Happy Easter 2010 from Vouliagmeni

Greek Easter is quite something! From meditation to fireworks, Easter represents it all.

Easter 2010 Vouliagmeni

From Vouliagmeni we wish you a very Happy Easter 2010.

Yorgo & Family

PS: More about this year’s Easter in Vouliagmeni later.

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Logo Design Study for Zo Nicholas

Here below some images from a first logo design session with Zo Nicholas; the purpose is to create a logo which can be applied online as well as on printed matters. The following images represent the first 20 output shots. More to come.

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Beyond personal preferences, colors need to be selected in function of the target audience of a web site. Market assessment will imply cultural elements which will impact on the choice of colors.

Many cultures attribute special meanings or cult to colors. Here are some of the most common ones:

China: Good luck, celebration, summoning
Cherokees: Success, triumph
India: Purity
South Africa: Color of mourning
Russia: Bolsheviks and Communism
Eastern: Worn by brides
Western: Excitement, danger, love, passion, stop, Christmas (with green)

Red

Ireland: Religious (Protestants)
Western: Halloween (with black), creativity, autumn

Orange

China: Nourishing
Egypt: Color of mourning
Japan: Courage
India: Merchants
Western: Hope, hazards, coward

Yellow

China: Green hats indicate a man’s wife is cheating on him, exorcism
India: Islam
Ireland: Symbol of the entire country
Western: Spring, new birth, go, Saint Patrick’s Day, Christmas (with red)

Green

Cherokees: Defeat, trouble
Iran: Color of heaven and spirituality
Western: Depression, sadness, conservative, corporate, “something blue” bridal tradition

Blue

Thailand: Color of mourning (widows)
Western: Royalty

Purple

Japan: White carnation symbolizes death
Eastern: Funerals
Western: Brides, angels, good guys, hospitals, doctors, peace (white dove)

White

China: Color for young boys
Western: Funerals, death, Halloween (with orange), bad guys, rebellion

Black

As you would not give pink roses to a bride in Thailand, you would not set up a Valentines site in pink with a Thai audience. Or how about selling wedding accessories in Japan on a site decorated with white carnation?

A site for accessories for new-born babies in white? Impossible in most of Asia.

But then, there is more to it. Besides the traditional values, there are also criteria of fashion and trends. While a few years ago black sites were in, today you see more gray tones. Younger generations prefer grunge style, while older people prefer harmony, pastels and smooth looks.

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This page is wiki editable click here to edit this page.

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Social Network Publishing Seminar by Ycademy

Social Network Publishing is about delivering content to social network environments. The issue is about creating a controlled and organized stream of content (including commercial content) into social networks, to apply metrics to measure the performance and most importantly to drive the stream back, out of the social network enriched by the contributions triggered inside the social network, for further exploitation for example in Search Engine Marketing.

Sounds complex, but it’s the Social Network Publishing Concept developed by YORGOO Publishing. This concept will be presented and implemented at the July Ycademy Online Seminar taking place this coming week-end.

There are different ways to envisage Social Network Publishing. We are distinguishing namely two:

1. By outsourcing your feed streams and their control.

2. By keeping tight control of all your feed streams. (Semiomantics)

Our tests about Google Top 10 with Twitter with The Diamond of Sancy show, that the Semiomantics approach is much more efficient.

We will implement the Semiomantics Social Network Publishing features on Sunday. As all participants will be equipped with NewsCast on their YORGOO Press site (included in ticket price), we will use the publishing framework of NewsCast to initiate feed streams and collect the returns from social networks.

We have been analyzing the web pages and site rankings of Social Network Publishing specialists and we find that they all have something in common: their effort stops with the delivery TO social networks. We could not find anyone capable of converting social network feeds to Google Top 10 Performance as we demonstrated with semiomantics in our test set-up.

The advantage of Semiomantics is in its publishing framework. Sure there are different versions of it, but Semiomantics packs have all one thing in common: they have a high Google Top 10 performance record, second to none, irrespective of the script you use.

Here is an example which may surprise you: yesterday’s post about Social Network Publishing was rapidly indexed and listed by Google. Here is the result:

Social Network Publishing

Search returns: 43,400,000

Our Google Top 10 entries: Ranks 5,6 and 8

Interesting:

Our best entry is a YORGOO Blaster!

