It is huge historical project to try to summarize the legacy of Napoleon Bonaparte. AI is by design less hesitant to come up with any length of a summary statement some with good references on which the statement is based. In combination with a visit at Fontainebleau and a first hand impression of the environment of the autocratic ruler, the remainders like the introduction of a Civil Code to guide also administrations to lawful conduct, we still see influences of this legal innovation in many other countries across the globe. The recognition of Jews as equal citizens and to allow equal access to property and many professions have been influential across Europe mostly in occupied territories. Military service for Jews in Napoleon’s army was another consequence, which spread into the Prussian army and the 1st world war. It is in the 21st century that we see shifts towards more authoritarian governance styles spreading again, we did not want to see this happen until Russia‘s war in Ukraine. (Image: La Chair de la forêt, Frénésie des Géants by Wang Keping Fontainebleau 2025-8) 
Fontainebleau garden
The garden of Fontainebleau is huge. The design by “Le Notre” is splendid in its combination of trees, greens and water reserves. Beyond walking in the park you may enjoy a horse ride ora tour in a carriage, some even today. Boating is an additional amenity rarely available at other castles. In the Belvedere in the middle of the water basin romantic or secretive diplomatic conversations might take place. Politics and diplomacy have always needed special locations to prepare decisions. This is a historical constant.
Fontainebleau library
The “Galerie de Diane” in Fontainebleau has been built during Napoleon’s reign. It hosts the library with a large collection of books. The function of the books seems to be more to intimidate the persons passing by rather than ready for inspection. The globe at the entrance reflects the ambition of the ruler. The fact that you have to walk some stairs upwards increases the impression to be little compared to this universe of knowledge. It is great that libraries have flipped this perspective and today we study the period of Napoleon’s reign with our democratic values in mind. The top-down approach was the incarnation of Napoleon’s style of government. Despite the revival of such governance styles in the 21st century across the globe, they are unlikely to last for more years than Napoleon’s fate. A simple reason for this may be the only representative or intimidating role of knowledge in such forms of governance rather than an open mind approach.
Fontainebleau Throne
The French history is full of kings and emperors who have ruled the country. The Chateau Fontainebleau has the longest history of kings who lived there and held office, a pre-modern version of “home office”. The most remarkable and distinguished furniture of a king is the throne reserved for office hours. Napoleon created a special throne room at Fontainebleau which is also the only one preserved in its original form until today. It is just one of the home office rooms of the emperor. The antechambers, council room and study had to be passed before to reach the ear and audience of the emperor. The history of the home office and thrones have been intertwined ever since.
Paris Sorbonne
The history of the university on the left bank of “La Seine” dates back to 1257 when Robert de Sorbon an advisor to Louis IX was asked to create a unifying structure of several colleges which provided room and board already. The location on the left bank in Paris allowed these colleges to escape the religious doctrines and archbishop who dominated the right bank. The choice of the name of the advisor rather than the King was already showing early signs of independence which was cherished by generations of students and professors. The Colleges had individual names like “Collège des Bernardins” or “Collège de Navarre” and operated under the title of “La Sobonne”. The “Musée Histoire de Paris Carnavalet” shows an early design of the Collège de Navarre. Independent thinkers and writers were formed there who became very influential later on in their careers. Thomas d’Aquin was one of them.
Paris Olympics history
The 2024 Paris Olympic Games will go down in history as the event that has achieved to put Olympic Games and Paralympic Games on an equal footing. At least this is the message the museum of the history of Paris tries to transmit. In the “Musée Histoire de Paris Carnavalet” we find a vase from the Games from 1924 in Paris next to the 2 Olympic torches, one for the Paralympics and one for the Olympics 2024. Both torches are the same only a different logo on them, same message, same spirit. The impact of these games is likely to set an example for many years to come and other hosts of the Games will be measured against this benchmark. Making history is one thing, taking care of the posterior image another one. Paris has taken of this as well.
liberté urbanité
In the museum of the history of Paris “Musée Histoire de Paris Carnavalet” we find a special place devoted to the commemoration of the terror attacks in Paris in the Bataclan event location and the office of the journal “Charlie Hebdo” (see image below”. The skateboard on the bottom left of the wall raises the value of “urbanité” next to liberté, égalité, fraternité. The attack of an urban living style with youth going out as they like and journalists and caricaturists speaking their minds freely had been attacked, but continues nevertheless. This statement is part of the Paris state of mind.
