuan). Beijing: Zhonghua shuju, 1959.Sivak, Alexandria and Amy Hood. “The Getty to Present: Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road Organised in Collaboration with the Dunhuang Academy and the Dunhuang Foundation.” Getty Press Release. 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جاء هذا البحث تحت عنوان أثر الثقافة الإسلامية في التحولات عند أهل اليمن, وهو ما يعود بالحديث إلى بزوغ فجر الإسلام الذي احدث تغير في القيم الإنسانية والمعتقدات, وكيف كان الإسلام مؤثرا في دحض كل العقائد والثقافات السائدة التي تمردت على القيم النبيلة والعقائد الإيمانية الحقه التي كان عليه النبي إبراهيم الخليل عليه السلام, وبما أن آهل اليمن كانوا قد تفرق آمرهم في ثقافات عمت جميع أرجائه من وثنية وغيرها وفدت مع الاحتلال الفارسي ويهودية منتشرة, ونصرانية في نجران, فأصبح مهددا في وضعه الديني, وبأمس الحاجة إلى عقيدة تجمعهم تحت راية واحدة, وهو ما حصل بالفعل وبمجرد سماعهم لدعوة هذا الدين عن طريق التجارة و مواسم الحج فكر أهل اليمن بجدية في إتباع هذا الدين, وقد استخدم النبي صلى الله عليه وسلم لغة الرسائل والدعاة إلى أهل اليمن, وكان أن كتب الله لبعض القبائل أن تسارع في العام السابع الهجري ونهاية العهد النبوي, توجت هذه المرحلة بإسلام باذان الفارسي الذي كان واليا من قبل سيده كسرى الذي مزق كتاب رسول الله صلى الله عليه وسلم مما دعاء عليه أن يمزق الله ملكه, وبإسلام أهل اليمن وتسليم باذان بالأمر وإشهار إسلامه أصبحت اليمن جزءً من الدولة الإسلامية. وما نلاحظه هنا هو اثر الثقافة على أهل اليمن ومن خلال الوسائل والبعوث والسرايا الموفدة من قبل الرسول صلى الله عليه وسلم, من بداية العام السابع الهجري, وكيف أذنت بتحول إلى عقيدة الإيمان بالله وحده, والتحول من البؤس والشقاء إلى أخوة الإيمان, والتحول في النظر إلى مكانة المرأة وحقوقها, ومن ثم تحولات قيمية ترتب عليها تحسن واقع الحال الوظيفي,وتحمل المسؤوليات, وفقا لمنهجية المرحلة في مختلف الجوانب,ومن ذلك التوحيد الإداري, وتعيين الموظفين لأخذ الصدقات وتصريفها في مصارفها, كما تمثلت الخطوات بالتدرج, وتعيينات تضمن الإشراف على مناطق كبيرة تسمى المخاليف, ازداد واقع اليمن ثقافة إسلامية تأثروا بها واثروا على محيطهم الاجتماعي كمركز رئيس في الجزيرة العربية, وازداد ذلك في عهد الخليفة ابي بكر الصديق وحبهم وارتباطهم في مركز الدولة وبوازعهم الديني استجابوا لكتاب أبي بكر الصديق عندما كتب لهم يدعوهم لمحاربة الروم ومعلوم أن النبي صلى الله عليه وسلم قد امتدح أهل اليمن فكانوا جنود لدعوته, واقبلوا على طلب العلم عنه’ وقد ذكر المؤرخون أن أول من أسلم وقرأ القرآن على يدي حنس الخزاعي كانت امرأة في صنعاء, وتشير المهمة التعليمية والتربوية لكل من معاذ بن جبل وأبي موسى الأشعري كواليين أرسلهما النبي صلى الله عليه وسلم إلى اليمن, وبهذا توجت الحياة اليمنية بهذا التحول العلمي والثقافي في العصر الإسلامي بمكرمة عظيمة وهي الريادة العلمية المتمثل بمدرسة تهوي إليها أفئدة المتعلمين وضربت إليها أكباد الإبل, من شيوخ وطلاب, فا abstract The research titled impact of Islamic culture in shifts when the people of Yemen, which is due to speak to the dawn of Islam, which cause a change in human values ​​and beliefs, and how Islam was influential in refuting all faiths and cultures prevailing rebelled against the noble values ​​and beliefs of faith wrought by the it Prophet Abraham peace be upon him, since the people of Yemen had dispersed ordered them in cultures pervaded all environs of the pagan and others rounded with Persian occupation and Jewish scattered, and Christian in Najran, became threatened in its religious, and in dire need of faith that brought them together under one banner, which What happened once they hear the call of this debt through trade and pilgrimages thought folks Yemen seriously follow this religion, has been used Prophet peace be upon him language messages and preachers to the people of Yemen, was that God wrote for some tribes that accelerated in the seventh year AH and the end the Prophet, culminating in this stage with Islam Bardhan Persian who was the ruler by his master fractions which tore book Messenger of Allah peace be upon him than prayer for him to tear God king, and Islam of the people of Yemen and delivery Bardhan matter and convert to Islam became Yemen part of the Islamic state. What we observe here is the impact of culture on the people of Yemen and through the means and Missions and company mission by the Apostle peace be upon him, from the beginning of the seventh year AH, and how Authorized shift to the doctrine of faith in God alone, and the shift from misery to the brothers in faith, and a shift in the consideration to the status and rights of women, and then shifts ad valorem consequent improvement reality career, responsibilities, according to the methodology stage in various aspects, including consolidation of administrative, personnel recruitment to take handouts and discharged into the banks, as exemplified by the steps gradually, and appointments to ensure supervision of large areas called Almkhalev, increased the reality of Yemen Islamic culture influenced by and influenced their social center head in the Arabian Peninsula, and increased in the era of Caliph Abu Bakr and their love and