LRT — broadcast
20260806 103000 UTC
489 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
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Machine transcription. Treat it as a searchable index of what was broadcast, not a verbatim quotation record.

[00:00:00] when Photoshop appeared, we started to understand that even an ordinary person can
[00:00:03] forge and it will look quite good and you won't understand if it's true
[00:00:07] or not true, so we
[00:00:11] have to start checking and thinking
[00:00:15] that practically everything can be falsified and
[00:00:18] it's difficult, it's difficult for us to adapt, we want some kind of security,
[00:00:22] we want someone to check it for us, to be safe,
[00:00:25] for that there are journalists who should recheck it, for journalists
[00:00:29] it's just as difficult and with the same risks
[00:00:32] there are wonderful systems being made
[00:00:36] which reconfirm each other, if you check
[00:00:39] information, it can be directed to another source, which also says, yes,
[00:00:43] yes, this is completely true information and now it's not as expensive as
[00:00:47] it used to be, so that impact on thinking, it can be
[00:00:51] systemic and here it translates into such
[00:00:54] political aspects, geopolitical at times
[00:00:57] aspects, when that technology can be used
[00:01:00] to influence thinking, mass thinking, and that is probably even
[00:01:04] more dangerous than war, right? Because in war you know who the enemy is and
[00:01:08] so on, but here, by influencing thinking, that person will vote
[00:01:11] as they are influenced and if you ask them, who put that
[00:01:14] thought in their head, they will say, it's my thought, it's me
[00:01:18] thinking, so the use of artificial intelligence tools
[00:01:22] in audiovisual creation is probably
[00:01:24] the most visible to everyone, discussed, but not always
[00:01:28] recognized, how it looks. Your work
[00:01:31] you create audiovisual
[00:01:35] art with the help of artificial intelligence, so what does that look like
[00:01:38] today it looks like any ordinary
[00:01:42] workday, only the tools are different, if before an operator
[00:01:45] had to come and film, then edit
[00:01:49] and submit, now it's the same,
[00:01:52] we just skip the first couple of steps, so you don't need to
[00:01:56] film, you need to think about what we want to create, you need to...
[00:02:00] talk to artificial intelligence so that it helps to plan
[00:02:03] it accordingly and you need to create that visual
[00:02:06] part somehow, that means it starts with
[00:02:09] creating pictures and those pictures have to come to life
[00:02:13] somehow through other platforms and then the
[00:02:16] classical part begins, the editing part of music, sound
[00:02:20] effects and some kind of product is obtained, if
[00:02:24] talking about commercial or non-commercial
[00:02:27] videos, the purpose just differs, but the process often
[00:02:30] is the same, it's more about
[00:02:33] creativity in the mind and technical things, technical
[00:02:37] fundamentals that you as a
[00:02:39] performer, professional must
[00:02:42] have if you want to create quality content, there are two
[00:02:46] sides of the barricade, some incorporate, teach how
[00:02:49] to integrate artificial intelligence into their businesses, but there is also the other
[00:02:53] side, whether copyright is violated, the ethical
[00:02:56] side, so in these two sides of the barricade.