Then YORGOO Publishing, our framework with the highest authority.

Finally the Author’s site where the content was originally posted.

But this is not all, here it’s getting really interesting:

Checking the second page of Google Search returns on Social Network Publishing we find:

Social Network Publishing on Google 11-20

On rank 11: Lori Kober’s Twitter Content: she picked up our feed from YORGOO Press, feeding content from the wegobiz education YORGOO Blaster and her tweet is carried to rank 11 on Google, pointing to wegobiz Education.

Conclusion

All Semiomantics Frameworks hav the same qualities and features when it comes to performance. Some are just built for niches others for broad publishing across any array of categories.

1. All Participants receive the NewsCast pack installed on their YORGOO Press and we will configure the sites together in the work-shops on Saturday. This installation can be considered as an upgrade of the existing YORGOO Press site. After installation and configuration, users can choose to display either their existing YORGOO Press or the new NewsCast site. The change back and forth is a matter of a mouse click.

2. All participants will implement the Semiomantics Social Network Publishing Concept as used by YORGOO Publishing. Participants will receive all necessary software to implement the concept on other Semiomantics powered sites.

3. For more info, please check out our earlier post about the Ycademy  Google Top 10 Seminar.

A few are still available: contact Bianca Gubalke at bianca AT ycademy DOT com.

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Social Network Publishing

Our experiment with Google Top 10 and The Diamond of Sancy demonstrate how viral effects are achieved with Social Network Publishing and traditional Online Publishing.

The story started with The Diamond of Sancy, an article by Laetitia Paris on Zoom Terre powered by YORGOO Press. This article has been re-published by Lapillon Decouvertes powered by Semiomantics NewsCast. The NewsCast Framework has been configured for French Content and performance on Google France.

We have shown, how the use of social networks helps to distribute our content fast and efficiently. Viral effects in social networks depend on the size of your network and the interest people show for your content: ideally your content triggers readers to communicate about your post with their own networks for example by passing on a link to your post.

Social Network Publishing has its own rules, however the viral effects publishers seek are the same as outside social networks.

Traditional Online Publishing is about visibility about bringing our content in front of a maximum number or interested people.

The widest distribution of content is achieved, when readers become publishers or re-publishers of your content, multiplying the entries on Google and making it easier for interested people to find your content under multiple variations of key-phrases.

The Diamond of Sancy on Google France demonstrates this principle:

The Diamond of Sancy

In Social Network Publishing  we dissociate our content from our own Publishing Framework, while when we publish on our own site we create harmony between the content and the framework. Advertising is associated with content mainly through the framework.

Social Networks such as Twitter limit the space for content: posting a link pointing to the own framework is a usual strategy. Social Network Publishing needs to take the social environment into account: are targeted people  big readers or just interested in some blurps?

From the above we see that we basically have two formats of content: the format for our own framework and the mobile format. Mobile meaning the format we choose for our feeds and for publishing in third party frameworks, such as social networks. Furthermore we need to take into account the growing number of surfers using mobile devices.

The ideal post is therefore published in multiple formats; the excerpt feature on WordPress based sites is of help, as it allows to publish a short concise summary which can easily be distributed. Such excerpts can be in text or HTML format.

To remain efficient the content can be edited, published and re-published in different frameworks, whereas each framework is shaped in function of the purpose and target environment. The YORGOO Publishing Concept and Model streamlines this process as much as possible; the Author edits the content only once. The content is then automatically streamed to the different frameworks or into social networks for environment specific optimized publishing.

More about Web 2.0 Publishing at the Ycademy July Seminar.

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New Acropolis Museum Opening hits Google

Yesterday we published two posts about the New Acropolis Museum. Besides the informative content we had two goals:

1. To test Google’s semantics

2. To compete with the Big News Agencies

For an online Publisher, the big question is: what and how does Google index and list and how will it rank. We have been studying the behavior of posts on Google for years and drawn conclusions which are reflected in Semiomantics Publishing Frameworks, Ycademy Online Seminars and our Publishing Services.

