AI voice cloning technology allows the creation of a highly realistic synthetic voice that replicates a specific person's vocal characteristics using only a brief audio sample, often as short as 3 to 15 seconds.

This is achieved through advanced machine learning models trained on vast datasets of voice recordings.

Companies such as ElevenLabs and OpenAI have developed sophisticated tools capable of producing synthetic speech that faithfully mimics the original voice's tone, rhythm, and emotional nuance.

Some systems can even make cloned voices speak in multiple languages, enhancing their utility for diverse applications.

The primary applications of voice cloning span entertainment, education, accessibility, and unfortunately, illicit uses.

In entertainment, it is used to replicate actors' voices for films, video games, and audiobooks, reducing the need for repeated recording sessions.

In education, voice cloning offers promising opportunities to create authentic listening comprehension resources tailored to different proficiency levels, perfectly suited for foreign language instructors seeking authentic materials for low proficiency learners.

Accessibility benefits greatly as well, with voice cloning supporting speech synthesis for individuals unable to speak naturally.

However, the technology is also exploited by scammers, such as in reported cases where fraudsters used cloned voices convincingly in ransom and extortion calls, illustrating considerable deception risks.

Legally, voice cloning raises complex challenges.

Intellectual property concerns emerge when voices—especially of public figures or actors—are cloned without consent, potentially violating personality rights and copyright laws.

Privacy laws vary across regions but commonly emphasize consent for reproducing personal data, including voices.

Some governments and organizations are pushing for clearer regulations to address misuse and unauthorized replication.

Ethical issues are significant.

AI voice cloning technology allows the creation of a highly realistic synthetic voice that replicates a specific person's vocal characteristics using only a brief audio sample, often as short as 3 to 15 seconds.

Title:

Content: The scary side of artificial intelligence

The pros of AI outweigh the Cons or threats in our day-to-day lives, and there’s no magic pill to protect us from the scary threats of AI.

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  • Updated On Oct 3, 2023 at 03:02 PM IST

Artificial intelligence (AI), as we all know, is the simulation of human intelligence leveraging computer systems and machines. AI programs can continuously learn and evolve with experience. In technical terms, AI systems render the output by churning and analyzing the data for correlations and patterns and help make future predictions using these patterns.

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Today AI is being used extensively in all facets of our lives starting from lifestyle, e-commerce, home appliances, automobiles, navigation, transport, healthcare, agriculture, education, financial planning, chatbots, marketing, cyber security, virtual assistant, industrial automation and many more.

Clearly, we have and are leveraging the strengths of AI to the fullest to automate the routine tasks and make it auto-learn over a period. There’s no doubt that AI has revolutionized the lives of all – organizations, consumers etc. But as they say, “Everything comes at a price”. This analogy is quite true for AI as well, there have been a lot of threats that have emerged using AI and are being utilized by the Cyber criminals to dupe the ignorant users, cause mental stress and extort money.

continued below

Executive Workshop

I’m not going to delve into all of threats but would like to elucidate some of the real ones that have come to the surface recently:

Voice cloning or mimicry

As the name suggests, it uses machine learning algorithms to simulate anyone’s voice. It requires certain voice data to analyze and learn the specific patterns of any individual. There are certain advantages of cloning a voice that can be used in voice assistants, chatbots, navigation systems and other areas. Voice cloning has existed for a while but was restricted to experts who possess the technical knowledge to be able to use the same. But now AI Voice cloning tools are available on the open Internet that anyone can leverage with literally no technical knowledge or cost to clone anyone’s voice. All you need to do is just Google and it will pop up and get a bunch of both free and paid AI Voice cloning tools.

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In fact, recently one of the global leaders in online protection published a report stating how AI is fueling a rise in online voice scams, with just three seconds of audio required to clone a person’s voice. This is extremely creepy. Just imagine, if a Cyber-criminal clones your voice and tricks your near ones by making them believe that they are talking to you, and request for money due to any distress reasons. In fact, these are not assumptions but real-life incidents that are happening across the world every minute.

Deepfakes AI

Deepfakes AI are being used to impersonate an individual by manipulating videos, images, audios, and other content available on the social media platforms using deep learning techniques. It mainly transforms existing content from one person to another. This is another area that has been exploited by the Cyber criminals in the recent past, and there are a few deepfake cases that have made waves on the Internet. One of the most famous ones being Deepfake created by a VFX artist of one of Hollywood’s most famous male actors. This piece was so well made by rendering thousands of pictures using artificial versions of the actor. There are similar Deepfakes incidents involving other global celebrities and leaders. The damage and misuse of the deepfakes videos could be extremely dangerous for the human society and can be used by terrorists to incite riots and create nuisance.

Creating virtual people

This is another area where AI is being used to create people that do not exist. There are a lot of websites that allow you to generate a random image by just specifying the age group, gender & ethnicity, and you can continue to refresh these images at the click of a button. Be mindful of the fact that these images pertain to people that do not exist in this world. On the similar lines, there’s an emerging trend of AI news anchors that possess a human-like appearance and are fed data that they can read using text-to-speech technology. Recently, there's been a surge of AI-Driven robotic new anchors in multiple language channels. While the main objective of this initiative is to provide royalty free or cost-effective human images for branding and other purposes. However, the overuse of these technologies causes Fear of missing out (FOMO), Feeling of inadequacy, dissatisfaction, and isolation may potentially lead to psychological and emotional vulnerabilities.

One of the Hollywood movies, ‘HER’ portrayed an introverted and lonely writer (Joaquin Phoenix) who purchases an AI virtual assistant personified through a female voice to assist him in his writing job. However, when he finds out about its ability to learn and adapt, he falls in love with it. The film delves into emotional vulnerability and the impact of AI on human relationships.

Needless to say, that the pros of AI outweigh the Cons or threats in our day-to-day lives, and there’s no magic pill to protect us from the scary threats of AI. However, there are certain preventive tips that one can follow to mitigate any such risks. Do spread awareness with your family and friends:

  • Set some code words with family, and friends to verify the identity during emergency circumstances
  • Optimize social media presence by limiting your connections with only known contacts and avoid connecting with any unknown ones
  • Avoid saying ‘Yes’ as a greeting while receiving unknown calls as it can be used to authorize credit card charges or other purposes
  • Continuously update privacy settings on social media to allow viewing by friends and family only
  • Avoid clicking on any suspicious links or calls received without proper due diligence
  • Do not share your passwords and other sensitive information with anyone
  • Verify the credentials of any online information before circulating it through various mediums
  • Avoid public Wi-Fi connections offered at coffee shops or airports, which requires to enter password
  • Closely monitor the time spent by younger generation on social media and online gaming
  • Finally, in case of any suspicion, double check and report it to the host site or concerned authorities
The author is the CIO of MOVIN

Disclaimer: The views expressed are solely of the author and ETCIO does not necessarily subscribe to it. ETCIO shall not be responsible for any damage caused to any person/organization directly or indirectly.

  • Published On Oct 3, 2023 at 03:02 PM IST

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Deepdub, a film dubbing company, uses an AI to process voice and translate into a different language and promises to preserve what?

What has the US Federal Trade Commission warned about the use of voice cloning tools?

Difficult to distinguish from human voice

What is necessary for voice cloning to work?

This is achieved through advanced machine learning models trained on vast datasets of voice recordings.

Title:

Content: OpenAI's Johansson gaffe pushes voice cloning into spotlight

Law enforcement warned that AI clones could be used to extort money from loved ones over the phone

By AFP

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Scarlett Johansson voiced an AI character in the film "Her". — Reuters file

Published: Mon 27 May 2024, 7:51 PM

Last updated: Mon 27 May 2024, 7:52 PM

OpenAI was forced to apologise to actor Scarlett Johansson last week for using her voice -- or something very similar -- on its latest chatbot, throwing the spotlight on to voice-cloning tech.

Although OpenAI denied the voice they used was Johansson's, their case was not helped by CEO Sam Altman flagging the new model with a one-word message on social media -- "Her".

