Arabs & Arabian Records Aggregator. Chronicler. Milestones of the 25 Countries of the Arabic Speaking World (official / co-official). AGCC. MENA. Global. Ist's to Top 10's. Records. Read & Enjoy./ www.arabianrecords.org
Numbeo, the world’s largest cost of living database, has released its Quality of Life Index by City 2025. With a score of 178.7, Doha ranks 3rd overall in Asia and 77th globally.
The Quality of Life Index by City is calculated based on purchasing power index, safety index, healthcare index, cost of living index, property price to income ratio, traffic commute time index, pollution index, and climate index.
Top 10 in Quality of Life Index by City 2025: Asia
For generations, rural households in Tunisia have burned olive waste for cooking and heating, or used it as animal feed
The International Olive Council estimated Tunisia will be the world’s third-largest olive oil producer in 2024-2025, with an expected yield of 340,000 tons
In a northern Tunisian olive grove, Yassine Khelifi’s small workshop hums as a large machine turns olive waste into a valuable energy source in a country heavily reliant on imported fuel.
Holding a handful of compacted olive residue — a thick paste left over from oil extraction — Khelifi said: “This is what we need today. How can we turn something worthless into wealth?“
For generations, rural households in Tunisia have burned olive waste for cooking and heating, or used it as animal feed.
The International Olive Council estimated Tunisia will be the world’s third-largest olive oil producer in 2024-2025, with an expected yield of 340,000 tons. The waste generated by the oil extraction is staggering.
Khelifi, an engineer who grew up in a family of farmers, founded Bioheat in 2022 to tackle the issue. He recalled watching workers in olive mills use the olive residue as fuel.
“I always wondered how this material could burn for so long without going out,” he said. “That’s when I asked myself: ‘Why not turn it into energy?’“ Beyond profit, Khelifi hopes his startup helps “reducing the use of firewood as the country faces deforestation and climate change.” At his workshop, employees transport truckloads of olive waste, stacking it high before feeding it into the processing machines.
The material is then compacted into cylindrical briquettes and left to dry for a month under the sun and in greenhouses before its packaging and sale.
Khelifi began developing his idea in 2018 after he traveled across Europe searching for a machine to turn the olive paste into long-burning fuel.
Unable to find the right technology, he returned to Tunisia and spent four years experimenting with various motors and mechanical parts.
By 2021, he had developed a machine that produced briquettes with just eight-percent moisture. He said this amount sign
ificantly reduces carbon emissions compared to firewood, which requires months of drying and often retains more than double the amount of moisture.
Bioheat found a market among Tunisian restaurants, guesthouses, and schools in underdeveloped regions, where winter temperatures at times drop below freezing. But the majority of its production — about 60 percent — is set for exports to France and Canada, Khelifi said.
The company now employs 10 people and is targeting production of 600 tons of briquettes in 2025, he added.
Selim Sahli, 40, who runs a guesthouse, said he replaced traditional firewood with Khelifi’s briquettes for heating and cooking. “It’s an eco-friendly and cost-effective alternative,” he said. “It’s clean, easy to use, and has reduced my heating costs by a third.”
Mohamed Harrar, the owner of a pizza shop on the outskirts of Tunis, praised the briquettes for reducing smoke emissions, which he said previously irritated his neighbors. “Besides, this waste carries the soul of Tunisian olives and gives the pizza a special flavour,” he added.
Given Tunisia’s significant olive oil production, waste byproducts pose both a challenge and an opportunity.
Noureddine Nasr, an agricultural and rural development expert, said around 600,000 tons of olive waste is produced annually. “Harnessing this waste can protect the environment, create jobs, and generate wealth,” he said. Nasr believes repurposing olive waste could also help alleviate Tunisia’s heavy dependence on imported fuel.
The country imports more than 60 percent of its energy needs, a reliance that widens its trade deficit and strains government subsidies, according to a 2023 World Bank report.
Fuel and gas shortages are common during winter, particularly in Tunisia’s northwestern provinces, where households struggle to keep warm. Redirecting agricultural waste into alternative energy sources could ease this burden.
Yet for entrepreneurs like Khelifi, launching a startup in Tunisia is fraught with challenges.
