Could Snapchat have a solution to the Elgin Marbles row?

Published

1 year ago

December 2, 2023

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Rishi Sunak is known to love tech, so could it offer a way out of his awkward diplomatic row with Greece over the Elgin Marbles?

The augmented reality (AR) boffins at Snap think it could.

The creators of the app most people associate with wearing silly filters have branched out into culture and the arts, offering new ways for visitors to experience history at some of the world’s most illustrious museums and galleries.

Snap’s AR has been used to reinvent exhibitions at Amsterdam‘s Rijksmuseum, Miami‘s trendy Art Basel fair, London‘s Design Museum, and most recently the iconic Louvre in Paris.

The museum’s department of Egyptian antiquities now features 3D reconstructions of long-lost artwork and other historic monuments, viewable on phones via QR codes or the Snapchat camera.

If it’s good enough for the Louvre, could it be good enough for the British Museum, and allow the Elgin Marbles to return to Greece?

History in your hands

“We have initiated discussions,” jokes Donatien Bozon, director of Snap’s AR studio in Paris.

His 14-strong team was formed last year with the mission of bringing AR to art, culture, and education, proving Snapchat’s tech can go well beyond putting virtual dog ears on your friends.

Cultural institutions showed interest in tapping into the app’s audience of 750 million users, he says, as well as bringing new experiences to regular visitors – all without needing any extra physical space.

“We were convinced we could not only leverage the front camera of the phone,” he says, referring to Snapchat’s common use case as a selfie-driven messaging app, “but also the back camera.”

“You can augment the world,” he adds. “And open up so many opportunities.”

Also at the Louvre sits a digital twin of the 222-tonne granite Luxor Obelisks. Built for Egypt’s Luxor Temple during Ramesses II’s reign, one was later moved to the Place de la Concorde in Paris.

But it had initially been considered for a spot in the Louvre’s courtyard. And so in their own bid to rewrite history, the museum worked with Snap to “remove the constraint of physics” and have one installed virtually.

Point your phone’s camera towards the spot where it could have stood, and so it appears.

Where tradition meets technology

Not that AR could ever truly replace the real thing.

“It’s in the name,” says Bozon. “It’s augmenting the experience, not replacing it.”

Probably not actually a satisfying solution to the Elgin Marbles row, then.

But the British Museum has dabbled in AR. Primarily aimed at children, it lets guests embark on AR-driven tours through the Roman Empire and Parthenon using Samsung tablets.

The British Library has also leveraged the tech for its own exhibitions, as some of the world’s oldest institutions, proudly steeped in tradition, look to keep up with the times.

Qi Pan, Snap’s director of computer vision, says AR lets them “do things that were not possible before”.

His London team is responsible for how the firm’s tech actually works, both on phones and in a hypothetical future where millions of us walk around wearing futuristic spectacles.

“A lot of AR today is on mobile, where we’re limited by seeing it through a small rectangle,” he says.

“AR glasses will let you see it directly in the world around you.”

Accessible artwork

Despite previous attempts at such lenses from the likes of Google and Snap itself having failed to achieve a mainstream breakthrough, Pan is confident AR is on the cusp of a “hardware paradigm shift”.

Apple’s upcoming mixed reality headset may help prove him right, though likely not while priced at £2,800.

For now, the appeal of AR artwork is its accessibility – not just for users who just need a phone to experience it, but also the creators behind what they see.

By teaching himself how to create AR art at home during the COVID-19 pandemic, British artist Doddz went from school struggles to a six-figure salary.

Traditionalists might cry foul, but his success seems testament to a fresh take on artwork that people can view anywhere and take with them too.

Bozon says: “Ten years ago you wouldn’t bet on being a YouTuber as a real job.

“Ten years from now, building in AR will be a real job for thousands of people.”

Let’s hope the marbles row is over by then too.

Entertainment

‘Music is back’ as Taylor Swift helps drive record UK sales

Published

4 hours ago

January 8, 2025

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'Music is back' as Taylor Swift helps drive record UK sales

UK music sales hit a 20-year high of £2.4bn in 2024, helped by pop megastar Taylor Swift’s latest album, and driven by streaming and the vinyl revival, figures show.

Revenues from recorded music reached an all-time high, more even than at the peak of the CD era, according to annual figures from the digital entertainment and retail association ERA.

Total consumer spending on recorded music – both subscriptions and purchases – topped the previous record of £2.2bn in 2001, ERA said.

Takings from streaming services including Spotify, YouTube Music, and Amazon rose by 7.8% to a little over £2bn.

Almost £200m was spent on vinyl albums, an annual uplift of 10.5%, while CD album revenues were flat at just over £126m.

Swift’s The Tortured Poets Department was the biggest-selling album of the year, aided by her record-smashing worldwide Eras tour.

More than 783,000 copies were bought, nearly 112,000 of them on vinyl – making it 2024’s biggest-selling vinyl album.

The biggest single of the year was Noah Kahan’s Stick Season, generating the equivalent of 1.99 million sales.

ERA chief executive Kim Bayley said 2024 was “a banner year for music, with streaming and vinyl taking the sector to all-time-high records in both value and volume.

Ms Bayley called it the “stunning culmination of music’s comeback which has seen sales more than double since their low point in 2013. We can now say definitively – music is back.”

Music revenues grew by 7.4% in 2024, while video rose by 6.9%, and games fell by 4.4%, according to preliminary figures.

Subscriptions to Netflix, Amazon Prime Video and Apple TV grew by 8.3% to £4.5bn – almost 90% of the sector’s revenues.