Johansson voiced an AI character in the film "Her", which Altman has previously said is his favourite film about the technology.

Right from the start, AI voice cloning has proved problematic.

Last year, British firm Elevenlabs went viral for all the wrong reasons when it released its voice-cloning software.

Internet pranksters immediately began pushing out deepfaked celebrities -- Harry Potter star Emma Watson was shown reading Hitler's Mein Kampf.

Law enforcement warned that AI clones could be used to extort money from loved ones over the phone.

The technology has developed rapidly in the past year becoming far more realistic and nuanced.

Danish entrepreneur Victor Riparbelli, CEO of British AI firm Synthesia, told AFP it was largely down to a program called Tortoise that was released two years ago.

The program's developers threw thousands of hours of voice data into their model in an unstructured way and discovered it not only learnt what to say but how to say it.

"That was a pretty big paradigm shift," Riparbelli said on the sidelines of last week's VivaTech conference in Paris.

Tortoise was an open source program and Elevenlabs was the first to go to market using it.

OpenAI uses similar systems though they do not release any details.

Much of the controversy around voice cloning has focused on concerns over people misusing the software.

But the claim against OpenAI is unusual because it is the company itself accused of playing fast and loose.

"It was very unfortunate that OpenAI did that -- really not very good," Katya Laine, CEO of TALKR.ai, told AFP at VivaTech.

"If they actually cloned her voice without her knowing then I think that's very very bad," said Riparbelli.

The two entrepreneurs are among hundreds harnessing AI voice programs for uses that they argue will make companies more efficient.

Laine's firm provides virtual voice assistants -- essentially AI customer service agents.

She said her firm's system could now resolve 25 to 30 percent of calls without any human involvement.

Synthesia specialises in video avatars, which Riparbelli said allowed any office worker to turn text or slides into a video performed by a realistic AI.

Both Riparbelli and Laine allow their clients to use their own avatars, off-the-shelf products or those supplied by the likes of OpenAI and Elevenlabs.

Riparbelli said Synthesia used actors whose likenesses and voices were licensed for two years with an option to renew after the initial period.

The problems arise if actors' voices are used without their consent.

The fiasco overshadowed a developer conference in Paris last week when OpenAI was showing off a suite of new tools.

In front of a big screen in an auditorium, Romain Huet, OpenAI's Head of Developer Experience, breezily chatted into his phone.

Seconds later, his short voice sample had been processed and could be heard commentating over a generated video -- in five languages.

The demonstration showed how quickly the field is moving, but the headlines had already been written.

The Washington Post asked in a newsletter "How dumb is OpenAI?", other commentators were suggesting wunderkind Altman was nothing more than a huckster.

Nonetheless, Riparbelli was open to OpenAI's argument that they had used another actor who just sounded liked Johansson.

"If it's not her but someone who sounds a lot like her... where do you draw that line," Riparbelli asked.

"If they're not allowed to use someone who sounds a lot like her, then it sets a very odd precedent."

More news from World

What is necessary for voice cloning to work?

Companies such as ElevenLabs and OpenAI have developed sophisticated tools capable of producing synthetic speech that faithfully mimics the original voice's tone, rhythm, and emotional nuance.

Title:

Content: Language No Barrier: New AI tool can clone voice and make it say anything in multiple languages

Imagine former US President Donald Trump speaking in flawless Hindi. A new AI voice cloning tool by ElevenLabs can clone voices and make them say anything in a bunch of different languages. All it needs is a three-second sample clip and a bit of text as the prompt.

Mehul Reuben Das May 03, 2023 13:42:20 IST

Imagine former US President Donald Trump speaking in flawless Hindi. A new AI voice cloning tool by ElevenLabs can clone voices and make them say anything in a bunch of different languages. All it needs is a three-second sample clip and a bit of text as the prompt.

As advanced as AI-based voice cloning has been, there were a few limitations to it. For example, voice generators were mainly bound by the language of the source they were trained in or rather the language of the prompt that was given to them. Now, ElevenLabs, an American AI software developing company has come up with a tool that does away with that limitation.

ElevenLabs’ new AI tool can clone the voice of a person and make it say anything in a bunch of different languages. All it needs is a clear voice sample of about 3 seconds, although it also suggests that the longer the sample, the better will be the results. The new tool even manages to maintain the speaker’s original tone of voice.

Limitless possibilities
The creators expect that this would ‘extend the possibilities’ in a variety of industries such as publishing, gaming creation, and media. “Introducing Eleven Multilingual v1: Our New Speech Synthesis Model! We’re thrilled to launch our new model supporting seven new languages: French, German, Hindi, Italian, Polish, Portuguese, and Spanish.”

“This advancement expands the horizons for creators, game developers, and publishers, and it paves the way for using generative media to create more localized, accessible, and imaginative content,” the company said.

Following the announcement, Twitter was flooded with comments, with users testing the software on various famous faces.

To demonstrate just how capable the new voice cloning AI tool is, Eluna AI, a platform for AI-content creators experimented with a sample clip of former US President Donald Trump.

In their demo, Eluna AI showcased a small clip of Donald Trump, speaking in his native tongue, English, followed by French, Spanish, German, Hindi and Italian, almost perfectly. The generated samples even gets the accent right, almost if he was a native speaker of the new target language.

Another user changed David Attenborough’s voice to German while the BBC broadcaster discussed the prospects of AI. “With this tool, anyone can do it,” stated the Twitter user. “It’s also worth noting that fraudsters will undoubtedly exploit this one.”

ElevenLabs says that its model was designed to understand the emotion and reasoning underlying words in order to produce natural-sounding and persuasive audio. ElevenLabs has said that some numerals and symbols are currently spoken wrongly, but that it is striving to rectify this.

Who is this new tool meant to help?
The US-based company believes its technology will be valuable in a variety of areas, including education and journalism.

Game developers and publishers can build engaging, localised experiences for worldwide audiences, breaking through language barriers and connecting with players and listeners to maximise engagement and efficiency while maintaining quality and accuracy.

“Educational institutions now have the ability to develop audio content for varied users in their target languages, enhancing language comprehension and even pronunciation abilities, as well as responding to different teaching methods and learning demands,” says the report.

Because of the model’s capacity to produce unique character-like voices, audiobook and content developers may also find it beneficial.

The conundrum of AI voice genertors
Despite its benefits, ElevenLabs’ launch comes amid widespread concern about the wave of new voice cloning technology. An unidentified TikTok user went popular last month after sharing an AI-generated Drake song starring The Weeknd.

It sparked concerns about the grey area of AI-created music and whether it constitutes a copyright violation. Nonetheless, ElevenLabs claims to be ‘fully committed’ to respecting creators’ rights in the midst of technological advancements.

“At Eleven, we think that we should seek to make the best use of emerging technology, but not at any expense,” it stated.

“As we create them, we make every effort to put suitable controls in place that reduce the possibility of detrimental abuse. With this in mind, we are entirely committed to both protecting intellectual property rights and taking action against infringement.”

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Artificial Imposter: 47% of Indian phone users have experienced AI voice scams, highest in the world

About half of Indian adults, or 47%, have experienced AI voice scams, nearly double the global average of 25%. Furthermore, nearly 69% of adults say they can't differentiate between a real and an AI-generated voice.

Deepdub, a film dubbing company, uses an AI to process voice and translate into a different language and promises to preserve what?

What company created an AI tool that could mimic the voices of deceased movie stars?

What has the US Federal Trade Commission warned about the use of voice cloning tools?

Difficult to distinguish from human voice

Some systems can even make cloned voices speak in multiple languages, enhancing their utility for diverse applications.

How will AI Voice help educators with building courses?

The primary applications of voice cloning span entertainment, education, accessibility, and unfortunately, illicit uses.

What do cybersecurity experts believe about the use of synthesized voice?

could become a popular method of attacking banks and financial services

In entertainment, it is used to replicate actors' voices for films, video games, and audiobooks, reducing the need for repeated recording sessions.