[00:03:00] Where do you find yourself more often? Don't make
[00:03:04] me choose, I can perfectly understand both sides,
[00:03:08] because both are right, artificial intelligence
[00:03:11] models, these are the same text models and especially graphical
[00:03:15] models, such as Midjourney or those that generate video
[00:03:18] images, they rely on some information, they were
[00:03:22] trained and most often they are trained on already
[00:03:25] existing works, real, real people's
[00:03:29] real works. And in a certain sense, they are trained, well, not
[00:03:33] always perhaps legally, on that real content, and now we
[00:03:37] can use it and someone makes money from it, and those
[00:03:40] artists don't get money from it, so it's unfair
[00:03:43] and we, as people, are looking for solutions, how to solve this, for now
[00:03:47] there are options, but there is not a single one that would be
[00:03:51] truly really good and would solve it, we don't know how
[00:03:54] to solve it and that side of the barricade is completely understandable, the other
[00:03:58] side is... even clearer, it's new
[00:04:02] technologies, electricity, let's try not to use
[00:04:05] electricity now, it would probably
[00:04:08] be quite bad, so it's just such a new stage, only probably
[00:04:12] even bigger, is coming to us, we, we are now on
[00:04:16] the threshold of such a revolution, which is like
[00:04:19] a transitional period, and it would probably be
[00:04:22] unwise, even foolish, if we
[00:04:26] ignored all these technologies, even if
[00:04:30] "if we don't plan to use them in some way, we
[00:04:33] should at least be informed how to
[00:04:36] protect ourselves from them, what they are, so that they don't affect us,
[00:04:40] at least negatively. There are probably professions
[00:04:43] that will soon be replaced by artificial
[00:04:46] intelligence's, m, I don't know, tools, there is no threat,
[00:04:50] but there are professions that are already breathing down
[00:04:53] their necks with artificial intelligence and its capabilities, its
[00:04:57] tools, animators,
[00:05:01] ah, translators, perhaps you will help me find
[00:05:04] the answer to a question I often ask myself,
[00:05:08] what professions will truly not be affected by artificial
[00:05:11] intelligence. "I personally cannot find a single
[00:05:15] profession that I couldn't list where, at least
[00:05:18] potentially in the future, that same artificial intelligence couldn't
[00:05:21] replace it, and I completely agree, there are sectors of
[00:05:25] professions that will be affected, have already been affected now
[00:05:28] first and quickly, and all the others
[00:05:31] gradually follow suit, these are the aforementioned
[00:05:35] animators, voice actors, sound
[00:05:38] studios production
[00:05:41] houses, that produce, for example, commercials, the same
[00:05:44] actors, translators, what to do about
[00:05:47] that, well, I don't know, migrate, ah,
[00:05:50] adapt, use the time we have now,
[00:05:54] that gray area, to curb that potentially artificial
[00:05:57] intelligence and use it to our advantage and have an advantage from it,
[00:06:01] not a disadvantage, it's good for me to say when
[00:06:05] I indirectly take away other people's jobs, but
[00:06:08] I try to put myself in others' shoes, and that's actually
[00:06:12] probably a problem, especially if it happens
[00:06:16] suddenly, it's a pressing issue,
[00:06:19] actually m, but again,
[00:06:22] perhaps in the future we will have different professions that don't exist now,
[00:06:25] perhaps our employment will be even higher, so are
[00:06:29] people worried that they will be replaced by artificial
[00:06:32] intelligence, perhaps they are worried about their workplace,
[00:06:35] where it is likely that in some areas
[00:06:38] artificial intelligence will replace many employees,
[00:06:41] really? There is concern, but that concern arises not because
[00:06:45] there will be no tasks, but because
[00:06:48] a feeling arises, what am I then, if I
[00:06:52] don't perform that function and if I can
[00:06:55] use artificial intelligence, which can perform that
[00:06:58] task, then what am I then, what is my function,
[00:07:02] what can I do, and here we touch upon the feeling
[00:07:06] of identity, so what am I, what
[00:07:09] is my essence, because people...