On the example of our Acropolis Museum Posts you can see how Google is dealing with our content.

Our Slug was intentionally set to ‘akropolis’ rather than ‘acropolis’ to test the difference and there is a huge difference in spite the fact that Google supposedly tends to assimilate such different spellings. In many languages Acropolis is spelled with a ‘K’.

Google picked up our Slug “Akropolis Museum” , indexed and listed it; we come in on rank 6 of over 1 400 000 returns.

Akropolis Museum on Google

Under the term “Acropolis Museum” we are not to be seen in a relevant way.

Don’t count on Google to correct your typos; stick with the dictionary of the language of your site (en-US) in this case.

Our example will show how deep Google screens the content and how in our case the post got indexed and listed on may keywords irrespective of the post slug.

Let’s look at our Sub-Titles.

Our sub-title “Acropolis Museum Walk Through” made the Top 10 on Google irrespective of the post slug “Akropolis Museum”, as we come in on rank 3 after Google and Yahoo.

Acropolis Museum Walk Through on Google

The sub-title of our second post had no problem either making the Top 10 with “Acropolis Museum Opening Thoughts” which is normal as no one ever used this key phrase.

Let’s look for sub-sub-titles now.

This subtitle in our first post made the Top 10 as well:

Acropolis Museum Ground Floor on Google

Less relevant sub-titles from the second post have been indexed and listed as well, for example:

British Colonial Barbarism

We come in with 3 of the first 4 entries!

Another example contained in a sub-sub-title:

Google picked us up even on this one and we are listed on rans 18 and 20.

Thomas Bruce Elgin on Google

Let’s look now at some keywords which have not been used in titles or printed bold.

Google has done a thorough job and listed even this creation:

Rock Burger Culture

Let’s look at attachments

Somewhere we had a tag “Acropolis Museum Image” and we got honored for it:

Acropolis Museum Image

Because they are so nice, let’s add them here once more:

[nggallery id=5]

Under the term “Acropolis Museum Images” which we have not tagged, we come in on rank 30 with the relevant image display in the footer of the post on yorgoo.com/blog:

Acropolis Museum Images on Google

Google does a great job for us, provided we provide a site which can be read easily by Google and a Framework which guides the Google Spider towards where we put our focus.

Spelling is important as well as careful editing of titles, slugs and sub-titles. Tagging images is a clear plus. Google reads our posts and picks up key-words, even terms which we make up.

Not all publishing frameworks get the same attention from Google; the quality of the site script can make a huge difference: how else could it be possible that we can compete with the big boys from major news networks on topics carrying today’s news.

Online Publishing is a great adventure and a real job. It has it’s secrets and its rules. We have forged a solid track record in quality publishing with Semiomantics and so do all users of Semiomantics scripts.

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Acropolis Museum Opening Thoughts

After the Walkthrough and still in admiration of the achievements of the ancient Greeks you automatically wonder about the empty spaces and copies exposed on the third floor where the Parthenon Marbles are exposed.

When in the 19th century the British Colonial power controlled Athens, many crimes were committed against what today is considered as a cultural heritage of humanity. Not only did they knock off all the sexes of male sculptures ( wonder what the colonials had to fear when having to stand comparison …  :-)), but the famous Thomas Bruce Elgin decided to grab some of the most beautiful marbles from the Parthenon (main temple) and other monuments of the Acropolis and to ship them back to England. ( A whole shipload sank on the way and has never been recovered.)

Acropolis Parthenon Marbles at the British Museum

“Thomas Bruce, 7th Earl of Elgin, the British ambassador to the Ottoman Empire from 1799–1803, had obtained a controversial permission from the Ottoman authorities to remove pieces from the Acropolis. From 1801 to 1812 Elgin’s agents removed about half of the surviving sculptures of the Parthenon, as well as architectural members and sculpture from the Propylaea and Erechtheum.

The Marbles were transported by sea to Britain. In Britain, Elgin was criticised for his actions, labeled by some as vandalism, and some contemporaries described him as a looter. However, following a public debate in Parliament and subsequent exoneration of Elgin’s actions, the marbles were purchased by the British Government in 1816 and placed on display in the British Museum, where they stand now on view in the purpose-built Duveen Gallery.