Title:

Content: AI clones child’s voice in fake kidnapping scam

‘I never doubted for one second it was her,’ mother says

Anthony Cuthbertson
Thursday 13 April 2023 12:34
Comments

A mother has said she was “100 per cent” convinced by an AI voice clone of her daughter that scammers used in a faked kidnapping attempt.

Jennifer DeStefano from Arizona picked up a call from an unknown number and heard what she believed to be her 15-year-old daughter Brie “sobbing”.

The voice on the other end of the line said, “mom, I messed up”, before a male voice took over and made threatening demands.

“This man gets on the phone, and he’s like, ‘listen here, I’ve got your daughter’,” Ms DeStafano told local news show WKYT.

The apparent kidnapper told the mother: “You call the police, you call anybody, I’m going to pop her so full of drugs, I’m going to have my way with her, and I’m going to drop her off in Mexico.”

In the background, Ms DeStefano said she could hear her daughter saying “help me, mom, please help me” and crying.

“It was 100 per cent her voice,” Ms DeStefano said.

“It was never a question of who is this? It was completely her voice, it was her inflection, it was the way she would have cried – I never doubted for one second it was her. That was the freaky part that really got me to my core.”

The apparent kidnapper demanded $1 million for the daughter to be released, before lowering the figure to $50,000. Ms DeStefano only realised that her daughter was safe after a friend called her husband and confirmed that she was safe.

The scammer, who police are still investigating, appears to have used artificial intelligence voice clone technology, which has become increasingly competent in recent years at mimicking people’s voices.

It is also relatively easy to access and use, with AI tools freely available on the internet.

AI-generated voices have already been used in films to replicate actors like James Earl Jones who voiced the original Darth Vader character in the Star Wars franchise.

It has also been touted as a way for authors to produce audiobooks without spending hours in a studio reading their work.

The technology has also raised fears that it could be misused by scammers or people attempting to create deepfake videos, with one voice clone startup warning that it could be “harmful in the wrong hands”.

In a press release last year, the firm Respeecher said: “The widespread attention and adoption of deepfake technologies will accelerate the need to regulate the use of the technology.”

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Eleven Labs is extending its voice cloning services for which industries?

In education, voice cloning offers promising opportunities to create authentic listening comprehension resources tailored to different proficiency levels, perfectly suited for foreign language instructors seeking authentic materials for low proficiency learners.

How will educational institutions benefit from developing AI voice audio content for languages learners?

Respond to different learning demands
Enhance language comprehension

Accessibility benefits greatly as well, with voice cloning supporting speech synthesis for individuals unable to speak naturally.

However, the technology is also exploited by scammers, such as in reported cases where fraudsters used cloned voices convincingly in ransom and extortion calls, illustrating considerable deception risks.

Title:

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Speech cloning raises concerns, OpenAI again explains its text-to-speech tool
2024 / 6 / 10 9: 57: 21 Source: IT House Author: Yuanyang Editor: Yuanyang
OpenAI explained its text-to-speech tool for the second time in a few months, and again stressed that the tool is not currently widely available and may not be available in the future.
“Whether or not we end up deploying this technology at scale, it ’ s important for people around the world to understand where it ’ s going, ” OpenAI said in a statement on its website Friday.“ That ’ s why we want to explain how the model works, how we use it for research and education, and how we implement security measures around the technology. ”
At the end of last year, OpenAI shared its “voice engine ” with a small number of external users.
The engine uses text input and a 15-second clip of human voices to “generate a natural sounding human voice that is very similar to the original speaker. ”
The tool could create fake, multilingual human voices, and the company said at the time that it had chosen to preview the technology rather than launch it at scale to “enhance social resilience ” to the threat posed by“ increasingly realistic artificial intelligence-generated models. ”
As part of these efforts, OpenAI says it is actively phasing out ways to use voice recognition for bank account verification, exploring policies to protect individual voices for use in AI, educating the public about the risks of AI, and accelerating the development of technologies to track audiovisual content so users can identify whether they are interacting with real people or synthetic content.
However, despite these efforts, concerns about the technology remain.
Bruce Reed, the head of artificial intelligence for US President Joe Biden, has said that voice cloning is one of the reasons he can't sleep at night.
The Federal Trade Commission said in March that scammers were using AI technology to increase the credibility of their fraud, using voice cloning tools that make it harder for people to distinguish between AI-generated voices and human voices.
“We continue to engage with U.S. and international partners from government, media, entertainment, education, civil society, and more to ensure we incorporate their feedback in the build process, ” the company also noted, once the“ Voice Engine ” is equipped with its latest model, GPT-4o, it will also bring new threats.
The company says it is actively “conducting ‘ red team testing ’ on GPT-4o to identify and address known and unknown risks from areas such as social psychology, bias and fairness, and misinformation. ”
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What do cybersecurity experts believe about the use of synthesized voice?

could become a popular method of attacking banks and financial services

Legally, voice cloning raises complex challenges.

Intellectual property concerns emerge when voices—especially of public figures or actors—are cloned without consent, potentially violating personality rights and copyright laws.

Privacy laws vary across regions but commonly emphasize consent for reproducing personal data, including voices.

Some governments and organizations are pushing for clearer regulations to address misuse and unauthorized replication.

Ethical issues are significant.


The Elgin Marbles controversy centers on the disputed ownership and rightful location of a collection of classical Greek marble sculptures originally part of the Parthenon and other buildings on the Acropolis of Athens.

Known alternatively as the Parthenon Marbles, these sculptures were removed in the early 19th century by Thomas Bruce, 7th Earl of Elgin, a British diplomat.

Understanding the controversy requires examination of the marbles’ historical and cultural significance, the circumstances of their removal, the legal and ethical arguments surrounding their retention or return, recent diplomatic developments, and any ongoing efforts toward resolution.

The Elgin Marbles were created during the height of the Athenian Classical period (5th century BCE), primarily sculpted by Phidias and his workshop.

They adorned the Parthenon, a temple dedicated to Athena, the patron goddess of Athens, and are regarded as some of the finest surviving examples of ancient Greek art and architecture.

Their artistic, historical, and symbolic value is immense, representing not only a pinnacle of classical aesthetics but also a crucial embodiment of Greek cultural heritage and identity.

In 1801–1812, Lord Elgin undertook the removal of a substantial portion of these sculptures.

At the time, Greece was under the Ottoman Empire’s dominion.

Elgin claimed to have obtained a firman (a permit) from the Ottoman authorities authorizing the removal of the marbles.

However, this document’s authenticity, scope, and legal validity have been subjects of dispute.

The original firman has never been found; only an Italian translation survives, and it is debated whether it authorized such extensive removal or only limited excavation and removal of loose stones.

Elgin’s motives combined a desire to preserve these artifacts—citing the damaging impacts of exposure and local vandalism—and a wish to enhance Britain’s cultural capital, encouraging scholarly study and public display.

Elgin’s marbles were shipped to Britain and subsequently sold to the British government in 1816, with the British Museum assuming custody.

Since then, they have been exhibited in London continuously.

The British Museum positions itself as a “universal museum” preserving world heritage accessible to an international audience.

It argues the marbles were legally acquired and that their presence in the museum provides context alongside other artifacts, contributing to global understanding of classical civilization.

Moreover, due to the British Museum Act 1963, the institution is legally prohibited from permanently deaccessioning objects from its collection, complicating any potential repatriation efforts.

Conversely, Greece has consistently maintained that the marbles were taken unlawfully and constitute stolen cultural patrimony that belongs intrinsically to the Greek people and nation.

Restitution would restore the integrity of the Parthenon sculptures and reunite them with the fragments that remained in Athens.

Since 1983, this position has been articulated forcefully by the Greek government, especially under the leadership of Melina Mercouri, the Minister of Culture, who galvanized international support, bringing the case to UNESCO and other international forums.

Greece has constructed the Acropolis Museum, a state-of-the-art facility explicitly designed to house the marbles in proximity to their original site, thereby countering British claims regarding inadequate Greek facilities.

Ethical debates within archaeology and museology revolve around principles of cultural patrimony, colonial legacy, and stewardship.