Paris History
The “Musée Histoire de Paris Carnavalet” is the starting point for visitors of Paris and social scientists to better understand the making of this metropolitan city throughout centuries. The only common factor over the years is the astonishing determination to reinvent the city every 100 years whilst the best features of the previous periods are preserved. It is the concern for the very long-term time horizon that makes the city quite unique. Even a social revolution (1789) unlike most other countries managed to preserve most buildings, churches and royal palaces. Restorations are undertaken with a careful approach to shield its architectural and social heritage. Even the radical transformation by Haussmann over almost 20 years until 1870 to build large corridors in the city is subject to revision in modern visions of the future of Paris. The app of the museum is very helpful to learn more details about each chosen object of the permanent exhibition. The social fabric of the city can be studied further through app’s feature when representatives of local social organizations speak about their personal piece within the huge collection on display. The larger the “fundus”, the more the rationale for selecting pieces becomes an issue. (Image: Musée Histoire de Paris Carnavalet inner court 2025). 
Emotional history
The making of emotional memories of a city is an art in itself. Many cities have professional photographers who accompany all major events in a city over years. Paris has had the chance that artist photographers and film makers have contributed greatly to the emotional history of the city. Agnès Varda was such a formidable person whose images and movies moved people and allowed to share emotions about the city’s busy and diverse neighborhoods. The « Musée Histoire de Paris Carnavalet » combines an autobiographic perspective with the emotional depiction of live in Paris from the 1950s onwards into the late 20th century. (Image: Agnès Varda, 1950 self-portrait, MEP Paris).
Femmes Photographers
Paris puts 2 women photographer into the spotlight. The MEP and the Musée historique de la Ville de Paris feature a gender perspective on photography. Both photographers have a common starting point in black and white photography. Each moved on to develop their art into an additional direction later during their career. Marie-Laure de Decker shifted from the early camera technology from black and white images to color photography in the later stages of her career. Agnès Varda moved from her initial b/w photographic work on to the production of videos for cinema, mainly focused on life in Paris from the early 1960s onwards. An evolution over the professional life becomes evident for both through these retrospectives of their respective work. Technologies evolved and became more accessible for artists’ creative expression. Both moved on to adopt new techniques and challenges. Great personal learning experiences and models for today’s challenges.
(Image Marie-Laure de Decker, L’image comme engagement 2025-8 MEP Paris).
Gentileschi Heroine
The choice of a woman as heroine in a painting beyond religious topics was innovative in the early 17th century. Artemisia Gentileschi chose Cleopatra as her character in the ultimate scene of Cleopatra‘s life. The heroic act of guiding the poisonous snake to bite her under her arm is the ultimate act of Cleopatra to have served her country and people. As history books are full of male heros Artemisia Gentileschi succeeded in drawing attention to the biased gender stereotypes in art and art history beyond the 17th century.
Gentileschi Iconologia
Ever since the publication of Cesare Ripa’s „Iconologia“ (1593) the codes of art had become subject of a coded production and interpretation of art. Attributes of power or wealth like palms, scepters or crowns, decorated with gold and diamonds spoke a language easily understood by onlookers irrespective of time periods. Orazio and his daughter Artemisia applied this Iconologia throughout their work. The apparently simple depiction of bad weather became a sign of trouble ahead in a person‘s life, office or reign. From the success of Caravaggio‘s paintings, the application of light and shadow became another stylistic feature of especially Artemisia‘s work. Whereas the application of these techniques is a sign of craftsmanship, the own contributions like a more emotional and emancipatory repertoire of Artemisia make her an artist of her own kind. (Image Artemisia Gentileschi, Madelaine pénitante 1625, Musée Jacquemart André“ in Paris 2025-8)
Women artists
The history of art has been dominated in public opinion for centuries by men. However, recently art historians have drawn our attention to the numerous works of women who took Centre stage with their art during the last 500 years. Flavia Frigeri (2019, 2024) begins her history of women artists with Lavinia Fontana (1552-1614) followed by Artemisia Gentileschi (1593-1652). Both painters produced extraordinary paintings which brought their own touch to the paintings at a time when an independent expression through art was still largely reserved for men. The subjects of Gentileschi were greatly influenced by her experiences as a woman in a male dominated society in the 17th century in Europe. Her choice of subjects for her paintings added a female vision and depiction of biblical and historical narratives that were unique. The „Musée Jacquemart André“ in Paris featured a great retrospective of her art work in 2025. The catalog of the exhibition allows to enter into the art and wit of this early woman artist.
