Christos Loufopoulos

@philos

Βρε, βρε, βρε...

Athens, Greece

Joined May 2007

2.6K Following

2.9K Followers

12.7K Posts

philos retweeted

Archaeo - Histories

@archeohistories

4 months ago

Akhenaten, born Amenhotep IV, ruled ancient Egypt from approximately 1353-1336 BC as the tenth pharaoh of the Eighteenth Dynasty. He began his reign following traditional Egyptian customs, worshipping multiple gods and continuing his father's construction projects. Around his fifth year on the throne, he changed his name from Amenhotep IV to Akhenaten, meaning "Effective for the Aten." He abandoned Egypt's polytheistic religion and introduced Atenism, a faith centered on the sun disc Aten as the sole deity. Akhenaten declared himself the only person who could worship the Aten, making himself the required intermediary between the god and all Egyptians. He ordered the construction of a new capital city, Akhetaten, built on previously uninhabited land roughly halfway between Thebes and Memphis. The city was constructed using smaller, standardized building blocks called talatats, allowing for faster construction than traditional methods. Akhenaten ordered the defacement of Amun's temples across Egypt and had inscriptions of the plural word "gods" removed from monuments. His wife Nefertiti appears prominently in artwork performing actions traditionally reserved for pharaohs, suggesting she held unusual authority. The Amarna letters, a collection of 382 diplomatic texts, reveal that Akhenaten actively managed Egypt's foreign relations through correspondence with neighboring kingdoms and vassal states. He largely avoided direct military confrontation with the expanding Hittite Empire, relying instead on diplomacy to preserve Egypt's interests. A plague likely struck Egypt near the end of his reign, possibly causing the deaths of several of his daughters. Akhenaten died in his seventeenth regnal year and was initially buried in a tomb east of Akhetaten. His mummy was later moved, most likely to tomb KV55 in the Valley of the Kings, though its identification as Akhenaten remains disputed among Egyptologists. After his death, his son Tutankhamun reversed the religious reforms, restored traditional worship, and abandoned Akhetaten. Subsequent pharaohs systematically erased Akhenaten from official records, destroyed his monuments, and referred to him as "the enemy" in archival documents. Despite this erasure, his reign permanently altered the relationship between Egyptians and their gods, shifting religious practice toward more direct, personal worship that bypassed the pharaoh. His artistic legacy, known as Amarna art, broke sharply from tradition by depicting the royal family in naturalistic, intimate settings. Akhenaten remained essentially lost to history until the late nineteenth century, when excavations at Amarna brought his story back to light. Akhenaten's seventeen-year reign triggered one of the most dramatic religious and cultural disruptions in Egyptian history, dismantling a polytheistic system that had endured for centuries and replacing it, briefly, with a centralized worship of the Aten that concentrated all spiritual authority in the pharaoh himself. Although his successors erased his name from monuments and reversed his reforms, the damage to the old religious order proved permanent in subtle but profound ways, as Egyptians gradually shifted toward a more personal, direct relationship with their gods rather than relying on the pharaoh as intermediary, a structural change in Egyptian spirituality that persisted through the Nineteenth and Twentieth Dynasties and ultimately weakened pharaonic authority enough that, by the Twenty-first Dynasty, High Priests of Amun effectively governed parts of Egypt. His linguistic reforms also outlasted his reign, embedding vernacular elements into official written language that remained in use under subsequent dynasties. Akhenaten's rediscovery in modern era sparked broad scholarly debate about origins of monotheism and his potential influence on later Abrahamic religions, making him one of most analyzed and contested figures in ancient history. #archaeohistories

archeohistories's tweet photo. Akhenaten, born Amenhotep IV, ruled ancient Egypt from approximately 1353-1336 BC as the tenth pharaoh of the Eighteenth Dynasty. He began his reign following traditional Egyptian customs, worshipping multiple gods and continuing his father's construction projects.

Around his fifth year on the throne, he changed his name from Amenhotep IV to Akhenaten, meaning "Effective for the Aten."