The legality of the removal has been questioned and the debate continues as to whether the Marbles should remain in the British Museum or be returned to Athens.” (Wikipedia)

In short: The Turks who at that time still occupied Greece authorized the English to loot Greek cultural heritage; no wonder the Turkish Prime Minister Erdogan found a last minute excuse for not attending the opening ceremony of the Acropolis Museum yesterday.

To the Turks’ defense let’s note that during their 400 years of occupying Greece, they did not harm the cultural heritage from the 5th century BC until the vandals from Britain showed up.

No wonder either that no British government member showed up either amongst the over 400 guests from all over the world; the Brits sent down Bonnie Greer deputy chair of the British Museum’s board of trustees. The poor lady seems to be one of the last defenders of British colonial looting and barbarism, but then she has not much of a choice: if the Brits had to return all objects of theft to former colonies and war opponents they accumulate in their British Museum, the remains would most likely not justify her job.

Criminals usually like to return to the scene of crime but not for the reconstitution of the same.

The absence of the Turks and the Brits has been noticed even if Greek Prime Minister Karamanlis, diplomatically, didn’t express clearly what 10 million Greeks felt.

The Marbles exposed at the British Museum are the live testimonial of colonial robbery. The question is: why did colonial powers grab, steal and export artifacts?

It seems, that the colonials were aware of the power of art and culture the more that the Brits had never created anything comparable worth while envying them fore. Who had ever the idea to go and grab a few rocks from Stonehenge?

Greek Culture has spread all around the Mediterranean basin, throughout Europe and deep into Asia. Brits, Spanish, Portuguese and French brought it to the Americas.

What did we get back in exchange? Rock ‘n’ Roll and Hamburgers; not sure the Rock-Burger-Culture will last for 2500 years.

During 2000 years of occupancy by Romans, Turks, Venetians and many others, Greece and Greek culture has survived due to the strong roots, the cultural heritage and the Greek Orthodox Church.

Nevertheless, theft of art and artifacts has a long tradition. In recent years we have seen other acts of cultural barbarism in Afghanistan for example, where the Taliban destroyed systematically cultural heritage.

Second World War was another period where cultural goods were stolen (many have been handed back since). First the Germans looted Museums in conquered lands, then the occupants stole German Heritage as well as what the Germans had stolen first. Ask the Americans, Russians and French.

Further Back, Napoleon was another ace as well as his successors: the Louvre in Paris is a beautiful example of colonial looting. One day may be excuses will not be enough and objects will be returned to where they had been taken away from.

The Acropolis Museum is a showcase of ancient Greek Art and Culture. It’s purpose is, amongst others, to collect and preserve testimonials of a cultural past, of the roots of THE Culture which is at the base of Western, Jewish and Christian evolution.

The British Museum, as well as the Louvre are places where Governments have created showcases of political, colonial and strategic achievement. A showcase of conquest. A demonstration of power and submission of other people.

Museums of colonial powers have a similar role as the Roman tradition to bring back home riches, material signs of conquest … and slaves.

“Evolution” is when a woman of African origin becomes a Trustee of a collection representing British Colonial Power, Barbarism and Looting and claims that the Greek Marbles should remain in London.

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Acropolis Museum Walk Through

Courtesy The Acropolis Museum

After crossing the ground floor lobby towards the turn styles of the Museum, the first collection lies before the visitor.
An ascending, wide glass-floored gallery presents finds from the slopes of the Acropolis. On the left hand side, finds from some of the key sanctuaries of the slopes are exhibited. On the right hand side, finds from the smaller sanctuaries and the settlements that developed on the slopes of the Hill are displayed. Unique vases from the Sanctuary of Nymphe, the relief of Telemachos, theatrical masks and the treasure of Aphrodite amongst many other exhibits, provide a fascinating introduction to the larger sanctuaries and the ceremonies associated with them in antiquity.

The visitor is drawn up towards the monumental glass staircase at the end of the glass floored ramp by the large architectural sculptures of the pediment of the Hekatompedon, the first large temple of the Goddess Athena on the Acropolis.

