Ibycus was an Ancient Greek lyric poet, a citizen of Rhegium in Magna Graecia active at Samos during the reign of the tyrant Polycrates and numbered by the scholars of Hellenistic Alexandria in the canonical list of nine lyric poets. He was remembered in antiquity for pederastic verses, but he composed lyrical narratives on mythological themes in the manner of Stesichorus, his work survives today only as quotations by ancient scholars or recorded on fragments of papyrus recovered from archaeological sites in Egypt, yet his extant verses include what are considered some of the finest examples of Greek poetry. The following lines, dedicated to a lover, were recorded by Athenaeus as a famous example of amorous praise: Εὐρύαλε Γλαυκέων Χαρίτων θάλος, Ὡρᾶν καλλικόμων μελέδημα, σὲ μὲν Κύπρις ἅ τ' ἀγανοβλέφαρος Πει- θὼ ῥοδέοισιν ἐν θρέψαν; the rich language of these lines, in particular the accumulation of epithets, typical of Ibycus, is shown in the following translation: Euryalus, offshoot of the blue-eyed Graces, darling of the lovely-haired Seasons, the Cyprian and soft-lidded Persuasion nursed you among rose-blossoms.

This mythological account of his lover recalls Hesiod's account of Pandora, decked out by the same goddesses so as to be a bane to mankind—an allusion consistent with Ibycus's view of love as unavoidable turmoil. As is the case with many other major poets of ancient Greece, Ibycus became famous not just for his poetry but for events in his life the stuff of legend: the testimonia are difficult to interpret and few biographical facts are known; the Byzantine encyclopaedia Suda represents a good example of a problematic biography, here translated by David Campbell: Ibycus: son of Phytius. From there he went to Samos; this was in the 54th Olympiad. He was crazed with love for boys, he was the inventor of the so-called sambyke, a kind of triangular cithara, his works are in seven books in the Doric dialect. Captured by bandits in a deserted place he declared that the cranes which happened to be flying overhead would be his avengers. Someone overheard and followed up his words: the crime was confessed and the bandits paid the penalty.

Suda's chronology has been dismissed as "muddled" since it makes Ibycus about a generation older than Anacreon, another poet known to have flourished at the court of Polycrates, it is inconsistent with what we know of the Samian tyrant from Herodotus. Eusebius recorded the poet's first experience of fame somewhere between 542 and 537 BC and this better fits the period of Polycrates' reign. Suda's account seems to be corroborated by a papyrus fragment ascribed to Ibycus, glorifying a youthful Polycrates, but this was unlikely to have been the Polycrates of Samos and might instead have been his son, mentioned in a different context by Himerius as Polycrates, governor of Rhodes. Suda's list of fathers of Ibycus presents problems: there were no historians in the early 6th century and Cerdas looks like an invention of the comic stage. There was a Pythagorean lawgiver of Rhegium known as Phytius, but the early 6th century is too early for this candidate also. Ibycus gives no indication of being a Pythagorean himself, except in one poem he identifies the Morning Star with the Evening Star, an identity first popularized by Pythagoras.

Suda's extraordinary account of the poet's death is found in other sources, such as Plutarch and Antipater of Sidon and it inspired Friedrich Schiller to write a ballad called "The Cranes of Ibycus" yet the legend might be derived from a play upon the poet's name and the Greek word for the bird ἶβυξ or ibyx—it might have been told of somebody else originally. Another proverb associated with Ibycus was recorded by Diogenianus: "more antiquated than Ibycus" or "more silly than Ibycus"; the proverb was based on an anecdote about Ibycus stupidly or nobly turning down an opportunity to become tyrant of Rhegium in order to pursue a poetic career instead There is no other information about Ibycus' activities in the West, apart from an account by Himerius, that he fell from his chariot while travelling between Catana and Himera and injured his hand badly enough to give up playing the lyre "for some considerable time."Some modern scholars have found in the surviving poetry evidence that Ibycus might have spent time at Sicyon before journeying to Samos—mythological references indicate local knowledge of Sicyon and could point to the town's alliance with Sparta against Argos and Athens.

His depiction of the women of Sparta as "thigh-showing" is vivid enough to suggest that he might have composed some verses in Sparta also. It is possible that he left Samos at the same time as Anacreon, on the death of Polycrates, there is an anonymous poem in the Palatine Anthology celebrating Rhegium as his final resting place, describing a tomb located under an elm, covered in ivy and white reeds. Ibycus' role in the development of Greek lyric poetry was as a mediator b

Roger Huggins is a British former professional basketball player, notable for earning more than 90 international caps with the England national team and Great Britain national team. A 6ft7 forward, he started his career with Bracknell Pirates in 1986, where he spent two years before moving to the United States in 1988 to go to college at Hawaii Pacific University, where he was honoured as an All-American in 1993 by the NAIA. Following graduation in 1993, he unsuccessfully tried out for a career in the NBA and the Seattle SuperSonics before signing with Belgian team Gent for the 199–94 season. After one season, Huggins returned to England to sign for British Basketball League rookies Sheffield Sharks in their first season in the premier division, winning both the Championship and the National Cup, whilst Huggins himself was named as the League's Most Valuable Player and the English Basketball Association's Player of the Year for 1995. Two more successful seasons, including three consecutive appearances in the All-Star team, were spent at Sheffield where Huggins assured himself of a position as one of the most popular British players of all time.