“The biggest hurdle was funding,” he said, lamenting high-interest bank loans. “It felt like walking on a road full of potholes.” But now his goal is “to leave my mark as a key player in Tunisia’s transition to clean energy,” he added. “And hopefully, the world’s, too.”
source/content: arabnews.com (headline edited)
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A man arranges rolls of olive pomace at the grounds of start-up Bioheat, on Mar. 3, 2025 in the town of SanHajja near Tunis. (AFP)
Consumers buy in large quantities, as chocolates are a key part of Eid celebrations
Prices vary based on the type, origin, packaging and serving plates
The sweets and chocolate market is growing, driven by rising consumer demand for diverse options, high chocolate demand and special Eid Al-Fitr promotions that boost sales.
According to the Zakat, Tax and Customs Authority, the Kingdom’s chocolate imports exceeded 123 million kg in 2024, reflecting increased demand, the Saudi Press Agency reported on Saturday.
The UAE, the UK, Jordan, Egypt and Turkiye are among the main countries from which the Kingdom imports chocolate, offering a variety of products to meet consumer expectations.
Shops are eager to offer a wide range of locally manufactured and imported sweets and chocolates. Consumers buy in large quantities, as chocolates are a key part of Eid celebrations. Prices vary base
d on the type, origin, packaging and serving plates. Local sweets range from SR30 ($8) to SR150 per kg, including candies, toffee, biscuits and chocolates.
The authority attributed price stability to abundant production and low manufacturing costs, though imported sweets, especially from Europe and the East, are pricier. Pure or dark chocolate with special fillings can cost up to SR300 per kg.
source/content: arabnews.com (headline edited)
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The sweets and chocolate market is growing, driven by rising consumer demand for diverse options, high chocolate demand and special Eid Al-Fitr promotions that boost sales. (SPA)
Saudi Arabia’s Ministry of Culture has announced the Kingdom’s inaugural participation at the 24th International Exhibition at the Triennale Milano design museum in Italy later this year, with a pavilion dedicated to the agricultural oasis of Al-Ahsa.
Curated by Lulu Almana and Sara Al-Omran, with Alejandro Stein as creative director, the exhibition is hosted by the Architecture and Design Commission and will be titled “Maghras: A Farm for Experimentation.” It will run from May 13 – Nov. 9.
It will explore the intersection of farming traditions, ecological shifts and cultural memory within a rapidly transforming landscape. The exhibition draws from research, artistic interventions and community-driven programs cultivated at Maghras, a farm and interdisciplinary space in Al-Ahsa.
Al-Ahsa, located in the Eastern Province, has been historically defined by its abundant water sources. It has undergone significant environmental and social transformations, mirroring broader changes in agrarian communities worldwide. The area has been farmed since the third millennium BCE.
The pavilion takes the form of a transplanted maghras — a traditional unit of land defined by four palm trees. Through videos, sound installations and participatory programs, the exhibition invites audiences to engage with Al-Ahsa’s evolving agricultural ecosystems.
In the lead-up to the exhibition, artists, architects, and researchers collaborated with Al-Ahsa’s farming communities, gathering firsthand insights into the region’s shifting landscape. This knowledge exchange was further explored through performances, film screenings and local workshops examining the deep connections between culture and agriculture.
In collaboration with Google Cloud, Media City Qatar’s initiative, ‘Qatar ArtBeat,’ united the nation’s voices to create a groundbreaking AI-generated artwork.
Qatar National Day marks the unification of the nation in 1878—a defining moment in its history. Celebrated annually on December 18, it is a day to honour Qatar’s rich heritage and look ahead to its boundless aspirations for the future.
At Media City Qatar, we asked ourselves: How can we celebrate this cherished tradition while embracing the innovations that shape tomorrow? How can we bridge the past and the future, merging tradition with technology, to unite our people in a shared celebration?
The answer was ‘Qatar ArtBeat’.
A groundbreaking activation in partnership with Google Cloud, this initiative brought together the collective voices of the nation to generate an AI artwork co-created by the nation. This innovative project marked a historic milestone, merging culture and technology in an unprecedented way.
‘Qatar ArtBeat’ not only captured the collective spirit of Qatar but also set a Guinness World Records™ for the “Most People Contributing to an AI-Generated Image,” with over 15,000 contributions, more than 5.4 million people reached, and in excess of 68,000 engagements from across the country. This milestone showcases the potential of technology to unify communities and amplify their voices on a scale never seen before.