their association in the center of the state and Bwazaahm religious responded to the book Abu Bakr when he wrote them to invite them to fight Roman. It is known that the Prophet peace be upon him had praised the people of Yemen They were soldiers for his call, and came to seek knowledge about 'Historians reported that the first of the safest and read the Quran at the hands AhansKhuzaie was a woman in Sanaa, and indicate the important educational for both Maaz bin Jabal and Abu Musa Ash'ariKowalaan sent by the Prophet peace be upon him to Yemen, and this culminated in life Yemeni this transformation of scientific and cultural in the Islamic era Bmakramh great a scientific leadership represented school plunged to the hearts of the educated and hit the livers of camels, of the elders and students, Imam famous Ahmed bin Hanbal comes to ( Aden) and found one of its scientists meant had died, and I have represented this movement regenerative four giant figures have had the greatest impact on the formation of the horizon of knowledge, and formulate an intellectual renewal public private and idiosyncratic. The first pioneers first scientific industrious absolute Mohammed bin Ibrahim minister, followed by the century atheist century AH industrious Hassan bin Ahmed majesty and Salah Ben Mehdi Mokbily then delivered Meshaal this movement in the twelfth century AH Mohammed bin Ismail Prince, then crowned scientific movement and doctrinal and intellectual prestige Imam ShawkaaniKmojadd Club in all his fatwas lonely intellectual jurisprudence and Streptococcus, and Faruqi behind, Vtasst schools in north and south Yemen studying the books Shawkaani and intellect "and come and legacy aware Shawkaani grandson Judge Mohammed bin Ismail Urban, the same Queen doctrinal and intellectual as an extension of that movement Scientific and Cultural Yemen. لإمام الشهير احمد بن حنبل يأتي إلى (عدن) فوجد احد علمائها المقصود قد مات, ولقد مثّلت هذه الحركة التجديدية شخصيات أربع عملاقة كان لها أكبر الأثر في تشكيل الأفق المعرفي، وبلورة معالم التجديد الفكري عامة والفقهي خاصة. فأول رواد الحركة العلمية الأولى المجتهد المطلق محمد بن إبراهيم الوزير, تلاه في القرن الحادي عشر الهجري المجـتهد الحسن بن أحـمد الجـلال وصلاح بن مهدي المقبلي ثم تسلّم مشعل هذه الحركة في القرن الثاني عشر الهجري محمد بن إسماعيل الأمير, ثم تتوج الحركة العلمية والفقهية والفكرية بمكانة الإمام الشوكاني ـ كمجدد ـ نادَى في كلّ ِفتاويه بالوحدة الفكرية الفقهية والعقديَّة، وخطَا الشعب وراءه، فتأسَّست مدارس في شمال اليمن وجنوبه يدرس فيها كتب الشوكاني وفكره" ويأتي وارث علم الشوكاني الحفيد القاضي محمد بن إسماعيل العمراني، بنفس الملكة الفقهية والفكرية كامتداد لتلك الحركة العلمية والثقافية في اليمن.

Introduction Media and trauma cannot exist independently but are always caught in a cross-feedback loop. Depending on its mediating technology, trauma has always given rise to a different “technological unconscious” whereby the very conditions of trauma are tied to its form and technological dimensions (Johanssen 311). Our analysis explores this link, drawing on the case of the 2023 Greek TRAUMA podcast (Koukoumakas et al.), an audio documentary nested in iMEdD Lab, tracing seven disastrous events that have afflicted Greece in the last twenty-four years – from the Parnitha earthquake in 1999 to the Tempi train crash in 2023. This is a unique example of a quality news podcast that touches upon the ways collective trauma has built into the national identity of modern Greek people. There is a striking similarity in the way Amit Pinchevski describes how the Holocaust became a collectively shared trauma in Israel and how the TRAUMA podcast narrates the collective trauma in Greece. Without diminishing the experience of those directly involved and traumatised, TRAUMA weaves an audiography of a national body traversed with traumatic symptoms. Already from the title, TRAUMA bears a self-contradictory promise: to document that which essentially escapes documentation, or, in Amit Pinchevski’s apt words, to mediate a “failed mediation” (4). More specifically, trauma is being shaped by the technology through which it is mediated, and is tied to its form and technological dimensions (Johanssen 311). This is also the case in the present podcast, which (re)mediates seven stories of traumatic disaster in the acoustic language of voice and sound, and is necessarily bound and shaped by the very logics and limitations of the podcast medium. What concerns the present article is how, in the case of TRAUMA, podcasting logics tap on the existing media landscape of trauma coverage, negotiating and shaping trauma representation anew. Following current scholarship in the field, we read TRAUMA not only as a journalistic audio archive aiming to document and share traumatic narratives, but, rather, as essentially a(e)ffecting the way these stories are perceived. Far from aestheticising or sensationalising the “private drama