Zadkine Van Gogh
Ossip Zadkine has been a sculptor in cubists’ art tradition. He created famous sculptures of Vincent van Gogh after the death of the renowned painter and his friend. The Zadkine museum in Paris allows to get a great impression of these artworks. These sculptures reveal an interesting life course perspective on both artists sensitivity and transformation of their impressions of others or emotions more generally. The first study depicted below by Ossip Zadkine of van Gogh shows how he carefully studied the traits of van Gogh and his personality in order to better understand the evolution and death of the fellow artist. The emotional and broader psychological aspects of a character captured both artists. Doing justice to these inner feelings and society’s judgments about art and artists at their time of creation had strong impacts on both artists.
Water fountain
The design of water fountains is a bit of technology and a lot of art work. The provision of water for larger basins in castles was pioneered by garden architect Le Notre in France as early as the 17th century. He took ideas from Italian designers to integrate them in his French squared designs and surprising perspectives. Vaux le Vicomte is a splendid example and a source of inspiration for many even centuries later. Listening and watching the water fall from level to level downwards calms the spirit. Worth exploring yourself.
Climate Awareness
The Musée d’Orsay has prepared a wonderful walk through its permanent exhibition of late 19th and early 20th century installations to reflect upon climate and climate change. Raising awareness about the treasures lost and those we are about to lose in the next few years. Impressionist painters have depicted landscapes, cities and monuments covered in snow, which the next generations will no longer be able to enjoy the same way. The roofs of Paris covered with snow has become a feature of a distant past. Additionally, the impression of the massive steam trains crossing metal bridges appear as the daunting future of technical progress. Mixed feelings of fascination and risk associated with those machines were captured by those painters’ eyes. Nowadays we are aware of the consequences of this technical progress for our planet. The walk through museum with a focus on climate related paintings is eye opening indeed. (Image: Extract of Éduard Veuillard, Le jardin des Tuileries, Musée d’Orsay, Paris)
Museum Marketing
The century old idea of a column that keeps people informed is prominently displayed at the Musée d‘Orsay in Paris in 2025-7. The example on display demonstrates the Parisian adaptation of the „Litfasssäule“ to the local architecture. The marketing tool of a round display for posters rather than the flat depiction of images has its own „Charme“. The huge version of a sign post allows to display a lot of information and a close reading as well. The cross cultural adaptation is interesting as most people would believe it is a rather unique Paris invention, whereas it is an adaptation from elsewhere. Of course, it has the French touch to it, which makes it unique in a sense again.
Electrifying Jobs
The transition to the “all electric society” necessitates to prepare the labor force for the upcoming challenge. The knowledge about electricity and electric appliances constitutes the basics of the knowledge base of the future. This goes far beyond the basics of physics and electrical engineering. There many processes like sharing of electric infrastructure in households, cities, in and beyond countries that have to be delt with. Investment calculations and legal issues to address the different risks involved are another area to cover in the process to prepare society for the “all electric society”.
However, the skills of professions with more direct links to the fossil fuel based technologies have a role in the phasing out of the heavy reliance on fossil fuels. Reverse engineering of such engines and heating will need people still knowledgeable of the past, when younger generations set their focus primarily on professions with links to electricity. Even using a solar powered heat pump in a home requires pipes to the existing network of radiators, for example. This will most likely be a gradual shift of the job structure and occupational requirements over at least a decade, but the shift has started already. Some might argue we need a well functioning “transitional labour market”, labour market policies and social security system for this to happen smoothly.