Celebrating innovation and tradition
‘Qatar ArtBeat’ invited citizens and residents to share their reflections on what Qatar means to them between December 9 and December 17 through Media City Qatar’s social media channels.
Additionally, public conversations on various platforms were analysed, with responses processed by Google Cloud’s advanced AI technology—such as Vertex AI platform, Gemini models, and BigQuery data platforms. This cutting-edge process transformed sentiments found in social media comments and posts into a cohesive and breathtaking artwork co-created by the nation, for the nation.
The final masterpiece, unveiled on December 18, became a visual narrative of Qatar’s collective aspirations and creativity. The initiative perfectly symbolised the harmony between the nation’s traditions and modern innovation, showcasing how technology can preserve and celebrate cultural identity in meaningful ways.
By engaging communities across Qatar, the activation demonstrated how digital platforms can foster inclusivity, accessibility, and collaboration. This activation ensured that every voice contributed to the nation’s story, transforming individual reflections into a collective celebration of shared values and unity.
Pioneering the future of digital media
As a catalyst for next-generation media and technology, Media City Qatar connects media companies, entrepreneurs, innovators, and creative talents to shape the future of the industry.
Our focus spans gaming, news, digital and social media, media technologies, content localization, animation, broadcasters, production and post-production, and publishing. We take particular pride in fostering initiatives that celebrate Arabic-language content, uniting tradition with modern innovation.
By encouraging enterprises that specialise in the Arabic language or seek to expand into Qatar and the Middle East, Media City Qatar continues to champion the region’s voice on a global stage.
‘Qatar ArtBeat’ exemplified this mission, setting a new benchmark as the first-of-its-kind initiative in Qatar—and possibly worldwide—that achieved a new world record.
The project also highlighted the transformative potential of generative AI in storytelling and community engagement. By leveraging Google Cloud’s advanced technology, reflections were seamlessly transformed into art, reinforcing the significance of human input in creating impactful digital experiences.
A legacy for Qatar and beyond
As we look to the future, we imagine the children of today—tomorrow’s dreamers and innovators—continuing to celebrate the heritage of this great nation.
‘Qatar ArtBeat’ is a promise that Qatar’s story will be told in new and imaginative ways for generations to come. At Media City Qatar, where next is made, we are proud to help shape that future, blending tradition and technology to inspire the Qatar of tomorrow.
A discovery in Morocco has unveiled the oldest Cerapodan dinosaur fossils on the planet – dating back 174 million years.
The fossils, dug up in the rocky lands of El Mers III, near Boulemane, could change everything we know about these humongous plant-munching creatures. Before this, the only known fossil from this period was a lonely thigh bone found in the United Kingdom.
Experts from Sidi Mohammed Ben Abdellah University in Fez and the UK’s Natural History Museum made the find and published their report on March 12.
Though the fossil isn’t complete, researchers say it proves Morocco was home to some of the earliest herbivore dinosaurs ever recorded. Even more exciting is that the same site also contains some of the world’s oldest ankylosaurus and stegosaurus.
During their early days, Cerapodans walked on two legs and used their front limbs to grab food. But over time, some bulked up, dropped to all fours, and developed powerful chewing skills, making them the top plant-eaters of their era.
Scientists say these creatures split into two groups – Ornithopods (which include duck-billed dinosaurs) and Marginocephalians (which had fancy headgear). The Moroccan fossils belong to the Ornithopods.
This discovery is a game-changer in dinosaur history, suggesting the Middle Jurassic was a key moment for these giants to take over the prehistoric world.
What do Wallada Al-Mustakfi, Rufaida Al-Aslamia, Dayfa Khatun, and Aminatu have in common? They are all distinguished women in Islamic history that you more than likely have never heard of before. That is about to change thanks to a new painting by the acclaimed Iraqi artist Afifa Aleiby, whose colorful “A Wonderful World,” pays tribute to 16 noteworthy Muslim women whose names have faded away over time.
Commissioned by the Barjeel Art Foundation in Sharjah, the painting will be on public display at the House of Wisdom in Sharjah until the end of Ramadan and will later be transferred to the Sharjah Museum of Islamic Civilization.