He abandoned Egypt's polytheistic religion and introduced Atenism, a faith centered on the sun disc Aten as the sole deity.

Akhenaten declared himself the only person who could worship the Aten, making himself the required intermediary between the god and all Egyptians.

He ordered the construction of a new capital city, Akhetaten, built on previously uninhabited land roughly halfway between Thebes and Memphis.

The city was constructed using smaller, standardized building blocks called talatats, allowing for faster construction than traditional methods.

Akhenaten ordered the defacement of Amun's temples across Egypt and had inscriptions of the plural word "gods" removed from monuments.

His wife Nefertiti appears prominently in artwork performing actions traditionally reserved for pharaohs, suggesting she held unusual authority.

The Amarna letters, a collection of 382 diplomatic texts, reveal that Akhenaten actively managed Egypt's foreign relations through correspondence with neighboring kingdoms and vassal states.

He largely avoided direct military confrontation with the expanding Hittite Empire, relying instead on diplomacy to preserve Egypt's interests.

A plague likely struck Egypt near the end of his reign, possibly causing the deaths of several of his daughters.

Akhenaten died in his seventeenth regnal year and was initially buried in a tomb east of Akhetaten.

His mummy was later moved, most likely to tomb KV55 in the Valley of the Kings, though its identification as Akhenaten remains disputed among Egyptologists.

After his death, his son Tutankhamun reversed the religious reforms, restored traditional worship, and abandoned Akhetaten.

Subsequent pharaohs systematically erased Akhenaten from official records, destroyed his monuments, and referred to him as "the enemy" in archival documents.

Despite this erasure, his reign permanently altered the relationship between Egyptians and their gods, shifting religious practice toward more direct, personal worship that bypassed the pharaoh.

His artistic legacy, known as Amarna art, broke sharply from tradition by depicting the royal family in naturalistic, intimate settings.

Akhenaten remained essentially lost to history until the late nineteenth century, when excavations at Amarna brought his story back to light.

Akhenaten's seventeen-year reign triggered one of the most dramatic religious and cultural disruptions in Egyptian history, dismantling a polytheistic system that had endured for centuries and replacing it, briefly, with a centralized worship of the Aten that concentrated all spiritual authority in the pharaoh himself. Although his successors erased his name from monuments and reversed his reforms, the damage to the old religious order proved permanent in subtle but profound ways, as Egyptians gradually shifted toward a more personal, direct relationship with their gods rather than relying on the pharaoh as intermediary, a structural change in Egyptian spirituality that persisted through the Nineteenth and Twentieth Dynasties and ultimately weakened pharaonic authority enough that, by the Twenty-first Dynasty, High Priests of Amun effectively governed parts of Egypt. His linguistic reforms also outlasted his reign, embedding vernacular elements into official written language that remained in use under subsequent dynasties. Akhenaten's rediscovery in modern era sparked broad scholarly debate about origins of monotheism and his potential influence on later Abrahamic religions, making him one of most analyzed and contested figures in ancient history.