Pepper and Nao
We have seen many persons that became somehow emotionally touched when addressed by Pepper or Nao. These 2 versions of a humanoid robot have served for thousands of persons as the first welcoming moving information desk. I have been guided through museums (DTM, Berlin) and exhibitions by this robot guide with a friendly outlook. Beyond those experiences there is a lesson in industrial policy to be learned from this innovative French humanoid robot. The start-up enterprise was founded as early as 2005. With a substantial funding of ½ billion € from Softbank the enterprise could develop robots for the fields of personal companionship, education, restaurant services or personal care for the elderly.
We have seen the robots at international fairs in several countries, but the prohibitive costs have limited the rapid spread of the robots to broader applications. Subsequently, the decline of the enterprise, or not reaching financial targets fast enough, caused the loss of financial support for the enterprise. In 2025, Aldebaran filed for bankruptcy and the patents will be sold to the best offers. The employees received generous packages of departure and will most likely find rapidly jobs in other robotics, IT or AI related fields.
The loss is probably greatest for the persons who were serviced by Pepper or Nao in elderly homes or the Swiss hospitals, as spare parts or updates will no longer be available. The humanoid robot story is yet another case where the social, economic and financial context of technology is overriding the technological innovation process. 
History coined
It is an ambitious project to frame history of a country or continent according to the succession of coins. In the KBR such an attempt is currently on display in 2025. The history of a country in the center of Europe is reflected sometimes through different occupying forces who imposed their currency onto the occupied territories. The Greeks and Romans had an overriding impact on the development of coins in human history and society. Precious metals were used as basis to embody lasting value into coins. The images on coins are also a way to reiterate the dominance of a new ruler or governance. From the Roman occupation there are nice specoin the KBR collection as Julius Caesar named one part of the 4 occupied territories “Belgica” beyond what we define as borders of Belgium in the 21st century. Control of your own currency means also to be able to produce unique pieces in your own foundries. The history of coins is also a history coined by those in power to enforce their political power onto the economy. (Image: KBR, The history of Belgium illustrated through coins, 2025).
Energetic Architecture
The link between energy and architecture is all to obvious. For at least a century we believed that energy had to serve architecture and could be relegated to second place. With global warming the overriding importance sits with energy concerns for some years to come. We spend billions to repair the bad architectural and fast growth architecture of the post 2WW era of architecture, especially the construction boom of the 60s and 70s. The driver of change in architecture has moved from the period of social architecture (60s, 70s) to energetic architecture. Energy in architecture has multiple dimensions. Whereas a century ago the shift consisted in the installation of central heating systems in the northern hemisphere of the globe at scale, in the 21st century the concern there shifts to isolation from heat (and cold) to more efficient, less polluting energy provision. Cooling houses and office spaces during extended periods and higher peeks of heat, ask for substantial revisions of existent architecture and the next generation of energetic architecture. Before long, we shall also think more seriously about the handling of water in architecture, a topic which is closely linked to energy consumption and design.
From a sociological point of view we are used to ask questions of social inequality related to this issue as well. We are on the way to move into a society of energy-rich versus energy poor households and enterprises. Financing of adaptations of housing and offices to the energetic challenges is likely to create severe additional inequalities, which exacerbate the already existing ones. If you have no money to spare, you will be unable to invest into energy savings with more distant returns on investment (ROI). At older age you are less resistant to heat waves and causes health disadvantages. If previous investments were impossible or the urgency for energetic architecture was neglected for too long, additional health inequalities shall arise.
The “Deutsches Architekturmuseum” has built an exhibition around this theme, which widens the perspective of architecture and energy. This highlights the additional concern for energetic architecture and people living or working in (modern) architecture.