Advocates for repatriation emphasize respect for source communities and the imperative to rectify historical injustices.

Critics warn about the repercussions for universal access, museological missions, and potential “slippery slopes” that could lead to widespread demands for artifact returns disrupting global collections.

International frameworks such as the 1970 UNESCO Convention against illicit cultural property trafficking provide guidelines but are not retroactive to acquisitions predating their enactment, limiting their direct application to the marbles.

Diplomatically, the issue remains sensitive and politically charged.

Attempts at dialogue have included discreet talks exploring possible loan agreements, such as those reported during George Osborne’s involvement as British Museum chairman, envisioning temporary returns of the marbles to Greece accompanied by reciprocal loans of Greek artifacts to London.

Public attitudes in the UK are increasingly sympathetic to repatriation, though resistance remains within institutional or political circles.

The marbles have become a symbolic touchstone for broader debates on colonial-era acquisitions and cultural restitution.

Recent years have witnessed diplomatic challenges, including the cancellation of meetings between Greek and British prime ministers partly fueled by the controversy.

The ongoing UK elections and internal politics add layers of complexity.

In terms of innovation, augmented reality (AR) technology has been leveraged in museums to create virtual reconstructions and immersive experiences of the marbles in their original context, fostering cultural dialogue but not offering a substantive resolution.

Comparative case studies illustrate evolving approaches to similar disputes.

For example, UK museums’ recent loan of Asante Gold artifacts to Ghana exemplifies a growing willingness to engage in cultural cooperation and negotiated exchanges rather than outright donation or return.

Such initiatives inspire cautious optimism for a potential framework facilitating at least temporary loaning of the Parthenon sculptures.

Currently, no formal resolution has been reached.

The British Museum maintains legal possession, while Greece intensifies its diplomatic and cultural campaign for their return.

Negotiations continue, sometimes behind closed doors, but permanent repatriation is complicated by legislative barriers and political considerations.

The path forward may lie in creative partnerships, increased cultural exchanges, and progressive shifts in international norms concerning heritage stewardship.

For an aspiring archaeologist, the Elgin Marbles case exemplifies the complex intersection of archaeological discovery, cultural identity, legal frameworks, and ethical responsibilities.

It underscores the imperative to respect source cultures and to engage collaboratively and transparently in the stewardship of cultural heritage.

Understanding this controversy deepens one’s appreciation of how historical artifacts carry profound questions beyond mere aesthetics — encompassing justice, identity, and international diplomacy.

It is a vital case study in cultural heritage management in the modern world.

The Elgin Marbles controversy centers on the disputed ownership and rightful location of a collection of classical Greek marble sculptures originally part of the Parthenon and other buildings on the Acropolis of Athens.

Title:

Content: Countdown to the day of issuance
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Go to Election Zone
Greek PM reiterates demand for British Museum to return Parthenon statue, British PM cancels meeting, sparking diplomatic row
Greek Prime Minister Kyriakos Mitsotakis, in an interview with the BBC on Sunday, reiterated that the authorities want the British Museum to return some of the statues that were “stolen ” from the Parthenon Temple.
What we want you to know is
Greek Prime Minister Mitsotakis, in an interview with the BBC on Sunday (26), described the Parthenon shrine as part of the statue group in Greece, part in the United Kingdom, like the "Mona Lisa smile" torn in half and asked Britain to return it.
British Prime Minister David Sunak then called the meeting a "temporary cancellation" hours before the meeting, prompting discontent from Mitsotakis, Greek officials and the public, calling it a "diplomatic crisis."
In an interview with the BBC on Sunday, Greek Prime Minister Kyriakos Mitsotakis reiterated that the British Museum wants to return some of the “stolen ” statues from the Parthenon Temple. Subsequently, British Prime Minister Rishi Sunak, hours before the meeting with Mitsotakis, a temporary resolution to cancel, sparking a diplomatic dispute between the two countries.
BBC, British authorities claim that Sunak cancelled the meeting because Mitsotakis broke his promise to "not talk about the statue".
Mitsotakis, however, said it was Greece ’ s consistent and public stance to demand the British Museum return of the statue, saying in a statement: “I would like to express my dissatisfaction with the temporary cancellation by the United Kingdom just hours before the meeting. ”
The Greeks worked for hundreds of years to return the statue of the Parthenon.
The controversial statue is one of a group of marble statues used to decorate the Parthenon Temple in the ancient Greek city of Athens, also known as the Elgin Marbles.
In the 19th century, the British diplomat to the Ottoman Empire, the 7th Earl of Elgin, secretly removed the stone carvings and brought them back to Britain for collection in the British Museum.
At that time, Elgin claimed that he had taken the stone carvings with the permission of the Ottoman Empire and therefore had legitimacy.
However, the Greek authorities do not think so.
Since 1983, the Greek government has been trying to coordinate with the UK to ask them to return the stone carvings. In 2022, UNESCO also intervened to facilitate talks, but to no avail.
Therefore, the issue of the return of the stone carvings has become the core issue and exchange condition of many negotiations between Greece and Britain, including of course the meeting originally planned by Sunak and Mitsotakis.
Statues of the Parthenon Temple are mainly located in Athens and the British Museum.
In an interview with the BBC on the 26th, Mitsotakis described: "The scattered statue is like tearing the famous painting" Mona Lisa's Smile "in two parts and giving it to two museums." He called on the British authorities and the British Museum to return the "stolen" stone carvings and work together so that people can enjoy the statue "in its place".
Because of these remarks, Sunak temporarily announced on Monday night that he would cancel his meeting with Mitsotakis on Tuesday.
According to the Guardian, the British government said that the content of Mitsotakis ’ interview with the BBC violates the commitment of the two countries to “not talk about the return of stone carvings ” agreed in 2021.
The Greek authorities immediately denied the claim, and Mitsotakiston said that Greece ’ s position on asking Britain to return the statue was well known and reiterated during his tenure as prime minister.
The conversation should have been about the climate crisis, the Israeli-Kazakh conflict, the Russian-Ukrainian war, the British and Greek immigration plans, and the Parthenon statue.
After Sunak cancelled the talks, the British offered to have Deputy Prime Minister Oliver Dowden attend, but Mitsotakis refused, and the two sides did not meet.
UK has no plans to amend the British Museum Act
The New York Times reported that in the past two years, the Greek government and the British Museum have repeatedly held "delicate negotiations" over the return of the statue, but the two sides have yet to reach a consensus.
According to the report, the Greek authorities want the British Museum to return all the Parthenon stone carvings, in exchange for which the Greek Museum will regularly select artefacts for display in the British Museum.
For its part, the British Museum agreed to "borrow" some of the Parthenon stone carvings and other exhibits from the Greek government for a short period of time. If Greece "returns" on schedule, the British Museum will "lend" more stone carvings.
Mitsotakis also mentioned in an interview with the BBC that the outcome of the negotiations at this stage is not as good as he expected, but he considers himself a man of perseverance and said: "Greece has waited for hundreds of years, we can wait more."
“I ’ m going to stand firm and be willing to continue negotiations.
A British government spokesman told The Guardian they were concerned that the return of stone carvings to Greece could create a “slippery slope ” that could trigger a wave of returns of disputed artifacts from other collections.
In addition, the British Museum Act 1963 states that the British Museum may not return its collections to its homeland.
According to the BBC, the British government has no plans to amend the decree, which means that the British authorities are unwilling to violate the decree and return the stone carvings to Greece.
The return of the stone sculpture is a matter of British election and diplomatic relations.
Evangelos Kyriakidis, head of the Greek Agency for Monuments and Estates, told Euronews that the Greek government attaches importance to the statues of the Parthenon temple because they are not only important monuments, but also a symbol of Greek national strength.
Kiriadis uses the metaphor of "the jewel of the crown of the king of England in Greece" to argue that the issue of the statue group is a matter of sovereignty.
The New York Times pointed out that the news of the cancellation of the meeting in Sunak immediately triggered the dissatisfaction of politicians of the Greek political party and caused a wave of criticism on social media, with many accounts condemning it as a diplomatic incident and a mini-diplomatic crisis between Greece and the United Kingdom.
The Guardian also quoted a Greek government spokesman, accusing Sunak of using the issue of the return of stone carvings with Greece to divert attention from Britain's internal affairs.
The spokesman said more bluntly that Sunak ’ s decision has the potential to damage Britain ’ s reputation in Europe, which is divided after Brexit.
A senior EU official also told The Guardian that cancelling the prime minister ’ s meeting and then sending the deputy prime minister to meet with the Greek prime minister would violate normal diplomatic procedures and damage Britain ’ s credibility.
He also said: "The United Kingdom, which wants to go global, cannot stop talking to friends about a problem that has existed for 200 years."
Another observer also pointed out that the British government is ahead of the serious refugee problem, and Greece is a member of the European Union that links Europe and the Mediterranean, which has important geopolitical significance.
Not only is there a diplomatic crisis, but the return of the stone carvings to the dispute may also bring about a domestic crisis for Sunak and the ruling party.
The New York Times reported that Britain will hold elections next year, and the ruling party is currently facing a long period of economic stagnation in the United Kingdom and divergent views on immigration policy. At this time, it has a conflict with Greece, which may make the question of the ownership of the statue an election point between the Labour Party and the Conservative Party.
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Known alternatively as the Parthenon Marbles, these sculptures were removed in the early 19th century by Thomas Bruce, 7th Earl of Elgin, a British diplomat.