#archaeohistories

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philos retweeted

Black Hole

@konstructivizm

5 months ago

Imagine starting with an ordinary sheet of paper, about 0.1 mm thick—thinner than a human hair.Fold it once: now 0.2 mm. Fold twice: 0.4 mm. Nothing dramatic yet.But here's where reality starts to bend: every single fold doubles the thickness. It's pure exponential growth in action—2ⁿ, where n is the number of folds.After 7–8 folds (the practical limit for a real sheet), you're at roughly a centimeter or so—still tiny.After 10 folds: about 10 cm thick. After 20 folds: over 100 meters—taller than a football field is long. After 30 folds: roughly 100 kilometers—higher than the edge of space.And then… After 42 folds: the stack reaches an astonishing ~440,000 kilometers thick.That's farther than the average Earth–Moon distance of ~384,000 https://t.co/q5zjUmGeP2 more fold (43) and you'd overshoot the Moon and have enough left over to get most of the way back.Nothing magical happens at fold 42. No special physics kicks in. The paper doesn't suddenly become exotic matter. It's the same humble doubling each time. Yet that relentless 2× multiplier turns something microscopic into a cosmic bridge in fewer than 50 steps.This mind-bending leap is exactly why exponential processes rule so much of the universe:A tiny neutron triggers a nuclear chain reaction → city-leveling explosion in microseconds. A seed of inflation in the early universe → everything we see ballooning by insane factors in a fraction of a second. Black holes accreting matter → runaway growth that can outshine entire galaxies almost overnight. Even stellar fusion ramps up dramatically once critical thresholds are crossed. Our brains evolved to handle linear change—walking speed, apple counts, daily sunrises. Exponential growth feels slow… until it suddenly isn't. Then it becomes unstoppable.The paper-folding thought experiment is one of the cleanest ways to feel that vertigo: 42 ordinary folds, and you're on the Moon. No warp drive required—just math doing what math does best.(And yes, sources like NASA distance figures, physics textbooks, and calculations in journals such as the Astrophysical Journal all confirm the setup. The real magic is in the numbers themselves.)

$konstructivizm's tweet photo. Imagine starting with an ordinary sheet of paper, about 0.1 mm thick—thinner than a human hair.Fold it once: now 0.2 mm. Fold twice: 0.4 mm. Nothing dramatic yet.But here's where reality starts to bend: every single fold doubles the thickness. It's pure exponential growth in action—2ⁿ, where n is the number of folds.After 7–8 folds (the practical limit for a real sheet), you're at roughly a centimeter or so—still tiny.After 10 folds: about 10 cm thick. After 20 folds: over 100 meters—taller than a football field is long. After 30 folds: roughly 100 kilometers—higher than the edge of space.And then… After 42 folds: the stack reaches an astonishing ~440,000 kilometers thick.That's farther than the average Earth–Moon distance of ~384,000 https://t.co/q5zjUmGeP2 more fold (43) and you'd overshoot the Moon and have enough left over to get most of the way back.Nothing magical happens at fold 42. No special physics kicks in. The paper doesn't suddenly become exotic matter. It's the same humble doubling each time. Yet that relentless 2× multiplier turns something microscopic into a cosmic bridge in fewer than 50 steps.This mind-bending leap is exactly why exponential processes rule so much of the universe:A tiny neutron triggers a nuclear chain reaction → city-leveling explosion in microseconds. A seed of inflation in the early universe → everything we see ballooning by insane factors in a fraction of a second. Black holes accreting matter → runaway growth that can outshine entire galaxies almost overnight. Even stellar fusion ramps up dramatically once critical thresholds are crossed. Our brains evolved to handle linear change—walking speed, apple counts, daily sunrises. Exponential growth feels slow… until it suddenly isn't. Then it becomes unstoppable.The paper-folding thought experiment is one of the cleanest ways to feel that vertigo: 42 ordinary folds, and you're on the Moon. No warp drive required—just math doing what math does best.(And yes, sources like NASA distance figures, physics textbooks, and calculations in journals such as the Astrophysical Journal all confirm the setup. The real magic is in the numbers themselves.)$

Christos Loufopoulos @philos

6 months ago

Is it only my son who is finding similarities between stranger things season 5 and a cycle of episodes in One Piece ?