of catastrophe”, as is often the perverse “lure” and the case with trauma coverage in traditional media, TRAUMA utilises podcast logics to create audibility platforms for otherwise lost voices, and thus, in an activist gesture, to draw attention to and raise concern about the painful repetition of tragic stories in the light of a non-(pro)active Greek state. Our analysis, framed in audio and content analysis of the TRAUMA podcast, minds a gap; there is little podcast-specific analysis of trauma mediation (Karathanasopoulou and Williams; Cardell and Douglas) even if the latter seems to flesh a recurrent thematic concern in podcast narratives (such as the podcast re-mediation of Holocaust narratives in 2019, titled “Those Who Were There: Voices from the Holocaust”, or Greek podcasts From a Wonder to a Trauma and iMEdD’s Mute). Individual Voice Testimonies in the TRAUMA Podcast In light of its unique characteristics (lo-fi, low-cost, amateur-friendly, open-source, and relatively content-free), podcasting has been read as potentially challenging and even transgressing mainstream media discourse (Park; Rae; McHugh; Tiffe and Hoffmann). In her work on podcasting and political listening, Maria Rae sees in podcasts the ability to intervene in and disrupt existing media structures of attention that determine who is heard and how. Upending such “regimes of attention”, they may invite us, instead, to retune, un-hear, or hear differently. In the case of TRAUMA, the work taps on topics which have cross-fed a barrage of images on social media platforms, and fuelled 24-hour news cycles on traditional visual media. To this trauma-casting, it juxtaposes its own audio logics of multiple, yet unified, voicing and of slow, engaged listening. Literally “opening the mic” for those unheard or only heard little, TRAUMA makers aspire to host what they term as “the ‘unedited experience’ of the disaster”. This, they see as a gesture away from existing media coverage of disasters in Greece that may silence, voice-over, aestheticise, or selectively frame (and un-frame) individual voicing. The “voyeurism lure” is mindfully addressed as TRAUMA podcast makers have published – parallel to their documentary work – a journalists’ code of conduct in cases of trauma coverage, addressing issues related to “privacy, legislation, and journalist ethics” (Voutsina et al.). At the same time, the silencing or voice-over tactics, often employed in cases of trauma coverage, are also actively counter-balanced as TRAUMA utilises verbatim testimonies and offers opportunities for direct earwitnessing of what surfaces less as a private catastrophe and more as shared, public wound for Greek citizens. The notion of earwitnessing encompasses a form of listening attuned to the specific social, cultural, and political manifestations of sound and voice. To “earwitness” is to listen to the history that unfolds and to become responsible for what you listen to (Rae et al.). Letting otherwise lost voices surface and having us listen to those accounts, TRAUMA actively gestures towards “acoustic justice”, defined by Brandon Labelle in his homonymous book as “the practices or gestures that seek to rework the distribution of the heard” (131). Such reworking of audibility norms is best served through emphasis on unheard testimonies. Testimonies are indeed the more extensive part of the text genres emerging in the TRAUMA podcast. A relatively large number of codes were created, and data revealed that two codes appeared more frequently: the codes referring to the Mati fires and the Tempi fatal train accident. There are a couple of reasons for this, as both accidents were severe: the Mati fires that took place in 2018 “would go on to become the second deadliest fire globally in the past 25 years. 104 lives were tragically lost in Mati”, as the narration script testifies. The train crash in the Tempi valley in February 2023 was the most recent tragic event, and one that involved the loss of very young people. In the case of both disasters, testimonies prevail, only carefully complemented by narrative voice-over, news clips, or accompanying music. The news clip chosen to inform listeners about the tragic accident in Tempi is short and sharp: “Intercity train collides with commercial train, resulting in three wagons derailing”. Most of the sparse news clips used to enhance the informative lens of the documentary adopt the same style: they are short, accurate, and show the core of the news story. They are like stamps of verification of what actually happened, without however overshadowing or emotionally framing the actual verbatim material featured in the piece. Narrative voice-over and music follow the same logic of only discreetly framing the testimonial material. The voice-over that is featured in the podcast, with an agonising tune playing in the background, carefully offers