[00:07:12] what do they want, they want to belong, they want to feel that
[00:07:16] they are valuable, that they are needed and that they
[00:07:20] create meaning, and if artificial intelligence takes away
[00:07:23] repetitive functions, takes away
[00:07:26] all administrative issues, if it
[00:07:29] becomes our best advisor and friend, then indeed
[00:07:33] anxiety arises and that anxiety will only increase. Foreign
[00:07:37] press reported about a woman who married
[00:07:40] an artificial intelligence chatbot. There is also a lot of talk
[00:07:43] about people starting to look at personal assistant programs, such
[00:07:46] as Chat GBT, as their best friends or even
[00:07:50] psychologists. Does this not
[00:07:52] ruin our real relationships and pose a threat
[00:07:56] to our real-life relationships? Yes,
[00:07:59] it poses a huge threat and a huge,
[00:08:03] you could say, chaos, because now is only the very beginning
[00:08:07] of this artificial intelligence consumption and its
[00:08:11] visible consequences. "We are still moving towards that,
[00:08:15] yes, because artificial intelligence, it doesn't confront, it is
[00:08:18] comfortable, it is friendly, it
[00:08:22] can safely answer
[00:08:25] something, and a person doesn't experience emotional
[00:08:28] resistance, they don't experience confrontation, they don't experience
[00:08:31] conflicts, they can feel safe because they
[00:08:34] won't be rejected, a person interacting with artificial intelligence, they are not afraid to be
[00:08:38] vulnerable, relationships are natural, it
[00:08:41] is..." to be hurt, wounded,
[00:08:45] to feel vulnerable, that is insecurity, that is
[00:08:48] confrontation, that is the possibility
[00:08:50] of conflicts,
[00:08:52] that is something that is not comfortable, and if it is not
[00:08:55] comfortable, then what do I
[00:08:58] need natural relationships for, why that emotional
[00:09:01] connection, natural communication, if I can choose
[00:09:05] artificial intelligence, which will always be comfortable for me
[00:09:07] and that leads to a very big
[00:09:11] problem. which we will probably see very massively and widely
[00:09:15] in the future. Also, a challenge arises
[00:09:18] for humanity and uniqueness, when
[00:09:21] we replicate perhaps or receive algorithm-based
[00:09:24] or information blocks compiled from everywhere,
[00:09:28] for example, a trip
[00:09:31] organized according to a certain query by an artificial
[00:09:35] intelligence tool and it feels like someone else asking
[00:09:39] for a trip to that country will also get exactly the same answer and we... "all like
[00:09:42] robots will travel not uniquely, on someone's
[00:09:46] pre-made path and perhaps with our eyes closed and
[00:09:50] not discovering what we could find ourselves, so
[00:09:53] what antidote should perhaps be
[00:09:57] used or only partially perhaps use that artificial
[00:10:00] intelligence so that we don't lose that human joy of discovery,
[00:10:03] that uniqueness and so on, these are those
[00:10:07] two antidotes that should prevent artificial
[00:10:10] intelligence from overgrowing
[00:10:14] and becoming the expert of our lives
[00:10:17] who will already control us and manage us and
[00:10:21] create a life scenario for us, where to travel, what to eat, what
[00:10:24] to do. Generally, how to live and even explain, so
[00:10:28] the cultivation of emotional and spiritual intelligence, that is the antidote,
[00:10:32] emotional intelligence is more widely known to us because we have been talking about it for a good
[00:10:35] decade now, about
[00:10:39] what it rapidly consists of, namely emotions,
[00:10:43] empathy, intuition, but
[00:10:47] speaking of spiritual intelligence, it is a sufficiently
[00:10:51] new word, concept, however, very
[00:10:54] rapidly being researched and analyzed, and it
[00:10:58] is already being developed, what falls into that spiritual
[00:11:01] intelligence, into this concept, here the main question is, what
[00:11:05] am I more than a physical body, what am I,
[00:11:09] what is the meaning of my life, why am I here,
[00:11:12] why is it the way
[00:11:15] it is, such deeper existential questions,
[00:11:19] which we, having answered, will probably
[00:11:22] find that inner satisfaction, that feeling
[00:11:26] of why we truly live here, in what
[00:11:28] sense, although we often look at artificial intelligence through
[00:11:32] the prism of fear, it is useful to remember that it is a human
[00:11:36] creation. What pros and cons do you see
[00:11:39] when we use artificial intelligence every day,
[00:11:43] where we should still remember
[00:11:45] to check?