philos retweeted

Archaeo - Histories

@archeohistories

7 months ago

The portrait of the two brothers, dating to approximately 140 AD in Roman Egypt, a stunning example of the famous Fayum mummy portraits. These lifelike paintings represent a unique cultural fusion where the ancient Egyptian tradition of mummification was combined with the Greco-Roman artistic technique of realistic portraiture. Unlike the stylized faces on earlier Egyptian coffins, these panels—painted on wood using the durable and vibrant encaustic technique (pigments mixed with hot beeswax)—captured the true likenesses of the deceased, offering us the most accurate visual record of the people who inhabited this cosmopolitan Roman province nearly two millennia ago. This particular piece, often known as the "Tondo of the Two Brothers" (due to its circular, or tondo, shape), was discovered in Antinoöpolis, a city founded by Emperor Hadrian. The subjects are shown wearing Roman-style tunics and cloaks, illustrating their status as members of the wealthy, Greco-Egyptian elite who adopted Roman fashion. The portrait's power lies in its blending of cultures: while the style is highly Roman, the painting's purpose was purely Egyptian—it was attached over the face of the mummified body, essentially replacing the traditional mummy mask and serving as the face of the deceased for eternity. The work also includes small statues of deities above their shoulders (possibly Hermes-Anubis and Antinous-Osiris), further cementing the syncretism of Roman, Greek, and Egyptian beliefs. Tondo provides rich social and historical detail. The differences in their clothing, skin tone, and facial hair suggest an older and a younger man, supporting the traditional identification as brothers. The man on the viewer's left is often shown wearing a white tunic with a purple border and a shoulder decoration that may be a swastika symbol (used widely in antiquity to represent prosperity or fertility). However, the closeness and unique composition have led some modern scholars to propose they may have been lovers rather than siblings, reflecting the social complexities of Roman society. Today, this iconic work is housed in the Egyptian Museum in Cairo, where it stands as a celebrated masterpiece of both Roman portraiture and funerary art. #archaeohistories

archeohistories's tweet photo. The portrait of the two brothers, dating to approximately 140 AD in Roman Egypt, a stunning example of the famous Fayum mummy portraits. These lifelike paintings represent a unique cultural fusion where the ancient Egyptian tradition of mummification was combined with the Greco-Roman artistic technique of realistic portraiture. Unlike the stylized faces on earlier Egyptian coffins, these panels—painted on wood using the durable and vibrant encaustic technique (pigments mixed with hot beeswax)—captured the true likenesses of the deceased, offering us the most accurate visual record of the people who inhabited this cosmopolitan Roman province nearly two millennia ago.

This particular piece, often known as the "Tondo of the Two Brothers" (due to its circular, or tondo, shape), was discovered in Antinoöpolis, a city founded by Emperor Hadrian. The subjects are shown wearing Roman-style tunics and cloaks, illustrating their status as members of the wealthy, Greco-Egyptian elite who adopted Roman fashion. The portrait's power lies in its blending of cultures: while the style is highly Roman, the painting's purpose was purely Egyptian—it was attached over the face of the mummified body, essentially replacing the traditional mummy mask and serving as the face of the deceased for eternity. The work also includes small statues of deities above their shoulders (possibly Hermes-Anubis and Antinous-Osiris), further cementing the syncretism of Roman, Greek, and Egyptian beliefs.

Tondo provides rich social and historical detail. The differences in their clothing, skin tone, and facial hair suggest an older and a younger man, supporting the traditional identification as brothers. The man on the viewer's left is often shown wearing a white tunic with a purple border and a shoulder decoration that may be a swastika symbol (used widely in antiquity to represent prosperity or fertility). However, the closeness and unique composition have led some modern scholars to propose they may have been lovers rather than siblings, reflecting the social complexities of Roman society. Today, this iconic work is housed in the Egyptian Museum in Cairo, where it stands as a celebrated masterpiece of both Roman portraiture and funerary art.

#archaeohistories

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Who to follow

Tweeting in Greek and sometimes in English but never in German although I live in Germany. IT Guy, Social Media junkie.