Title:

Content: LONDON (Reuters) - The historic Greek treasure of Elgin Marbles is nearing its return to its country of origin, 200 years after it was moved and ended up in the British Museum.
The Parthenon marble, seen as a symbol of freedom in Greece, was controversially moved out of the country by a British diplomat in a move that ignited a debate that lasted more than two centuries.
Greece has made repeated requests for the sculptures to be returned after they were controversially removed from one of the world ’ s most historic landmarks.
Prime Minister Rishi Sonak had been scheduled to meet his Greek counterpart Kyriakos Mitsotakis on Tuesday, but Downing Street canceled the arrangement and sent Deputy Prime Minister Oliver Duden instead.
The head of the British Museum, former Conservative Chancellor George Osborne, is pushing for a temporary loan to be returned to Greece, and is believed to have drawn up a deal.
But both Sonak and Labour leader Sir Keir Starmer say they will not support a change to the British Museum law that currently bars their return.
The museum said it was continuing "constructive discussions" about their possible return.
Gin Marble
The Algin marble is 17 sculptures that are 2,500 years old.
His pieces were part of a frieze that adorned the ancient Parthenon temple at the Acropolis in Athens, Greece.
The marbles make up about half of the 160-meter-long frieze of the Parthenon Temple, which is considered one of the greatest cultural monuments in the world.
These sculptures are seen as symbols of freedom in Greece, where they are known as Parthenon marble.
British diplomat Lord Elgin removed the sculptures from the majestic Parthenon temple in the early 19th century.
At that time, he was ambassador to the Ottoman Empire, which ruled Greece.
Beginning in 1801, Lord Elgin is said to have supervised the removal of the marble and shipped it to the UK in 170 boxes.
He is said to have claimed to have obtained permission from the Ottoman Empire to move the marble, but despite massive documentation from that period, nothing was found to support his actions.
In the United Kingdom, Lord Elgin received support and criticism, and sold it to the United Kingdom government in 1816 before the marble was transferred to the custody of the British Museum.
The beginning and evolution of the dispute
The controversy between Greece and Britain can be traced back to when the marble first arrived in Britain due to criticism of its removal.
In 1832, Greece gained independence from the Ottoman Empire before it began trying to recover sculptures and other works of art taken from the country.
In the early 1980s, the actress and then Greek Minister of Culture, Melina Mercury, reignited the campaign when she made it her mission to secure the return of marble sculptures.
In 1983, she met with the director of the British Museum, Dr. David Wilson, in London to demand the return of the sculptures.
She continued to press the museum and the British government until her death in 1994.
Despite other requests and high-level media coverage, no agreement was reached in the years that followed.
A new campaign
In 2009, Greece stepped up its marble recovery campaign after opening a new museum at the foot of the Acropolis Hill, hoping one day to house it.
In 2014, human rights lawyer Amal Clooney called on Britain to start talks with Greece over the return of the Elgin marble.
The lawyer, who is the wife of Hollywood star George Clooney, said: "This is an injustice that has been going on for a long time, in a world full of intractable conflicts."
In 2015, Greece ruled out any legal action against the UK over Elgin Marbles.
In May 2022, the so-called Fagan fragment — a piece showing the foot of the ancient Greek goddess Artemis seated — was permanently returned to Athens from a museum in Italy.
It was originally part of the eastern frieze of the temple dating back to the 5th century BC.
The British reaction
In 2022, there were calls to make it easier for UK museums to consider returning cultural objects, but the government rejected them.
Former Conservative culture minister Lord Vaizi also headed a new body aimed at returning Elgin marble to Greece.
The refusal came after then-Prime Minister Boris Johnson told the Greek prime minister during talks at Downing Street in 2021 that the sculpture issue was "a matter for the curators of the British Museum".
Then, at the beginning of December, George Osborne, the head of the British Museum, reportedly held secret talks with the Greek prime minister about the possibility of returning the marble sculptures.
Negotiations between former Treasury Secretary Osborne and Kiriakos Mitsotakis have been taking place in London since November 2021, according to the Greek daily Ta Nea.
The Greek prime minister has on numerous occasions called for the relocation of the sculptures, and even offered to lend other treasures to the British Museum in return.
A spokesman for Project Parthenon, a campaign advocating the return of marble sculptures, hailed the talks as a “positive sign ” that a“ win-win solution ” to the centuries-old debate could be reached.
Possible deal?
In December last year, Downing Street said there were no plans to change the law that prohibits the museum from disposing of objects in its collection except in very limited circumstances.
A spokesman for the prime minister said: “The Parthenon sculptures are legally owned by trustees and are practically independent of the government. ”
Last month, the British Museum issued a statement saying it would not dismantle its collection “because it tells a unique story of our common humanity, ” but added that it wanted to forge a new“ Parthenon partnership ” with Greece.
The talks in Westminster were used by former culture minister Lord Vaizi to press again for the return of the sculptures.
He said that the frieze in Athens "resembles a film that was cut in half and half of it was moved against the will of its owners to another country."
After cancelling the bilateral meeting between Sonak and Mitsotakis on Tuesday, the Greek leader said he was "disappointed".
Mr Sonak said the UK “has no plans to change our approach ” but“ did not ask him [Mr Mitsotakis] what short-term or new ideas have been put forward ”.
Starmer and Mitsotakis Meet
Opposition Labour leader Sir Kiir Starmer met Mitsotakis on Monday.
A source close to Labour leader Sir Kiir Starmer told the Financial Times he was unlikely to change the law if he won the next election.
"We are committed to the current law, but if a mutually acceptable loan deal can be agreed between the British Museum and the Greek government, we will not stand in the way."
Is the agreement possible?
The head of the National Museum, George Osborne, is understood to have drawn up a deal with Athens, according to the Daily Telegraph.
Current legislation bars the museum from legally granting treasures, but Osborne is said to be seeking to repatriate the antiquities as part of a long-term "cultural exchange."
But this loan deal is not expected to permanently end the long-running dispute.
The article was prepared from the site of (Sky News) British channel:
https: / / news.sky.com / story / elgin-marbles-what-are-they-and-how-did-they-end-up-in-the-british-museum-12779617

Understanding the controversy requires examination of the marbles’ historical and cultural significance, the circumstances of their removal, the legal and ethical arguments surrounding their retention or return, recent diplomatic developments, and any ongoing efforts toward resolution.

The Elgin Marbles were created during the height of the Athenian Classical period (5th century BCE), primarily sculpted by Phidias and his workshop.