sharp and concrete information on disastrous facts, introducing testimonies or drawing links between voices. Music also plays a significant role, even if the focus of the audio documentary is on discourse and voice; the musical background sets a mysterious tone, adding to the audio experience of the listener when accompanying the narrative voice. Its notable absence when we move from the voice to the testimonies is also a clear documentation of the value that the TRAUMA podcast attributes to testimonies. With no accompanying music, testimonies retune us to the soundscape of the people involved, securing sharper focus on those voices and greater empathy on the part of the listener. Testimonies flesh out engaging, emotive narratives that also harbour accurate information of the stories involved (Theodosiadou). A multitude of intimacies exist in podcasting, and this intimacy contains the possibility to materially connect the listener to a story (fictional or factual; Karathanasopoulou). In the quote below there is a possible connection between the listener and the factual story as the narration becomes very realistic and absolutely grounded in the tragic events; the listener has a chance to envision the situation at the hospital, and this acoustic illustration possibly connects them more tightly to the actual story. From the Tempi train crash, the father of a young student-victim describes the most difficult moment while waiting that first night at the hospital: I dubbed that day 'a game of poker with death': in the hospital, whenever an ambulance arrived, everyone would rush towards it, hoping to find their loved ones injured or anxiously checking if the body bag was sealed, all racing to discover if their dear ones were dead. Victim relatives are heard sharing their private trauma-scapes and reporting on how difficult it has been to cope with such a traumatic event, and how these tragedies have influenced all their lives. Our attention, as podcast listeners deprived of any visual stimuli, is actively drawn both to the content of their sayings but also to the vocal utterances per se, in all their individual acoustic register of gaps or hesitations, of voice colour, pace, and rhythm: it was incredibly difficult to endure such a situation. Most of us struggled through five years without any medication. But there are so many others that rely on very strong medications to cope. Fig. 1: Visual installation 58 Nails in Tempi, by artist Georgios Koftis. Tempi Valley, January 2024 (photo by Georgios Koftis). “We believe that there are more and more of us people not having a voice, contrary to what is depicted in the media” — Georgios Koftis. From the Individual to the Collective TRAUMA hosts survivors’ and victim relatives’ testimonies, maintaining the force and intimacy of the individual witness, yet not letting them flesh out a singular, eccentric, private disaster drama. Not only are individual voices balanced out with other voices of the various field experts on whom the documentary draws, but they are also amplified in echoes as we listen on to more (and all the more similar) testimonies. In this sense, we move from the private to the collective, and the documentary escapes the risk of over-emphasising personal disaster or aestheticising the pain of those directly involved. On a similar note, we hear both a relative of a victim of the Tempi crash and a relative of a victim in the Mati fires become equally cynical and accepting of the inevitability of accidents in life: in the collective unconsciousness we exist within, it was inevitable. Whether it be a boat, a ship, a plane, or a power station, it was destined to occur somewhere, and undoubtedly, it will happen again. We have grown somewhat cynical. After the Tempi train crash, when we gather during court breaks, we quip, "What's next, a plane crash?" We even start placing bets. It may come across as cynical, but considering what we have experienced and what we are likely to experience again, that's just how it is. In the case of the Mati fire tragedy, many testimonies similarly focus on the absence of care or action from the Greek state and the feeling of aloneness in confronting such a preposterous disaster. Around 18:00, my mother gave me a call and informed me about a fire... There was no mention of it on TV. If only my family had been alerted just 5 minutes earlier, they could have jumped into the car and taken the route through Marathon Avenue, just like many others who managed to survive. We're talking about a mere distance of 500 metres, and the authorities had a clear view of the scene. They witnessed people burning, yet made no attempt to rescue them. There was no fire brigade in sight, not a single siren reached out ears, no loudspeakers blaring "Evacuate" to warn us, nothing at all. From the intense heat and lack of oxygen, we were beginning to lose