(Image Trier Roman arena 2025)
Warming continues
The global warming continues to change our landscapes. Heat waves, droughts and flooding become more often. Average temperatures keep rising. The evidence from meteorological data is showing this beyond doubt. Our forest take the toll and reports document the worsening situation for many trees (Germany and Switzerland). An adaptation will take years if not decades. In the region around Paris some home owners have started or been forced to adapt their gardens to the warming weather conditions. Trees that do not support the consequences of warming die and we witness the changing of the landscape. Palm trees near Paris have survive for years by now near Paris and can grow rather tall.
Like it or not, the visual landscape will change despite the many great initiatives launched by the city of Paris to stop the warming of the city.
Satie Popular
Erik Satie has been quite involved with the surrealist and Dada movement of his time. He personally knew the main proponents ranging from Breton to Magritte. He became one of the major figures applying the ideas of surrealism to music. His early compositions like the Gnossienne (extract of Nr. 1 below) are admired for their simplicity. They became popular only years later and have entered popular music repertoire through many retakes of the original tune in various styles ranging from jazz to rap. Many of Satie’s formative years he spent playing and performing popular music in the animated cafés, bars and shows of Montmartre in Paris. The making of a living based on music can be a challenge. Satie had to bear the full risk of a life in poverty at times to reserve sufficient time for his creative work.
He remained very much connected to the working class as his later membership of the Communist party after the Great War testifies. Composing for children and transmitting music to the next generation was equally close to his heart and mind, especially in his later years.
For him, popular music constituted a fountain of original tunes and a test with an intuitive audience rather than the academic circles. Maybe, with this attitude, he followed the footsteps of Flotow, Offenbach, Ravel and many others later on until pop music became the vastly dominant music in the late 20th and 21st centuries.
Erik Satie Satisfied
The collection of letters from Erik Satie contains more than 1000 letters amongst them some in exchange with the best artists of his time. The range is largely due to the circle of artists who met at Montmartre in Paris before and during the Great War. We discover letters to Maurice Ravel, Claude Debussy, Pablo Picasso or Henri Matisse. For some artists there are 100+ letters preserved like to Jean Cocteau. In the 1920s he composed music for shows at Montmartre, where the scenario was painted by Pablo Picasso and costumes designed by Coco Chanel. The sculpture by Brancusi must have been familiar to him, just as much as the cubist paintings by Georges Braques, as there are also letters or references to such letters in the impressive 1000+ pages collection. Like Ravel he was rejected by the Conservatoire de Musique de Paris in his early days as student. Montmartre allowed to live and create at the same time while living on a minimal budget. Erik Satie signed his letters with ES. In German this denotes a “neutrum”, maybe, beyond male or female differentiation, but also a tonality in music (E flat). There is no trace that this was a conscious choice. It is just another unresolved puzzle about the self-declared “Gymnopédiste” and composer of the “Parade” and the popular piano music the “Gnossienne”. 100 years after his death on 1925-7-1 he (ES) could be rather satisfied with his impact on the course of music in the 20th century and beyond.
Travel Trumped
The travel and tourism sector of the U.S economy takes quite a hit from Trump‘s anti Canada and Europe tariffs and rhetoric. The Wall Street Journal (2025-6-3) reports data until May 2025 which show a 6% decline in international air travel and a 12% reduction in air arrivals from Europe (reference same period last year). Canadians seem to reduce their travels to the US as well, hitting many regions just across the long joint border. Airline bookings are an early warning indicator, but the more drastic figures are to be expected from the loss of spending tourists do not dispense in the US any more. Additionally, sizeable shares of US tourists travel to other countries due to the disgusting Trump rhetoric and spend their holiday budgets elsewhere. Trump‘s tariffs has focused a lot on redressing the trade balance of goods, but the balance of services like in tourism is worsening day by day now. The political economy of tariffs has multiple feedback effects which are quite hard to predict.
Citizen Walk
Capitals like Paris and Berlin make great efforts to improve the walkability of their cities. After decades of focus on automotive traffic and mobility and the detrimental effects on health for several generations of people, the awareness that walking citizens are part of the solution is spreading. Citizens of Paris voted in a referendum to stop circulation of cars in 500 more streets. In Berlin pedestrians unite to mobilize more people to take to the streets as well and reclaim walking space. In high density spaces like metropolitan areas it is possible to reach all major amenities within a reasonable walking distance. The more spread out suburban area, however, leve fewer options to walk and carry your shopping or do your dily commute to work while walking. Fewer cars and pharmaceutical products sold would mean less „artificial economic growth, but more healthy and happy citizens. It will take decades again to realize such visions.