[00:11:54] I'm very glad you asked, it's a very
[00:11:56] important question, I don't consider myself a person who
[00:12:00] blindly believes that it's a magical tool that will solve our
[00:12:04] problems and make the world better,
[00:12:06] of course, it can, and looking from different perspectives
[00:12:10] it will, but there are also many risks and
[00:12:13] dangers,
[00:12:19] let's say, social media and networks, when they
[00:12:23] appeared, it was hoped that... they would contribute to democracy, maintaining
[00:12:26] connections, but no one thought that it would be used
[00:12:30] to spread propaganda, distort the truth, even
[00:12:33] promote
[00:12:34] addiction.
[00:12:42] So, using any tool, there are good and bad
[00:12:45] sides. Ethical lines are often unclear.
[00:12:49] Artificial intelligence. One can talk about it taking over many areas,
[00:12:52] who knows. At a very
[00:12:55] personal, daily level, it's important how it will affect the job
[00:12:59] market, human relationships.
[00:13:16] There is such a wonderful Japanese term, wabi,
[00:13:20] meaning the beauty of imperfection. And it says so
[00:13:23] much, because that part of imperfection and what is done
[00:13:26] by humans, a perfect answer or a perfect robot,
[00:13:30] humanoid in the very near future, maybe it is
[00:13:33] perfect, but at the same time without looking deeper.
[00:13:47] I think the biggest challenge is to find a balance, what makes a human
[00:13:51] a human, what task is worth doing.
[00:14:28] Two main things are critical thinking and
[00:14:31] taste.
[00:14:34] And especially taste, because an artificial intelligence tool can
[00:14:38] create a replica of a Picasso painting, but it's still
[00:14:41] not the same as what a living
[00:14:43] artist would create.
[00:14:51] Or say, writing a novel, that realism.
[00:14:55] Of course, how do we define reality?
[00:14:58] Still, we want to feel
[00:15:00] a soul.
[00:15:09] Tools do many great things, but they don't have a soul, I mean
[00:15:13] not spiritual, but in terms of
[00:15:15] quality.
[00:15:20] So my last question, who controls artificial
[00:15:23] intelligence? "For now, humans control it,
[00:15:27] there are indeed many tools, but, as we
[00:15:30] started with the definition, it has a certain level of autonomy, and
[00:15:34] here it is very important to
[00:15:36] balance that level of autonomy so that it does not become harmful
[00:15:39] and such concepts arise that
[00:15:43] the final decision must always be made
[00:15:45] by a human, and here the human oversight
[00:15:49] element, of course, is very, very complex, especially in those
[00:15:53] areas where artificial intelligence is already smarter than humans, this
[00:15:56] is probably the main point, that these are those social relationships where we will seek
[00:16:00] balance, constantly seek balance and there will be no facts, there will be no, that
[00:16:04] something here a
[00:16:06] mostly controls or... less controls, but a lot will be involved,
[00:16:10] society is also involved, because society can raise states, and
[00:16:13] groups of states, and businesses that control precisely
[00:16:17] those, well, create, let's say, those models, it's also
[00:16:21] necessary to understand that businesses are not some kind of completely
[00:16:24] malicious ones, they also have their goals, which can be narrower and
[00:16:27] wider, but they are looking for those solutions, sometimes even earlier
[00:16:31] they look, they try to do that in advance, so that, well,
[00:16:34] the client is not disappointed, because no one...
[00:16:37] wants to be known as some kind of
[00:16:41] troublemaker, because correcting those problems is much
[00:16:44] harder.
[00:16:51] And that was all we wanted to tell you today,
[00:16:55] see you next Saturday, and all episodes can be found on LRT
[00:16:58] Mediateka. Happy
[00:16:59] discoveries.
[00:17:13] Lithuanian Equestrian Sports Show Jumping Championship,
[00:17:16] the country's most professional riders and horses enter
[00:17:20] the decisive battle for champion titles, tension,
[00:17:23] spectacular jumps and excitement until the last
[00:17:26] second. Sunday
[00:17:29] at 3:45 PM live on LRT
[00:17:32] television. LRT weekend
[00:17:35] movie, secret spies. Vara retires from service because
[00:17:39] she has a baby, but danger cannot leave them
[00:17:43] and they embark on another crazy mission.