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Press Eye / Refusal of the Parthenon Stone Sculpture
“Greek artefacts taken by the British 200 years ago set off a diplomatic storm, ” said British Prime Minister Rishi Sunak, who was scheduled to meet Greek Prime Minister Kyriakos Mitsotakis on November 29, but was temporarily canceled on the evening of the 28th.
In view of the long-standing dispute between the two sides over the ownership of the Parthenon marble statue in the British Museum, Greece originally promised not to use the meeting to openly discuss the issue of the ownership of the marble statue, but Mitsotakis described Parthenon as "like cutting the Mona Lisa in half" during his visit to the United Kingdom. Some of the marble statues of the temple are still in London, which displeased Sunak and angered Greece at the cancellation of the meeting.
This diplomatic storm caused the differences between Britain and Greece on the ownership of the marble statue to float on the table again.
The marble statue of the Parthenon temple at the heart of the English dispute, also known in England as "The Elgin Marbles" (The Elgin Marbles), mainly from the Parthenon temple in the Acropolis of Athens, built in the 5th century BC, has a history of more than 2500 years, including some from the Treasury of atreus on Mount Mycenae. More than 3,000 years.
This collection of more than 30 marble statues depicts scenes of Greek history and mythology, originally decorated in temples, including a 75 meter long relief showing the goddess Athena's birthday parade.
In 1801, the statue was shipped to England.
The marble was shipped to England in 1801 by Thomas Bruce, 7th Earl of Elgin of Scotland, from the Acropolis of Athens; regarding the ownership of the stone, the Earl of Elgin insisted that he obtained permission from the Ottoman Turkish Empire, which ruled Greece at the time, to bring the stone to England, but the original of the permission letter he said had been lost, and the British Parliament at that time also gave him permission. The British poet Lord Byron accused the Earl of Elgin of robbery, but the council decided not to prosecute the Earl, and in 1816 the British government bought the statues from the Earl of Elgin and put them on display in the British Museum.
Today, the stone has been one of the most famous exhibits of the British Museum, Greece has been asking the United Kingdom to return the Parthenon marble statue since 1983, and UNESCO has also been involved in coordination with the British and Greek sides on the return of the stone statue at the request of Greece, but to no avail; in 2022, the Greek Minister of Culture Lina Mendoni publicly accused the Earl of Elgin in The removal of the statue of Parthenon by illegal means without "real legal permission" was "a blatant continuous theft".
During Mitsotakis ’ visit to Britain, the two sides are scheduled to discuss diplomatic aspects, including the situation in Gaza, the Russian-Ukrainian war, illegal immigration, and so on; former British Home Secretary Suella Braverman, who left in mid-November, said during a visit to the Greek island of Samos that Britain has “a lot to learn from Greece ” in dealing with immigration.
The summit has been cancelled due to return issues.
However, the lunch meeting, scheduled for 29 November, was abruptly canceled on the evening of 28 November, and Mitsotakis said that he had hoped to discuss the issue of the Parthenon marble statues in the talks, and that the Greek view of the statues was well known; he also reminded that Greece and Britain had a traditional friendship, which he had hoped to take advantage of. "People who believe they are right and righteous will never be afraid of dissent," he said in a statement.
After the British government confirmed the cancellation of the talks, Mitsotakis proposed to meet with Deputy Prime Minister Oliver Dowden, but this was rejected.
The office at 10 Downing Street said that Greece had originally promised not to use the meeting as a platform to openly discuss the return of the Parthenon marble statue, but the Greek side broke its promise and therefore believed that the two sides would not have much benefit.
The so-called "breach of promise" refers to Mitsotakis in an interview with the BBC about the Parthenon marble statue, because some of the statues are currently in the Parthenon Temple, and the other part is in the British Museum, Mitsotakis said that the United Kingdom should return the stone statue, and use "like the Mona Lisa cut in half" to describe the situation.
However, the Greek government has denied making such a promise.
The British Labour Party and the Government are in opposition.
The cancellation of the meeting caused concern in the British political and media, the Labour Party said that the decision to cancel the meeting was "deplorable", indicating that the Sunak government was "narrow minded"; the position of the Labour Party on the attribution of the Parthenon marble statue is far from being as strong as the Conservative Party, and the position of Labour Party leader Keir Starmer is that the position of the British Museum and Athens agreed that the statue could be temporarily loaned to Greece, but the Conservatives objected, fearing that if the statue was lent to Greece, it would never be returned to the United Kingdom — the British Museum was banned from disposing of its collections in 1963, so the ownership of the statue was no longer a matter for the British Museum alone, and Sunak had previously made clear that he would never support amending the law.
It is worth noting that Mitsotakis has already met with Scheer, and the Guardian quoted Greek sources as saying that Athens' assessment of the matter may also be one of the reasons why 10 Downing Street is dissatisfied with Mitsotakis, and because the Labour Party is far ahead of the Conservative Party in the polls, there is a great chance of winning the 2024 election again. It will become more and more frequent.
Prior to his meeting with Mitsotakis, Scheer expressed his support for a loan agreement to exchange the Parthenon marble statue with Athens for other ancient Greek artifacts that had not been to Britain for display at the British Museum.
However, Scheer did not intend to discuss the matter publicly, fearing that it would cause voters to resent the Labour Party, and stressed that he was opposed to amending the 1963 law that prevented the British Museum from returning the statue.
In fact, the agreement did not solve the biggest dispute between Greece and Britain over the return of the statue, which is "who exactly belongs to the marble statue of the Parthenon"; Greece naturally wanted to return the title to itself, but even if the agreement could be reached, Britain still considered the statue to be "lent" and the title to the British Museum.
Mitsotakis ’ s trip to Britain ended in haste, returning to Greece early, and both countries are still waiting to see how the dispute should end, but for the British government, which wants to establish stable relations with its European allies after Brexit, the result is clearly contrary to the goal, and in Britain, it is more about the policy differences between the Labour Party and the Conservative Party.
A Labour spokesman said: “If the Prime Minister is unable to meet with European allies who have vital economic links with the UK, it is further evidence that he cannot provide the economic leadership our country needs. ”
And the Labour Party, led by Schkeel, is ready. "
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They adorned the Parthenon, a temple dedicated to Athena, the patron goddess of Athens, and are regarded as some of the finest surviving examples of ancient Greek art and architecture.

Title:

Content: Opinion

Bring them home

At the end of August, it was reported that around 2,000 artefacts, including gold jewellery and gems, had been stolen from the British Museum over a long period of time.

Chairman of the trustees, George Osborne acknowledged that the museum’s reputation has suffered as a result of its mishandling of the thefts, which sparked outrage after it was revealed that most of the stolen antiquities may never be recovered due to the museum’s poor record keeping, raising questions about security and leadership.

For decades, the British Museum has argued that the Parthenon Marbles should not be returned to Greece since the country lacks a suitable location for their display.

The Acropolis Museum, on the other hand, has solidified its place among the world’s top ten best museums and is the go-to museum in Athens where one can readily understand why Greece is considered the cradle of Western civilization. So, why not return the Parthenon marbles to their rightful home, and how did they end up in the British Museum in the first place?

In the early 1800s, when British aristocrat Lord Elgin sailed home from Greece, he also shipped to England some of the greatest treasures of antiquity, which included a collection of Greek statues and carved frieze panels that once decorated the Parthenon in Athens.

The so-called Elgin Marbles were later sold to the British government with the approval of the Ottomans who ruled Greece at the time and became the most storied artefacts in the British Museum’s collection. They also became the subject of perhaps the world’s most notorious cultural dispute.

The British maintain that the marbles were legally acquired and they belong in a universal museum alongside other artefacts, excluding the 2,000 that were now reportedly stolen. The Greeks, on the other hand, view them as looted treasures that form the cornerstone of their national heritage.

For decades, the issue of the Parthenon Marbles has been on the agenda of the Unesco Intergovernmental Committee for Promoting the Return of Cultural Property (ICPRCP). In fact, it was Melina Mercouri, the Greek Minister of Culture at the time, who raised the matter of their return during the 1982 Unesco World Conference.