Aleiby’s work is a companion piece to a 1988 painting titled “Islamic Scientists,” by the late Syrian artist Mahmoud Hammad and currently in the collection of Barjeel Art Foundation.
In his composition, Hammad highlighted 16 influential male scholars and physicians, including Ibn Sina and Ibn Rushd. “Exhibited together for the first time, these artworks stand as a powerful reminder of the transformative impact of these intellectuals, both men and women, on the history of Islamic civilization,” reads a wall text. The recent unveiling event opened with a panel talk, where Aleiby and Hammad’s daughter, Lubna Hammad, discussed the displayed artworks.
Aleiby noted some of the difficulties in taking on this open-call commission, including a lack of resources, literary and visual. “Some of these women have only two or three lines written about their history and role,” she said.
In her detailed piece, dotted with symbolic elements (such as the proud peacock and a library of books) and set against a serene landscape, Aleiby depicted notable women of medicine, astronomy, poetry, science, education and military leadership who lived between the 7th and 17th centuries in Africa, Andalusia, India, and the Arab world.
One of these figures is Razia Sultana, who was born in the 13th century and went on to become the first and only female ruler of the Delhi Sultanate in India. From the 11th century, there is also a depiction of Safiyya bint Abdullah Al-Riyy, who was a skilled calligrapher and poet in Andalusia. Another Andalusian woman of poetry is the rebellious and liberal Wallada Al-Mustakfi, who formed a literary salon that was a meeting point for male and female voices.
Nestled in Baghdad, the Iraq Media Museum offers a captivating journey through the history of Iraqi media and art. Featuring rare artifacts, vintage equipment, and historical archives, the museum celebrates decades of media evolution while preserving the nation’s cultural identity.
Established in 2022 under the management of Mina Al-Hilu, the museum stands as a tribute to Iraq’s rich media heritage. The project was initiated with support from Naseer Shamma in 2018 and funded by the Iraqi Private Banks League.
A glimpse into Iraq’s media past
Housed in a building once used for radio training and later as a substitute for the Iraq Studio, the museum displays an array of historical items that tell the story of Iraq’s media landscape. These include:
Television cameras and radio equipment from the mid-20th century.
Photographic equipment and film editing devices from as early as the 1910s.
Magazines and newspapers chronicling over five decades of Iraqi journalism.
Personal contributions from notable media figures, such as:
Awards donated by actor Sami Kaftan.
Handwritten works from the late filmmaker Yusuf Al-Ani, gifted by his family.
The complete studio of photographers Abdullah and Hussein Hassoun.
Rare and iconic artifacts
Among the museum’s unique treasures is a golden bird in a cage, a gift from Adolf Hitler to King Ghazi in the 1930s. This artifact, nearly lost to theft, was later recovered and donated to the museum by radio director Khattab Omar.
Another highlight is a sound mixer used by renowned Iraqi composer Talib Al-Qaraghuli, alongside numerous other items that showcase Iraq’s artistic and media ingenuity.
Museum layout and future plans
The museum currently consists of three main halls:
Journalism Hall: Featuring archives and press-related items.
Television and Radio Hall: Home to vintage broadcasting equipment.
Miscellaneous Hall: Displaying a variety of media artifacts.
Additionally, an upper floor includes:
A hall mimicking the set of the iconic show “Sports in a Week”.
An exhibition space for presentations and events.
Expansion plans
The museum has ambitious plans to expand with new halls dedicated to:
Pioneers of Iraqi culture and art.
Iraqi cinema memorabilia.
A caricature and comics archive to celebrate the nation’s satirical art.
Challenges and calls for collaboration
Despite its significance, the museum struggles to attract international visitors. Mina Al-Hilu expressed frustration over the lack of coordination with tourism authorities, noting that tours to the museum are absent from Baghdad’s 2025 tourism programs.
Given that Baghdad was chosen as the Capital of Tourism 2025, the Ministry of Culture and related institutions should have included the Media Museum in tour itineraries for Arab and foreign delegations,” Al-Hilu remarked.
Sources and contributions
The museum’s collection has grown thanks to contributions from:
Iraqi Media Network warehouses, providing a majority of the items.
Ministry of Culture and Parliament archives, including equipment from the 1980s.