Aspa

@aspaonline

Blogger. Mom. Founder of https://t.co/XzWoiL2BhE, https://t.co/EWPwkUr5Ge & https://t.co/19PTdeuDSM

philos retweeted

Nikos Drandakis

@drandakis

7 months ago

Σε κάτι ίσως πιο ενδιαφέρον, θέλω να βοηθήσω τους Έλληνες founders νέων tech εταιρειών με μια μικρή συμβουλή. Αφορμή γιαυτό που γράφω ήταν μια πρόσφατη κουβέντα που είχα με τον CEO μιας πολυεθνικής tech εταιρείας με σημαντική παρουσία στην Ελλάδα. Μου έκανε εντύπωση όταν μου είπε ότι "Δεν μου αρέσει να παίρνω συστάσεις (reference calls) όταν προσλαμβάνω κόσμο. Έχω εμπιστοσύνη στο ένστικτο μου αλλά και στις διαδικασίες που έχουμε στην εταιρεία για τις συνεντεύξεις". Ήταν εντυπωσιακό για εμένα ότι κάτι τέτοιο προερχόταν από τον CEO μιας σημαντικής εταιρείας στην Ελληνική αγορά, και θα μπορούσα να πιστέψω ότι αποτελεί ένδειξη ενός trend. Δεν πιστεύω ότι υπάρχει μεγαλύτερο λάθος από αυτό, ειδικά όταν πρόκειται για πρόσληψη στελεχών που θα δουλέψουν άμεσα μαζί σου. Είναι ένα λάθος που έχω κάνει δεκάδες φορές μέχρι που κατάλαβα ότι πρέπει να το δω αλλιώς. Το να ακολουθείς το ένστικτο σου δεν είναι ποτέ κακό (το κάνω διαρκώς) αλλά αυτό δεν πρέπει να σε εμποδίζει να βάζεις μέσα όσο περισσότερα inputs γίνεται και να το αφήνεις να δουλέψει με βάση αυτά. Η διαδικασία συνεντεύξεων με ένα υποψήφιο είναι κάτι που γίνεται σε συνθήκες εργαστηρίου: ποτέ δεν μπορούν να προσομοιάσουν την πραγματική ζωή. Πολλοί από εμάς είναι τέλειοι storytellers και επηρρεάζουν θετικά μια κουβέντα, ενώ άλλοι είναι πολύ κακοί στο να διαχειρίζονται τέτοιες καταστάσεις αλλά είναι άριστοι στο επίπεδο της καθημερινής δουλειάς, και στο επίπεδο του χαρακτήρα που θέλεις να έχεις δίπλα σου. Αυτά είναι τα δύο βασικά χαρακτηριστικά που θέλεις να δεις σε ένα στέλεχος: ικανότητες και χαρακτήρα. Και, αν υποθέσουμε ότι οι ικανότητες μπορούν να φανούν σε μια σειρά συνεντεύξεων, ο χαρακτήρας του καθενός έχει φανεί πολύ καλύτερα στο ιστορικό του, παρά σε ένα Q&A υπο πίεση. Όσοι έχουν δουλέψει με κάποιον είναι αυτοί που μπορούν να σου δώσουν το στίγμα του χαρακτήρα, αλλά σε ένα βαθμό και των ικανοτήτων. Το πρόβλημα συνήθως είναι ότι, όταν θα κάνεις ένα reference call με ένα παλιό συνάδελφο του υποψήφιου, μπορεί να συναντήσεις αντίσταση στη μετάδοση καλής πληροφορίας, σε βάθος, και κυρίως με ειλικρίνεια. Ένα reference call από μόνο του είναι μια τέχνη που ο Έλληνας founder πρέπει να μάθει μόνος του. Στην Taxibeat είχα υποχρεώσει όλους τους hiring managers να διαβάσουν το βιβλίο του Mark Horstman "The effective hiring manager" το οποίο είχε ένα ειδικό κεφάλαιο στα reference calls. Αλλά υπάρχει πληθώρα βιβλιογραφίας εκεί έξω. Το reference call δεν είναι fact-check του CV· είναι risk-assessment. Δεν γίνεται για να “επιβεβαιώσουμε ότι είναι καλός”, αλλά για 1–2 κόκκινες σημαίες που δεν εμφανίζονται στη συνέντευξη: •Πώς αντιδρά σε πίεση; •Πώς χειρίζεται σύγκρουση; •Πώς αποχωρεί από μια εταιρεία; •Πώς παίρνει feedback όταν δεν του αρέσει; Τα βασικότερα σημεία που πρέπει να προσέξει κάποιος είναι: 1. Να κάνει το reference call με κάποιον που είχε αρκετή εγγύτητα με τον υποψήφιο και δούλεψε πολύ στενά. Ο manager του θα σου δώσει στοιχεία για την απόδοση του (αλλά και το χαρακτήρα) ενώ ένας συνάδελφος για τον τρόπο δουλειάς και τον χαρακτήρα. Ίσως και συνεργάτης από άλλο τμήμα για cross-functional συμπεριφορά. 2. Να επιβεβαιώσει την ακρίβεια των στοιχείων που έχει πάρει από τον υποψήφιο, όπως διάρκεια συνεργασίας, ακριβής ρόλος κλπ 3. Να διερευνήσει το βαθμό εμπλοκής του στα projects που δήλωσε ότι συμμετείχε αλλά και τις ειδικές δεξιότητες του ("Σε τι ρόλο δεν θα τον έβαζες ξανά;"). 4. Να μάθει αναλυτικά για τη σημαντικότερη συνεισφορά του. 5. Να ρωτήσει αν, μπαίνοντας στη θέση του, θα τον προσλάμβανε και πάλι ή τι ενδοιασμούς θα είχε. Μετά το reference call, γράψε σε 5 bullets τα 5 πιο σημαντικά σημεία. Αν καθυστερήσεις, ο εγκέφαλος “μαλακώνει” τις εντυπώσεις. Αυτό βοηθά founders που προσλαμβάνουν γρήγορα. Πολλοί founders νομίζουν ότι αν η σύσταση έχει κάτι αρνητικό, πρέπει να απορρίψουν. Δεν είναι έτσι. Το πιο ώριμο hiring mindset λέει: •κανείς δεν έχει spotless track record. •αυτό που έχει σημασία είναι αν το μειονέκτημα είναι σχετικό με το ρόλο. Η διαφορά αυτή δείχνει εμπειρία. Και κάτι βασικό: το reference πρέπει να γίνεται μετά το panel των συνεντεύξεων, όχι στην αρχή. Πρώτα αξιολογείς τεχνικά / λειτουργικά, μετά κάνεις references για risk-check. Τα reference calls είναι το φθηνότερο risk-mitigation που μπορείς να έχεις στο hiring. Ξοδεύεις μία ή δύο ώρες παραπάνω, αλλά γλυτώνεις μήνες ή και χρόνια μιας κακής συνεργασίας. Hire slow - fire fast.