Although the forum ruled in favour of the cause, stating that restitution of works illegally removed from their countries of origin is a fundamental principle of people-to-people cultural relations, Mercouri’s British counterpart responded that the UK Government “could not intervene in the affairs of a private establishment like the British Museum.”

While efforts are underway to retrieve the stolen antiquities, the British Museum’s collections may never be recovered because the museum’s records only identify the collection as a whole and fail to list the individual pieces.

This is not the first time the museum’s image as a safe keeper of global treasures has been called into doubt. The poor condition of the British Museum’s western block has been recorded numerous times. Images of water leaking into the Parthenon gallery were broadcast on Greek television in 2018, resulting from a cracked glass ceiling pane. Although the glass was replaced with new fixings and no sculptures were destroyed, a leaking roof in 2021 resulted in water seeping through, once again, delaying the reopening of the Greek galleries following the pandemic.

The British Museum claimed that none of the statues had been damaged and the issue was addressed. However, for Greece, these events demonstrate that the British Museum is failing to care for the Parthenon Marbles, reinforcing the country’s legitimate claim that the sculptures be permanently returned to Athens.

Earlier this year, the British Museum moved closer to a landmark agreement with Athens that could result in the return of the marbles. Although existing legislation makes it illegal to give away treasures, Osborne is reportedly seeking to repatriate the Parthenon Marbles as part of a cultural exchange that would see other Greek antiques displayed at the British Museum. Over half of the British people support their repatriation to Greece.

Hundreds of statues from the Archaic and Classical periods can be found at the ultramodern Acropolis Museum. The top level is the museum’s showcase, which provides a visual link to the Acropolis and allows visitors to view both the monument and its sculptures. The majority of the Parthenon Marbles will be displayed there upon their anticipated return.

The Parthenon Sculptures were made in Greece by Greeks to honour the glory of Greece. They represent millions of people’s cultural identities. Greece is their true home. It is where they belong.

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Their artistic, historical, and symbolic value is immense, representing not only a pinnacle of classical aesthetics but also a crucial embodiment of Greek cultural heritage and identity.

In 1801–1812, Lord Elgin undertook the removal of a substantial portion of these sculptures.

At the time, Greece was under the Ottoman Empire’s dominion.

Elgin claimed to have obtained a firman (a permit) from the Ottoman authorities authorizing the removal of the marbles.

However, this document’s authenticity, scope, and legal validity have been subjects of dispute.

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Content: International
International News
Chinese Premier Urges Return of Bart's Stone Sculpture
The British and Greek governments have been embroiled in a dispute over the marble sculpture of the Parthenon (also known as the Elgin Marbles).
British Prime Minister John Sinclair abruptly canceled a meeting with Greek Prime Minister Alexis Mitsotakis on Tuesday.
A spokesman for Sin explained yesterday that Mitsotakis had cancelled his meeting with the other side because he had failed to honour his promise to not publicly dispute the ownership of the stone carvings.
Mitsotakis, in an interview with the British media earlier, demanded that Britain return the famous stolen stone sculpture.
Prime Minister Xi: As Mona Lisa cut half
Greek Prime Minister Kyriakos Mitsotakis, who is visiting Britain on Sunday, said in an interview with the British Broadcasting Corporation (BBC) on the same day that he will discuss the issue of "the return of the British Museum to the marble carvings of the Parthenon Temple in Greece" during his meeting with Mr Sim.
He pointed out that the British Museum should return the stone carvings to Greece, describing some of the artefacts in London and others in Athens as cutting the Mona Lisa in half.
He also criticized the slow progress of negotiations to return the sculpture.
Mitsotakis was scheduled to meet with Mr Sim for 45 minutes in London at noon on Tuesday, but was told the day before that the meeting had been cancelled.
He hinted to reporters on Monday night that Mr. Xin had no guts to discuss the heritage issue with him.
British Conservative Party sources quoted by the BBC said the meeting was unlikely to continue after Mitsotakis made remarks about the stone carvings.
The source said that the British side's position is clear that the stone sculptures will always be the British Museum's collection.
The Guardian reported that Mitsotakis met with the leader of the British opposition Labour Party, Shih Chi-hsien, on Monday, which is believed to be another reason for the failure of the meeting with Xin Wei-cheng.
In 1801, Thomas Bruce, 7th Earl of Elgin, a British diplomat, shipped the stone carvings from Greece to Britain.
British public opinion at the time disputed this.
After much debate, the British Parliament decided not to pursue the Earl of Elgin, who sold the stone sculpture to the British government in 1816 and eventually hid it in the British Museum.
(BBC / The Guardian)
Related Words: British Museum Battersea Temple Kyriakos Mitsotakis Rishi Sunak Anglo-Greek Relations Elgin Stone Sculpture
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The original firman has never been found; only an Italian translation survives, and it is debated whether it authorized such extensive removal or only limited excavation and removal of loose stones.

Elgin’s motives combined a desire to preserve these artifacts—citing the damaging impacts of exposure and local vandalism—and a wish to enhance Britain’s cultural capital, encouraging scholarly study and public display.

Elgin’s marbles were shipped to Britain and subsequently sold to the British government in 1816, with the British Museum assuming custody.

Since then, they have been exhibited in London continuously.

The British Museum positions itself as a “universal museum” preserving world heritage accessible to an international audience.

Title:

Content: Greek premier to meet Starmer and Sunak in renewed push to return Elgin marbles

Kyriakos Mitsotakis due to meet Rishi Sunak and Keir Starmer in London next week

Matt Mathers
Saturday 25 November 2023 23:43
Comments
Elgin Marbles: British Museum lends statue

Greek prime minister Kyriakos Mitsotakis is set to raise the issue of the Parthenon sculptures with the UK next week.

He is reportedly due to hold talks with Labour leader Keir Starmer on Monday and prime minister Rishi Sunak on Tuesday and will raise the subject with both.

The Financial Times reported that Mr Starmer was open to a potential loan deal that would see parts of the ancient sculptures returned. Labour declined to comment.

The 2,500-year-old sculptures, also known as the Eglin Marbles, were taken from Athens to Britain by agents of Thomas Bruce, the 7th Earl of Eglin, in the early 19th century and never returned. Greece says they were stolen, sparking a bitter and long-running dispute with the UK.

Housed in their own dedicated room, the sculptures of Olympian gods and goddesses, centaurs and warriors are among the greatest at the British Museum.

A 1963 Act of Parliament stops the British Museum from permanently handing them back.

George Osborne, the museum’s chair and the former Conservative Party MP and chancellor, has backed a loan deal.

“I hope we’ll find a way to partner with Greece so that a portion of the Marbles spend part of their time in Athens . . . and we see more of their treasures in return,” he wrote in The Spectator last week. Mr Osborne conceded that “we may well not succeed” but that it was “surely worth the effort”.

The proposed deal, which Mr Osborne and Mr Mitsotakis have held secret talks over, would allow the sculptures to return to Athens in exchange for Greek treasures being displayed in London.

Many of the artworks in question are in storage in museum vaults and have never before been seen.

Mr Mitsotakis, who has said it is his “passion” to get the sculptures back, is scheduled to meet both party leaders next week. He intends to raise the issue in both meetings, a person close to him told the FT.

Mr Sunak is said to be not opposed to the idea of a loan deal but sceptical that the sculptures would ever be returned if they were loaned to Greece, according to the paper.

No 10 has been contacted for comment.

A UK government spokesperson told the FT: “The UK has cared for the Elgin Marbles for generations.

“Our galleries and museums are funded by taxpayers because they are a huge asset to this country. “

We share their treasures with the world, and the world comes to the UK to see them. The collection of the British Museum is protected by law, and we have no plans to change it.”

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It argues the marbles were legally acquired and that their presence in the museum provides context alongside other artifacts, contributing to global understanding of classical civilization.

Moreover, due to the British Museum Act 1963, the institution is legally prohibited from permanently deaccessioning objects from its collection, complicating any potential repatriation efforts.

Conversely, Greece has consistently maintained that the marbles were taken unlawfully and constitute stolen cultural patrimony that belongs intrinsically to the Greek people and nation.