Deadpool & Wolverine was the biggest-selling title of the year, with sales of 561,917 – more than 80% of them sold digitally.

Despite the games sector’s 4.4% decline last year, it remains nearly twice as large as the recorded music business.

Full game sales saw a drop-off with PC download-to-own down 5%, digital console games down 15% and boxed physical games down 35%, in favour of subscription models which grew by 12%.

EA Sports FC 25 – formerly known as Fifa was once again the biggest-selling game of the year, generating 2.9 million unit sales, 80% of them as digital formats.

Entertainment

Aubrey Plaza says death of filmmaker husband is an ‘unimaginable tragedy’

Published

1 day ago

January 7, 2025

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Aubrey Plaza says death of filmmaker husband is an 'unimaginable tragedy'

Actress Aubrey Plaza has described the death of her filmmaker husband as an “unimaginable tragedy”.

Jeff Baena was pronounced dead at 10.39am on Friday at a home near the Hollywood Hills and Los Feliz areas of Los Angeles.

On Monday, a medical examiner ruled the 47-year-old had taken his own life.

In a statement released to the media, Parks And Recreation star Plaza, 40, said: “This is an unimaginable tragedy.

“We are deeply grateful to everyone who has offered support. Please respect our privacy during this time.”

Baena, a director and screenwriter, worked with Plaza on 2014 horror film Life After Beth and 2017 historical comedy The Little Hours.

The couple had been in a relationship since about 2011 and married in 2021.

Previously, Plaza told The Ellen DeGeneres Show she and Baena “got a little bored one night” during the COVID pandemic and decided to wed after celebrating their 10th anniversary.

She said after finding a wedding officiant online to perform the ceremony in their garden, she “created a very quick love altar in our yard” where they married.

Baena wrote 2020 thriller Horse Girl, starring Alison Brie, and 2022 dark comedy Spin Me Round, both of which he also directed.

He also co-wrote the 2004 comedy I Heart Huckabees alongside director David O Russell, which boasted a stacked cast that included Jude Law, Jason Schwartzman, Dustin Hoffman, Naomi Watts, Lily Tomlin and Mark Wahlberg.

Baena created the anthology comedy series Cinema Toast, which had an episode directed by Plaza and another starring Community actress Brie.

On X, Hollywood actor and comedian Marc Maron wrote: “Very sad about the tragic loss of a true artist and sweet guy.”

Sundance Film Festival, where Baena’s directorial debut Life After Beth premiered in 2014, wrote: “We extend our heartfelt thanks to Jeff Baena for sharing his stories and contributing to the lasting memories we’ve built together.

“Jeff, we’ll miss your wit, humour, and daring vision. Rest in peace, friend.”

Plaza had been announced as a presenter at Sunday’s Golden Globes ceremony earlier this week before her husband’s death.

Director Brady Corbet, who won best director for his film, The Brutalist, said in his acceptance speech: “My heart is with Aubrey Plaza and Jeff’s family.”

Plaza was nominated for a Golden Globe in 2023 for her role in the second series of HBO dark comedy White Lotus and is also known for Disney+ series Agatha All Along, and films including Megalopolis, My Old Ass, Ingrid Goes West, Dirty Grandpa and Emily The Criminal.

Los Angeles Police Department (LAPD) confirmed it attended the residence where Baena died and said a coroner will lead the investigation.

If you are in need of support, Samaritans run a helpline which is open day and night, 365 days a year, on 116 123. You can also email jo@samaritans.org, or visit samaritans.org to find your nearest branch.

Entertainment

RuPaul says his ‘heart is broken’ following death of The Vivienne

Published

2 days ago

January 6, 2025

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RuPaul says his 'heart is broken' following death of The Vivienne

RuPaul has said his “heart is broken” following the death of former Drag Race winner, The Vivienne.

The drag queen and TV presenter said on Instagram on Monday he joined the entire Drag Race universe in mourning the loss of The Vivienne, whom he called “an incredibly talented queen and a lovely human being”.

The Vivienne, whose real name was James Lee Williams, won the first series of RuPaul’s Drag Race UK in 2019.

The 32-year-old’s death was confirmed by their publicist Simon Jones on Sunday evening.

Danny Beard, who won the reality show in 2022, called The Vivienne “a proper entertainer” and “one of the most passionate, talented, geeky, girls I’ve ever known” and their death meant “there’s a piece missing now”.

Cheddar Gorgeous, that year’s runner-up, said on Instagram they had lost “a peer, a friend and an icon”, adding that “the entire world of entertainment grieves” and it was “impossible to make sense of such sadness”.

Bagachipz said on social media they would “talk to you before I go onstage for every single show I do”, calling The Vivienne a “powerhouse when you hit that stage”.

The Vivienne’s ex-husband, David Ludford, said the performer “made me feel love and shown me what it was really like to love someone”.

The Vivienne, 32, rose to prominence in 2015 after becoming the UK Drag Ambassador for the American series of RuPaul’s Drag Race.

The show sees drag queens competing in front of a panel of judges to become the next drag superstar.

The Vivienne, whose drag name came from their love of designer Vivienne Westwood, later competed in the first UK series of the show in 2019, going on to win it after lip-syncing in the final to the Wham! hit I’m Your Man.

Williams, who was born in Wales, also came third on the 2023 series of Dancing On Ice.

A spokesman for Cheshire Police said officers were called to a house in Chorlton-by-Backford, near Chester, at 12.22pm on Sunday following reports of a sudden death.

The force said there were “no suspicious circumstances”.