philos retweeted

Dr. Yousef 🇵🇸

@yousef_ki1

12 months ago

Gaza is starving. Are you still with us ? Do you hear us !💔🇵🇸 If you see this pic, LEAVE a dot. spread it 💔

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Christos Loufopoulos @philos

about 2 years ago

Φωτιά τώρα στην Πάρνηθα. Οι θρακομακεδονες .ες τον καπνό. Μάλλον έρχεται από την πίσω βορεινή πλευρά του βουνού, Κατσιμιδο, Αγ. Μερκουριο

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philos retweeted

The Greek Analyst @GreekAnalyst

almost 3 years ago

Η αποστολή ανθρωπιστικής βοήθειας στη Λιβύη είναι πλέον και επισήμως μία σοβαρή εθνική τραγωδία. Απέραντη θλίψη. Συλλυπητήρια στις οικογένειες των πεσόντων.

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Christos Loufopoulos @philos

about 3 years ago

Και τα Τσετσενια αδέρφια αν τελικά καταφέρουν και κατατροπώσουν τον έτερο αδερφό θα μπορεί να θέλουν και αυτοί να καταλάβουν τη Μόσχα μετά. Ενώ την ίδια στιγμή οι πλούσιοι Ρώσοι θα παρακολουθούν με αγωνία τις εξελίξεις από τα Ντουμπάι-α και την Ερυθρα θάλασσα. Όμορφα...