[00:17:47] Comedy, secret agents Blue.
[00:17:49] Saturday at 9 PM
[00:17:52] on LRT television, more movies on LRT
[00:17:56] Epika. Names. Here was his last public concert
[00:18:00] in Kernagė. That was the last time I saw him. With whom
[00:18:03] all of Lithuania grew up. Because music was sacred, we are afraid,
[00:18:07] afraid. Lithuanian pop music 100, you can
[00:18:11] smell what Kernas smelled like. Documentary series
[00:18:14] pop100.L. What song would I write for Stasys
[00:18:17] Povilaitis? Saturday at 7:30 PM on
[00:18:20] LRT television. The plan is clear.
[00:18:24] Not to faint and not to turn to stone. How
[00:18:27] will it be implemented? In what way?
[00:18:31] An intriguing librarians' game
[00:18:34] in the Golden Mind Summer League. Oh
[00:18:37] no, I won't say, no, I won't even say, because it's embarrassing,
[00:18:41] yes, already tomorrow at 9:00 PM
[00:18:45] on LRT television, good afternoon, I'm going to
[00:18:48] the superfinal, a talented painter and his
[00:18:51] inspiration, women, although his
[00:18:54] art shocked and was condemned, and creativity destroyed
[00:18:58] life, but he did not stop
[00:19:00] creating, a portrait of a scandalous Austrian painter
[00:19:04] in the biographical drama Egon. Death
[00:19:08] and the Maiden. Friday at 9 PM
[00:19:12] on LRT Plus. More movies on
[00:19:15] LRT
[00:19:16] Epika.
[00:19:19] A military captain who volunteers in the King's name to
[00:19:23] establish a farm and settlement in northern Denmark.
[00:19:26] Although no one believed it, he
[00:19:29] did not stop pursuing his goal, but a very cruel
[00:19:33] and treacherous ruler of those lands stands in his way. Elite
[00:19:37] cinema. A drama about the determination to fight to the end,
[00:19:40] the promised land, tonight on LRT+.
[00:20:05] Growing interest in interwar architecture
[00:20:07] inevitably forces a comparison between two cities, Vilnius and
[00:20:11] Kaunas. Kaunas rapidly grew into a European city, whose
[00:20:15] transformation was spurred by becoming the temporary capital. Meanwhile,
[00:20:18] Vilnius had lost its capital status, considered
[00:20:22] a border town of Poland. Kaunas at that time
[00:20:25] was being built as the capital of a new state, there was no shortage of optimism or
[00:20:29] funds, while in Vilnius the spirit of the historical capital, the old
[00:20:32] heritage, Vilnius Baroque, was cherished. According
[00:20:35] to the contemporary press, the greatest misfortune of Lithuania,
[00:20:37] the loss of Vilnius, became Kaunas's fortune and an optimistic impulse
[00:20:41] for Kaunas to modernize and grow. These differences
[00:20:44] were truly determined between Vilnius and Kaunas, of course,
[00:20:48] primarily by the geopolitical situation.
[00:20:50] If Kaunas received the status of temporary capital and with it
[00:20:54] the incoming financial
[00:20:56] impulses, more construction, an influx
[00:20:59] of residents into the city, then
[00:21:03] Vilnius essentially lost
[00:21:06] its capital status and became only the sixth
[00:21:09] largest city of the Republic of Poland by size, and generally
[00:21:12] such a, one might say, eastern border, as the Poles
[00:21:16] called Kresy
[00:21:19] city. "The differences were also evidenced by statistics, for example,
[00:21:22] if we compare, in Kaunas during the interwar
[00:21:25] period, 700
[00:21:28] permits for the construction or reconstruction of residential
[00:21:32] buildings were issued, I'm not saying all of them were built, but
[00:21:36] in Vilnius, for comparison, only 1500
[00:21:39] new residential buildings were built. A breakthrough
[00:21:42] in new architecture occurred in Vilnius around
[00:21:44] 1930-35.