Donations from media personalities, citizens, and private collectors.
In total, more than 200 artifacts have been collected, cataloged, and restored with the help of retired engineers and media professionals.
A unique cultural destination
The Iraq Media Museum is more than a collection of artifacts—it’s a window into the soul of Iraq’s media history. With rare treasures, fascinating exhibits, and plans for expansion, it stands as a testament to the resilience and creativity of Iraqi culture.
For tourists and locals alike, the museum offers a unique opportunity to experience Iraq’s rich artistic and media legacy.
The Arabic language has been officially incorporated into the Global Medical Device Nomenclature (GMDN) System in a historic announcement made during the International Healthcare Technology Management Conference held in Riyadh this February.
The Arabic language has been officially incorporated into the Global Medical Device Nomenclature (GMDN) System in a historic announcement made during the International Healthcare Technology Management Conference held in Riyadh this February.
The devlopment solidifies Saudi Arabia’s role as a bridge between the Arab world and the global medical community.
According to a Literature, Publishing, and Translation Commission press release, this achievement is the result of a pioneering three-year project launched in 2022 by the Medical Electrical Equipment Maintenance Professionals Association (MEEMPA), in collaboration with the GMDN Agency, and with support from the commission’s Tarjim Initiative.
“The project adhered to top-tier international standards, and the translations were carried out according to ISO 17100 and ISO 9001 requirements to guarantee accuracy and quality in medical terminology,” said the release, according to Saudi Press Agency (SPA).
30K medical terms translated into Arabic
A local translation office accredited by the commission successfully translated 30,000 medical terms; it covered approximately 1.8 million words, of which 900,000 have already been published on the GMDN Agency’s online platform.
Translation of the remaining terms is projected to be completed in the coming months, the SPA reported.
GMDN is a globally recognized standard used by over 7,000 medical device manufacturers worldwide. It is decisive in standardizing device terminology while it facilitates regulatory compliance, international marketing, and export operations.
The system enhances patient safety by providing strict definitions for diagnostic and therapeutic devices.
“A historic milestone”
Speakers at the conference underscored that integrating Arabic into GMDN symbolizes a historic milestone in linking Arab healthcare providers with the global medical community.
Healthcare institutions across Saudi Arabia and the Arab world can now create free accounts on the GMDN Agency’s platform to benefit from this service.
“This aligns with Saudi Arabia’s Health Sector Transformation Program and contributes to greater health integration among Arab nations,” said the release.
Scientists from the University of Sharjah and the Warburg Institute are poring over the writings of an 11th century Arab-Muslim polymath to demonstrate their impact on the development of optical sciences and how they have fundamentally transformed the history of physics from the Middle Ages up to modern times in Europe.
Their research focuses on the legacy of al-Ḥasan Ibn al-Haytham known in Latin as “Alhazen” and particularly his most influential work titled Book of Optics, reputed in Arabic as Kitab al-Manazir and first circulated in Europe via its Latin translation dubbed ‘Perspectiva’. Ibn al-Haytham was born in the southern Iraqi city of Basra in 965 during the Abbasid Caliphate.
The divisions IV-V of this authoritative book have been recently translated into English from Arabic and published by the Warburg Institute under the title “The Optics of Ibn al-Haytham, Books IV–V: On Reflection and Images Seen by Reflection”. Having already rendered divisions I-III into English, the Warburg Institute is bringing together a wide-ranging network of scientists “for a collaborative humanities-science investigation of [Ibn] al-Haytham and the questions his work provokes.
“The role of Alhazen [Ibn al-Haytham] in these processes is simultaneously well-known, but limited; only half of his scientific works have English translation and a quarter are not yet edited.”
Introducing the new translation, the Warburg Institute describes Ibn al-Haytham as “perhaps the greatest mathematician and physicist of the medieval Arabic/Islamic world. His reputation is based not only on the vast amount of material he was able to process, but also on his rigorous scientific methodology.
“He (Ibn al-Haytham) deals with both the mathematics of rays of light and the physical aspects of the eye in seven comprehensive books. His reinstatement of the entire science of optics sets the scene for the whole of the subsequent development of the subject … influencing figures such as William of Ockham, Kepler, Descartes, and Christaan Huygens.”