our strength, my entire family. The relatives of the victims report on how difficult it has been to cope with such a traumatic event and how these tragedies have influenced all their lives. What can I say… The boy is seeing a psychologist to cope with the trauma. Whenever he sees us about to light a match, he thinks there’ll be a fire and quickly jumps to put it out. It’s so sad. These scars will never heal – they don't simply fade away no matter how much we wish they would. Joining voices from disparate disaster events, TRAUMA captures the “return and repeat” logics of trauma temporality, but, more importantly, meddles with and away from the “shock and freeze” effect of the singular event to reveal threads, echoes, re-doublings, and flashbacks that flesh a silently ongoing, collective trauma. Individual narratives of disaster are thus both solidified and pluralised in a sonic space that merges the private and the public, the singular and the plural, the rupture and the thread, allowing personal stories to open up into informed public conversations. Moving on in echoes and counterpoint polyphony, TRAUMA ultimately effects a “hearing different” of individual trauma testimonies, enabling the latter to surface less as closed echo chambers and more as resonant channels of shared wounds. The movement from the private to the collective is also repetitively referenced in the podcast per se. Both in the expert talks but also in the narrative script the notion of collective trauma is insistently mentioned: “erosion of trust in the state and the absence of catharsis” are considered to be the two main characteristics of collective trauma, according to the experts on the podcast and the journalist-narrator. This profound lack of trust that victims felt personally but also collectively surfaces as a resonant feeling, threading the two decades of fatal accidents that the TRAUMA podcast touches on. Collective trauma is what occurs when a community or society is stripped of its essential functions, such as democracy, institutions, social solidarity, and, most importantly, the preservation of social bonds. Negligence can never be equated with acts that are considered felonious. Felonies encompass acts where the outcome is a result of deliberate and conscious actions. It is not only the outcome that is condemned, but also the intentional and rational behavior of the perpetrator. Conclusion The TRAUMA podcast revolutionises auditory experience both in tapping to unmute individual voices and thus offering acoustic justice, but also in terms of activating political listening. The acts of podcast creation and “political listening” can reinforce the audience’s political opposition to unjust practices (Rae et al.). TRAUMA is an example of a podcast that attempts to raise awareness of the Greek state’s failure to take relevant action, thus sensitising and mobilising listeners in ethical responsibility. Re-tuning listeners to trauma narratives and turning them into earwitnesses may fashion a space of empowerment. Writing of post-9/11 trauma and mourning and the ways in which the latter was quickly dismissed by U.S. authorities to allow for militant action, Judith Butler questions the typical equation of grief and trauma with passive numbness or stillness, and aptly observes that “suffering can yield an experience of humility, of vulnerability, of impressionability and dependence, and these can become resources if we do not resolve them too quickly” (149-50). Staying with trauma voices, as enabled in the case of TRAUMA, may help for “mourning otherwise” or for what Athena Athanasiou terms “agonistic mourning”, opening quietly militant spaces of ethical response-ability and caring, and even re-orienting trauma rupture and paralysis in actively “contending with dominant and prevailing systems that make and unmake bodies” (LaBelle 564). In the case of TRAUMA, letting listeners linger in the aural intimacy of the private trauma transforms listening into active earwitnessing and political contestation. The originality of the documentary lies in the weaving of the personal to the collective trauma, as well as in how this pain intertwines and defines the national collective trauma. Maybe this is also a hidden message that TRAUMA conveys: a silent ‘activism’ to make listeners participate in the personal and collective trauma and activate them in a positive and empowering way towards taking responsibility and work in line with the collective good (Theodosiadou). This brings the podcast genre to a new epoch, an epoch that transcends from audio blogging to silent activism. This concluding remark aligns with Karathanasopoulou & Williams's findings that non-visual media can provide a safe environment to reveal deeply personal experiences and, in some cases, form an example of “quiet activism”. 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