Odessa Berlin Odessa
With a sense of partnership, it is possible to travel between Odessa and Berlin in the “Gemäldegalerie” in Berlin 2025. Due to the war of Putin in Ukraine the “Museum of Western and Eastern Art” in Odessa had to relocate its treasures to safe places. The Gemäldegalerie offers a chance to view the splendid collection nevertheless. The curators’ team in a spirit of “art intelligence” propose, in a splendid way, most oeuvres from Odessa next to an example by the same painter from the Berlin collection. The visitor leaves the exhibition enriched by an experience of “jumelage” (engl. sister cities) of partnerships between museums, cities and their people.
In fact, we have shared the same imagery or visual heritage in Europe for centuries . The collections of paintings ranges from the 16th -19th century art or from Frans Hals to impressionist influences.
We shall cherish the return of the collection to Ukrainian Odessa as soon as possible. The image below shows the places of origin (yellow dots) of the art works of the Odessa collection across centuries (map from the exhibition).
Permanently anxious
„There’s a set of forces that want us to be permanently anxious“, is the phrase chosen by Tony Cokes in the exhibit just outside the „Palais Populaire“ in Berlin in 2025-5. International politics and the economic upheaval caused by Trump’s tariffs contribute to the already existing other sources of anxiety like nuclear energy and warfare. Global warming causing more extreme weather events add more man-made reasons for anxiety. The next generations will have to foot the bills we have left to them unpaid. Our current shortsightedness increases anxieties which previous generations have not known of a similar kind or in that combination.
Community building and solidarity are ways to overcome such overwhelming anxieties. Supranational organizations like the European Union have an even stronger role to play to reassure its people with credible signs of solidarity. We are not alone in the struggle to overcome the anxiety that is creeping up around us. We are certainly stronger together than individually dealing with unspecified fears. „We shall overcome …“
Margot Friedländer memorial
Berlin has been honored by the return of Margot Friedländer who had survived the Shoa in 2010 at the age of 88. Her whole family was murdered in concentration camps by the Nazis. Ever since her return and especially after her biography had been published she was a restless ambassador in the fight against hate, exclusion and the neo-fascist movements. She has been engaged in interreligious dialogue and even through the ceremony after her death, she tried to bring together different Jewish communities in Berlin.
Irrespective of a person’s background she met everybody on an equal level.
A great example to thousands of people, she managed to meet in her life. Each time she met with pupils or students to speak about her horrific experiences she lived through the same traumatic experiences again and again, but turning this into the strength to “vaccinate” people against the deadly virus of fascism.
The day after she had been buried in her family’s grave in Berlin Weißensee people still had to queue to sign the book in her memory in the Berlin town hall. She will be remembered and missed for her unrivalled humanity and generosity. She became engaged to fight for humanity and remained an activist until her very last day at 103 years of age.
Lviv Ukraine
Small galleries can make a real difference. In Berlin the gallery “streulicht” has a selection of photos in an exhibition that portraits artist from Lviv in Ukraine. Hans Hugo Hoffmann manages in his photographs to depict the extraordinary resilience of Ukrainian creative persons who live through a protracted war of their country against the Russian aggressor. The persons embody the strength of resisting through their art work despite the wounds inflicted on their families or the people of Lviv and the whole of Ukraine due to the war. The persons portrayed try to continue their normal day to day work, knowing that nothing is normal anymore in Ukraine. “Bizarre Normality” characterizes our perspective on these artists, who are thrown into a world of events that we no longer thought might be possible in Europe. Bucha and other crimes by Russian soldiers in this Russian aggression leave traces in the faces of Ukrainian people and even beyond. We all wish that the people of Ukraine can return to “normality” as soon as possible, although we know that nothing will be normal as it was before the Russian invasion.