Professor Nader El-Bizri of Sharjah University’s College of Arts, Humanities, and Social Sciences has just published an academic review of the Warburg Institute’s translation of Ibn al-Haytham. The article, printed in theInternational Journal of the Classical Tradition, highlights the strong influence the Arab-Muslim optical scientist has exerted over the ages up to the present day.
Ibn al-Haytham’s Book of Optics, Prof. El-Bizri writes, “constituted a monumental foundational opus in the history of science and the visual arts from the Middle Ages to the early modern period in the European milieu and the Islamicate context … The reception of Ibn al-Haytham’s Optics in the European milieu took place from the High Middle Ages via Gerard of Cremona’s Toledo circle in terms of its Latinate translations, and subsequent influence on Franciscan, Dominican, and Jesuit opticians across Europe.
“It influenced François d’Aguilon’s Opticorum libri sex within the Antwerp Jesuit mathematical school and had a direct impact on Johannes Hevelius’s Selenographia. The Optics was also consulted by Girard Desargues, René Descartes, Johannes Kepler and Christaan Huygens.”
Prof. El-Bizri works closely with the Warburg Institute assisting its attempts to reintroduce Ibn al-Haytham to the west. “A remarkable thinker, not only did Ibn al-Haytham revolutionize optical thought by mathematising its study, [but] his thinking also went on to have similar revolutionary effects in medieval Europe.”
The Warburg Institute is investing in rendering the writings of Ibn al-Haytham on optics into English, which Prof. El-Bizri describes as “voluminous”. “Ibn al-Haytham’s Book of Optics indicates with evidence the impact of Arabic sciences and philosophy on the history of science and the architectural and visual arts in Europe, as well as demonstrating how science and the arts influence each other in the manner the studies of optics in their mathematized physics inspired the invention of projective geometric constructions of perspective as a novel Renaissance method of painting and architectural design.”
Prof. El-Bizri adds “The impact of this book is fundamental not only in the history of science from the High Middle Ages till the early-modern period in Europe, but it was also foundational for architecture and the visual arts in the Italian Renaissance and up till the late Baroque era. Moreover, it has further significance in modern conceptions of the mathematization of physics, the reliance on experimentation in science, and the philosophical analysis of perception.”
Asked about the importance of translating Ibn al-Haytham into English despite the lapse of nearly 1000 years, Prof. El-Bizri says the Arab-Muslim scientist’s theories and methodologies, specifically those dealing with optics are still considered “seminal” in the literature. Ibn al-Haytham has had a “foundational impact on the history of science and the arts in Europe.”
The influence of Ibn al-Haytham’s writings in the European milieu, according to Prof. El-Bizri, cannot be overlooked. The Arab-Muslim scientist had “a notable effect on Biagio Pelacani da Parma’s Questiones super perspectiva communi, Leon Battista Alberti’s De pictura, Lorenzo Ghiberti’s Commentarii, culminating in the first printed Latin version in the publication of Friedrich Risner’s Opticae thesaurus in the sixteenth century.
“Then, in the seventeenth century, it influenced François d’Aguilon’s Opticorum libri sex within the Antwerp Jesuit mathematical school and had a direct impact on Johannes Hevelius’s Selenographia.”.
In the Book of Optics, notes Prof. El-Bizri, Ibn al-Haytham establishes an “inventive and precise scientific experimental method (al-iʿtibār al-muḥarrar) with its controlled verificative repeated testing, as framed by isomorphic compositions between physics and mathematics.”
He adds that Ibn al-Haytham in his Optics “aims at elucidating the nature of visual perception through studies on the anatomy and physiology of the eyes, the optic nerves and the frontal part of the brain, along with cognitive psychology and the analysis of psychosomatic ocular motor kinaesthetic acts”.
Journal : International Journal of the Classical Tradition
source/content: eurekalert.org (headline edited) / News Release University of Sharjah
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Ibn al-Haytham (“Alhasen”) on the left pedestal of reason [while Galileo is on the right pedestal of the senses] as shown on the frontispiece of the Selenographia (Science of the Moon; 1647) of Johannes HeveliusIbn al-Haytham (“Alhasen”) on the left pedestal of reason [while Galileo is on the right pedestal of the senses] as shown on the frontispiece of the Selenographia (Science of the Moon; 1647) of Johannes Hevelius