Kostas Onisenko

@Onisenko

about 3 years ago

Αν ο πουτιν αποσύρει τις δυνάμεις από την Ουκρανία τώρα «για να προστατέψει τη νομιμότητα εντός της χώρας» θα φανεί αρχοντόπουλο: Θα έχει σώσει τη χώρα από τον κακό πριγκόζιν και δεν θα χρεωθεί την υποχώρηση των στρατευμάτων - ουσιαστικά την ήττα στην Ουκρανία.

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Christos Loufopoulos @philos

about 3 years ago

@drandakis Προφανώς για να τους δίνουν δουλειά συνεχώς μάλλον είναι "συνένοχοι" στην αποκρυψη της αληθειας στην κοινη γνωμη και οι πελάτες τους. Τα κόμματα φυσικά και όχι τα ΜΜΕ που δημοσιευουν απλά. Και αυτό συμβαίνει δεκαετίες τώρα.

Christos Loufopoulos @philos

about 3 years ago

Καλημέρα, καλησπέρα, καληνύχτα.

EuroLeague

@EuroLeague

about 3 years ago

THAT JUST HAPPENED 🚨 @kos_slou with the buzzer-beater for @Olympiacos_BC to take Game 3! WHAT an ending 🤯 #7DAYSMagicMoment

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Christos Loufopoulos @philos

about 3 years ago

Ακομη έχω την πρόταση που είχα κάνει σε διαγωνισμό επιχειρηματικότητας του ΟΤΕ το 2006. Με ακριβώς το ίδιο micropayment concept για αρθρογραφία. Κάποιοι ακολούθησαν τα όνειρα τους. Όχι εγώ...

Elon Musk

@elonmusk

about 3 years ago

Rolling out next month, this platform will allow media publishers to charge users on a per article basis with one click. This enables users who would not sign up for a monthly subscription to pay a higher per article price for when they want to read an occasional article. Should be a major win-win for both media orgs & the public.

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philos retweeted

Nikos Drandakis

@drandakis

about 3 years ago

Revolutionary.

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philos retweeted

spyros_dovas @spyros_dovas

about 3 years ago

Μέσος όρος ηλικίας θηλέων υποψηφίων 41. Μέσος όρος αρρένων υποψηφίων 59. Ούτε ένας ανδρας υποψήφιος έχει ηλικία κάτω από τον *μέσο όρο* των γυναικών. Ούτε μια γυναίκα υποψήφιος έχει ηλικία πανω από τον *μέσο όρο* των ανδρών. Discuss.

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philos retweeted

Vivian Efthimiopoulou 🎗️

@vivian_e

over 3 years ago

♥️#ΜεΤουςΜπαχαλους #ΔιωξτεΤουςΤουριστες ♥️

Christos Loufopoulos @philos

over 3 years ago

The sound of death... via @tgeorgakopoulos

🅹🅾️🅴🆈աrecκ ☭‎

@joeywreck

over 3 years ago

Footage during the earthquake. The sound is awful.

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Christos Loufopoulos @philos

over 3 years ago

Ποσες παρομοιες ιστορίες να υπάρχουν ακόμη που δεν θα μάθεις ποτέ.

Vivian Efthimiopoulou 🎗️

@vivian_e

over 3 years ago

Συναρπαστικό και αληθινά συγκινητικό. https://t.co/3hTQi4q4PT

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Christos Loufopoulos @philos

over 3 years ago

το κλειδί είναι η γνώση.

Thodoris Georgakopoulos @tgeorgakopoulos

over 3 years ago

"ο ανθρώπινος πολιτισμός μας βασίζεται σε τέσσερις πυλώνες, τέσσερα υλικά χωρίς τα οποία τίποτε από όσα αναγνωρίζουμε ως σύγχρονη ζωή δεν θα μπορούσε να υπάρξει" μαντέψτε ποια: https://t.co/UQTiWNqgqM