In 1997 Huggins returned to Belgium, signing for Antwerp Giants, where he spent three seasons, including appearing in the Korać Cup. In 1999, he was awarded the English Basketball Association's Player of the Year for the second time. In his final season with Antwerp, Huggins averaged 14.9 points-per-game in 23 appearances, whilst raising it to 16.6 points-per-game in 8 appearances in the Korać Cup. During his three seasons at Antwerp, he was honoured on the Belgian League's All-Star team for 1998, 1999 and 2000. In 2000, Huggins moved to Athlon Ieper where he had an average of 17.7 points-per-game in 24 appearances, before moving to Israeli club Hapoel Jerusalem during the Spring of 2001 for the remainder of the season. Huggins played only 11 games in Jerusalem, but became a fan favourite as he played an instrumental role in an upset of Maccabi Tel Aviv on his debut, he averaged 15.3 points and 5.7 rebounds over 28 minutes in seven playoff games that year as Jerusalem reached the Play-off finals.

The following season Huggins returned to Belgium and moved to Spirou Charleroi who were competing in Europe's elite competition, the Euroleague, where he averaged a respectable 13.1 points-per-game over 29:49 minutes-per-game. Huggins' second season at Spirou was just as prominent and he averaged 9.3 points in 30 games domestically and 9.1 points in 11 games in the ULEB Cup. In 2003 he signed for Euphony Liège scoring 11 points-per-game in 40 games and in 2004 he returned to Israel to sign with Bnei HaSharon who were appearing in the FIBA Europe League. Huggins featured in the Group stage, averaging 10.9 points in 12 games, but halfway through the season he returned to Belgium to sign for former Sheffield teammate Chris Finch's side Euphony Bree. Two successful season's at Bree followed, including winning the Belgian League title in 2005, before Huggins returning to Liège and Spirou in 2006 before being reunited with Coach Finch at Dexia Mons-Hainaut along with fellow Great Britain national team players Nate Reinking, Andrew Sullivan and Mike Lenzly for the 2007–08 season.

Mons enjoyed an successful season in European competition and finished as Runners-up in the FIBA EuroCup, losing to Latvian team Barons LMT 63–62 in the final. Huggins featured for only 4 minutes in the final but averaged 7 points-per-game over the season in the EuroCup. Huggins retired from basketball in 2008, having retired from international basketball in 2007, havin helped Great Britain win promotion to Division A

Cesare Berlingeri is an Italian contemporary artist known for his folded paintings In 1968 Berlinghieri made several trips around Europe, met other artists and became better acquainted with the world of contemporary culture. In Rome, in the 1970s, he began working for the television. In these artistic phase he sought an expressive path of his own by experimenting different methods and ways of painting, using natural elements such as wind and fire – a means of introducing randomness and materials such as lime, waste paper and canvas. In the late ‘70s he began working on the “Trasparenze”, which followed the “Strappi” cycle, reconfirming his evolving-transforming study on canvas; the Trasparenze represent “research into canvas and its penetrability, on the visibility of what is beyond the fabric: an attempt not to make the visibility system stiff” C. Benincasa; these works consist of ultra-light and superimposed linen canvases, meaning the superimposition of transparent surfaces that make reference the one to the other and do not hide the colour fragments and small folded fabrics they enclose.

This cycle was presented in 1979 at the Soligo Gallery in Rome and at the City Gallery of Saint Vincent. C. Vivaldi mentioned the artist in the Bolaffi catalogue as follows: ”I have pleasure in presenting a young artist from Calabria who, though living in a small town, fits into the mainstream of international culture; this is an artist with a sure future.” In 1985, he participated in the exhibition entitled “5 mosaici per 5 artisti”, together with Mario Schifano, Mafonso and Tano Festa. During the ‘80s and ‘90s theatre cooperation intensified in the fields of installations and costumes design; the folded paintings were exhibited in 1990, after a meeting with Tommaso Trini who wrote: ”I remember that when I visited the Taurianova workshop, during the preparation of a large exhibition at Messina, Berlingeri was still debating the puzzlement of his supporters, most of whom were convinced that “those objects” were out of style. But I was straight away excited”. “Opere Recenti”, the exhibition to which Trini refers, was set up in the foyer of the Vittorio Emanuele Theatre, where a number of diptychs were exhibited together, for the first time, with the Piegature.

These folded canvases, impregnated with pure pigment, drafted since 1976 in small sizes, were now recovered and developed. The Piegature idea comes from a memory of his childhood: a small mat black cloth wrapping which his mother used to wear around her neck as an amulet, but the actual folding of large paintings was first done in the theatre. While he was working on a stage set, he painted a starry night on a large backdrop. At the end of the play, when the time came to disassemble the set, he realized how, fold after fold, this large canvas became a package about eighty centimetres long. In 2006 at MUDIMAdrie in Antwerp he presented the “Corpi”, bodies of air, covered by a smooth surface, generated from a matter “that acts like bread, meaning it breathes, grows like life, like the trees, and the most beautiful thing is that three nails inserted here and there are all it takes to make this shape grow in a different way…” C. Berlingeri. In 2012 he collaborated with the musician KK Null who created a site specific music for Berlingeri’s installation “aria, terra, fuoco” presented for the first time at Centro culturale Altinate/San Gaetano, Italy.

Selected one-man Exhibitions