The visitor begins the tour of the first floor galleries at the northeast corner, where archaeological finds and a scale model make clear the significance of the Acropolis in the Mycanaean Period both as a residential area and as the seat of the local ruler. The shift in the status of the Acropolis to an important religious center is signaled by the finds from the Geometric period and in particular by the bronze decorative disc α tour of the acropolis museum from a temple roof. This development is consolidated in the mind of the visitor, with the viewing of the Hekatompedon pediment sculptures at close range, where a scene of a lion entwined in battle with a bull is presented.
The visitor then moves to the south side of the Gallery where the richness and range of architectural sculptures, principally free standing votives stand. Depictions of young women (the Korai), the horse riders (the Ippeis) and many others provide a striking picture of the Acropolis in the Archaic Period.

Acropolis Museum Image 1

In the same Gallery, close to the exhibition of the Korai, the visitor is presented with the commanding sculptures of the pediment of the Ancient Temple of Athena Polias.
For the first time visitors to the Archaic Gallery are afforded the opportunity to view exhibits from all sides as three-dimensional exhibits. With the benefit of the changing natural light, visitors can discern and discover the delicate surface variations of the sculptures and select the antage point from which to observe the exhibits.
The visitor progresses to the close of the Archaic collection, with the display and narrative about the Persian disaster on the Acropolis, and is prepared for the next collection – that of the so-called Severe Style. Turning back to look at the Gallery the visitor is likely to be impressed with the beautiful view of the sculptures amongst the tall columns of the Archaic Gallery.

Visitors can then take the stairs, escalator or elevator to reach the second floor where the Museum restaurant operates but where they can also have panoramic views of the Archaic Gallery and the Gallery of the Slopes below from the public viewing balconies.

Another level up using the staircase, escalator or elevator and the visitor finds themselves in the atrium of the Parthenon Gallery.
Here the visitor can observe a video presentation about the Parthenon, before or after their visit to the Parthenon Gallery, and access other information about the sculptural decoration of the monument.

Acropolis Museum Image 2

The ancient marble inscriptions recording details of the construction of the statue of Athena Parthenos provide information on how democratic bodies in the 5th century BC functioned.
The installation of the frieze of the Parthenon on the rectangular cement core that has exactly the same dimensions as the cella of the Parthenon enables a comprehensive viewing of the details of the frieze as one takes the perimetric walk of the Gallery. The narrative of the story of the Panathenaic Procession is pieced together with a combination of the original blocks of the frieze and cast copies of the pieces in London. The metopes of the Parthenon are mounted in their correct order between the perimetric columns of the Gallery and the pediment sculptures, east and west, are displayed in their respective places.

The descent of the visitor back to the first floor to the last gallery of the Museum, affords views of unique works that became prototypes for subsequent periods from antiquity to today. For the first time ever, it is possible to view to see the coffered ceiling of the Propylaia and the sculptures from the parapet of the Temple of Athena Nike, and finally the Caryatids – or Kores of the Erectheion at close proximity on the balcony overlooking the Slopes Gallery.
The exhibition concludes in this first floor gallery. Reliefs of Athenian decrees, impressive portraits, Roman copies of classical masterpieces and depictions of philosophers and historical figures are the exhibits covering a period from 5th century BC to 5th century AD. The visitor then descends the monumental staircase, crossing the Gallery of the Slopes once again towards the Museum exit.

In the coming months visitors will be able to commence their tour of the Museum from the on-site archaeological excavation that lies within the Museum. When conservation of the remains within the excavation is completed and metal ramps above the excavation installed, visitors will be able to walk among – or rather above the remains of the ancient neighborhood. Assisted by key information points at selected vantage spots, visitors will be able to gain an understanding of life in the ancient neighborhood.

Acropolis Museum Image 3

The excavation provides the opportunity to visitors to appreciate both the masterpieces of the Acropolis in the upper levels of the Museum against the remains of the day to day lives of the people that lived in the shadow of the Acropolis over various periods.

Museum visitors have access to a range of visitor services including the ground floor cafe and second floor restaurant–cafe with its panoramic views of the Acropolis. A temporary exhibition gallery, auditorium, a virtual reality theater and two Museum shops assure a high standard of visitor experience in the Museum.

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