Restitution would restore the integrity of the Parthenon sculptures and reunite them with the fragments that remained in Athens.

Since 1983, this position has been articulated forcefully by the Greek government, especially under the leadership of Melina Mercouri, the Minister of Culture, who galvanized international support, bringing the case to UNESCO and other international forums.

Greece has constructed the Acropolis Museum, a state-of-the-art facility explicitly designed to house the marbles in proximity to their original site, thereby countering British claims regarding inadequate Greek facilities.

Ethical debates within archaeology and museology revolve around principles of cultural patrimony, colonial legacy, and stewardship.

Advocates for repatriation emphasize respect for source communities and the imperative to rectify historical injustices.

Title:

Content: UK museums strike loan deal to return Asante Gold to Ghana that was looted over 100 years ago

25 January 2024, 07:25 | Updated: 25 January 2024, 07:27

By Jenny Medlicott

The UK is returning a selection of Asante Gold looted from Ghana over 100 years ago in a historic loan deal.

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The British Museum has struck a deal to return 15 pieces of the gold to Ghana and the Victoria & Albert Museum (V&A) 17 pieces, under a new three-year loan deal.

Loan deals are used as a way to enable collections to return to their countries of origin.

The Ghanian loan deal, which can be extended by an additional three years, was agreed with Otumfo Osei Tutu II, the current Asante king known as the Asantehene.

Some national museums in the UK, including the V&A and British Museum, are prohibited from permanently returning such items to their countries of origin.

The items will reportedly go on display at the Manhyia Palace Museum in Kumasi, the capital of the Asante region, to celebrate the Asantehene's silver jubilee.

Tristram Hunt, director of the V&A, said the gold items taken from the court of the Asante King are the equivalent of "our Crown Jewels".

Mr Hunt also said when museums "hold objects with origins in war and looting in military campaigns, we have a responsibility to the countries of origin to think about how we can share those more fairly today.

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"It doesn't seem to me that all of our museums will fall down if we build up these kind of partnerships and exchanges,” he told the BBC.

It is hoped the historic deal will pave the way for handling other repatriation disputes - potentially including the long-running dispute over the Elgin Marbles.

Ghana’s chief operation said he hoped the deal would bring a “a new sense of cultural co-operation” following years of anger.

However, some have expressed concern that accepting the items on loan could be seen as acceptance of the UK’s ownership of the contested items.

Most of the items were taken during 19th-century wars between the British and the Asante.

A sword of state and gold badges worn by officials charged with cleansing the soul of the king are among the items to be returned.

The artefacts are seen as a symbol of the Asante royal government and are believed to hold the spirits of former Asante kings.

As for other contested artefacts held by British museums, in the case of the Elgin Marbles, a senior British Museum has source said the museum was “still exploring if there is an arrangement that would allow some of the Parthenon sculptures to travel to Greece”.

It is hoped deals such as these could help provide a solution to former colonial nations requesting the return of their cultural treasures.

Critics warn about the repercussions for universal access, museological missions, and potential “slippery slopes” that could lead to widespread demands for artifact returns disrupting global collections.

International frameworks such as the 1970 UNESCO Convention against illicit cultural property trafficking provide guidelines but are not retroactive to acquisitions predating their enactment, limiting their direct application to the marbles.

Diplomatically, the issue remains sensitive and politically charged.

Attempts at dialogue have included discreet talks exploring possible loan agreements, such as those reported during George Osborne’s involvement as British Museum chairman, envisioning temporary returns of the marbles to Greece accompanied by reciprocal loans of Greek artifacts to London.

Public attitudes in the UK are increasingly sympathetic to repatriation, though resistance remains within institutional or political circles.

The marbles have become a symbolic touchstone for broader debates on colonial-era acquisitions and cultural restitution.

Recent years have witnessed diplomatic challenges, including the cancellation of meetings between Greek and British prime ministers partly fueled by the controversy.

The ongoing UK elections and internal politics add layers of complexity.

In terms of innovation, augmented reality (AR) technology has been leveraged in museums to create virtual reconstructions and immersive experiences of the marbles in their original context, fostering cultural dialogue but not offering a substantive resolution.

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Exploring the Intersection of Technology and Art: Augmented Reality Enhances Museum Experiences

Snapchat, a social media platform primarily known for its fun filters, is expanding its reach beyond entertainment and into the world of culture and the arts. With its augmented reality (AR) capabilities, Snapchat is transforming the way visitors experience museums and galleries around the globe.

Through the use of AR, Snapchat has collaborated with prestigious institutions such as the Rijksmuseum in Amsterdam, the Art Basel fair in Miami, the Design Museum in London, and most recently, the Louvre in Paris. At the Louvre, the department of Egyptian antiquities has been rejuvenated with 3D reconstructions of long-lost artwork and historic monuments, accessible to visitors through QR codes or the Snapchat camera.

Snapchat’s foray into the art world raises an intriguing question: could this technology provide a solution to diplomatic disputes surrounding cultural artifacts, such as the Elgin Marbles?

Donatien Bozon, the director of Snap’s AR studio in Paris, reveals that the company has initiated discussions on the matter. Snap’s AR team, consisting of 14 experts, was established with the goal of integrating AR into art, culture, and education. Bozon emphasizes that Snapchat’s technology offers more than just entertainment value, as it has the potential to enhance museum experiences, attract new audiences, and optimize existing physical spaces.

By leveraging the capabilities of the front camera on users’ phones, Snapchat’s AR empowers cultural institutions to offer interactive and immersive encounters with history and art. This innovative approach not only adds depth to museum displays but also enables visitors to engage with artifacts in unprecedented ways.

While the Elgin Marbles controversy remains a complex diplomatic issue, AR technology presents a promising avenue for bridging cultural divides and fostering understanding. Through AR-enhanced exhibitions, audiences around the world can virtually explore and appreciate the historical significance of these artifacts — a significant step toward a more inclusive approach to preserving and celebrating our shared cultural heritage.

FAQ

What is augmented reality (AR)?

Augmented reality (AR) is a technology that overlays digital information, such as virtual objects or data, onto the real world. It enhances the user’s perception and interaction with their environment, blending virtual elements with the physical world.

How does Snapchat’s AR work?

Snapchat’s AR technology operates through the use of the smartphone’s camera. It recognizes the user’s surroundings and can place virtual objects, effects, or filters onto the real-world view displayed on the screen. This allows users to interact with virtual content and explore creative possibilities in their everyday surroundings.

Can AR technology resolve diplomatic disputes over cultural artifacts?

While AR technology cannot solve diplomatic disputes directly, it has the potential to facilitate a deeper understanding and appreciation of cultural artifacts. By virtually showcasing these treasures and making them accessible to a wider audience, AR technology promotes cultural exchange and encourages dialogue between countries involved in such disputes.

Comparative case studies illustrate evolving approaches to similar disputes.

For example, UK museums’ recent loan of Asante Gold artifacts to Ghana exemplifies a growing willingness to engage in cultural cooperation and negotiated exchanges rather than outright donation or return.

Such initiatives inspire cautious optimism for a potential framework facilitating at least temporary loaning of the Parthenon sculptures.

Currently, no formal resolution has been reached.

The British Museum maintains legal possession, while Greece intensifies its diplomatic and cultural campaign for their return.

Negotiations continue, sometimes behind closed doors, but permanent repatriation is complicated by legislative barriers and political considerations.

The path forward may lie in creative partnerships, increased cultural exchanges, and progressive shifts in international norms concerning heritage stewardship.

For an aspiring archaeologist, the Elgin Marbles case exemplifies the complex intersection of archaeological discovery, cultural identity, legal frameworks, and ethical responsibilities.

It underscores the imperative to respect source cultures and to engage collaboratively and transparently in the stewardship of cultural heritage.

Understanding this controversy deepens one’s appreciation of how historical artifacts carry profound questions beyond mere aesthetics — encompassing justice, identity, and international diplomacy.

It is a vital case study in cultural heritage management in the modern world.