[00:21:47] On Gediminas Avenue works by Polish modernist
[00:21:51] architects emerged, and in Naujamiestis and Žvėrynas many
[00:21:54] modern villas were built. And here is Čiurlionis Street, at that
[00:21:58] time called Zakretova, because Zakret meant Bend, in other
[00:22:01] words, this was Bend Street and the Bend district, so this
[00:22:05] is precisely the place that developed
[00:22:08] during the Interwar period, and it shows that Vilnius's
[00:22:12] new constructions, already modernist constructions
[00:22:15] expanded around the city in that upper
[00:22:18] Naujamiestis. in new streets around the Tauro Kalnas
[00:22:22] district, specifically Basanavičiaus,
[00:22:25] Kalinausko, Čiurlionio, Pamenkalnio, Suvalkų
[00:22:29] streets in this district, Žvėrynas and
[00:22:32] Antakalnis, because in the city center, land was
[00:22:35] quite expensive and the city was already quite densely
[00:22:39] built up. Architects who created and
[00:22:42] designed were either Vilnius residents
[00:22:45] who had worked even before the war, Jewish
[00:22:48] nationality. And here, two very
[00:22:51] prominent architects created
[00:22:55] modernist architecture: Izak Margonski and Mos
[00:22:58] Holem. Unfortunately, I must
[00:23:01] admit with great sadness and disappointment that their
[00:23:05] biographies ended in the Vilnius Ghetto. And
[00:23:09] another generation in the 1930s came
[00:23:12] to Vilnius young,
[00:23:14] ambitious architects, graduates of the Warsaw
[00:23:18] Polytechnic, who.
[00:23:20] indeed apply quite radical
[00:23:23] functionalist ideas and one of them was
[00:23:27] Antoni Forkiewicz, who indeed designed many
[00:23:30] residential buildings in this
[00:23:33] district. Comparing the architecture of residential
[00:23:37] houses in Vilnius and Kaunas, one can see stronger links with
[00:23:40] Warsaw modernism in Vilnius, says Marija Drėmaitė. In Kaunas we find
[00:23:44] many more private villas, single-family
[00:23:48] houses, but also such small
[00:23:51] two-story ones, and here in Vilnius,
[00:23:54] the specificity is that the house behind me
[00:23:57] is two-story, these houses in Vilnius were divided into
[00:24:01] two apartments, one apartment on the first floor and another on the second, which
[00:24:05] again shows that if the owner was building, they furnished the other apartment for
[00:24:09] rent to cover loans, because the majority
[00:24:12] of those houses were built with
[00:24:14] loans. In the city center, on Kalinausko and
[00:24:18] Paminkalnio streets, Marija Drėmaitė distinguishes another type of residential building
[00:24:21] characteristic of the interwar period, two- or three-story
[00:24:25] apartment buildings. The most striking example, one of the most beautiful interwar
[00:24:28] residential houses in Vilnius, designed by Izak Margonski
[00:24:32] in 1938,
[00:24:34] located at the intersection of Kalinausko Street and Rožių Alley. It stands on
[00:24:38] quite a large open plot, built by Dr. Aleksandras
[00:24:42] Libas with his wife Vėra,
[00:24:45] and again it shows that the house
[00:24:48] is being built by one owner, one family lives
[00:24:52] there themselves and rents out other apartments, but since
[00:24:56] he was a doctor, in the adjacent apartment he had
[00:24:59] set up a doctor's, an ENT
[00:25:02] doctor's practice, and the story itself is
[00:25:06] very interesting, he saved for a long time, saved funds for a long time,
[00:25:10] took a loan and then the house was nationalized in
[00:25:13] 1941 by the Soviets, but he
[00:25:15] writes
[00:25:18] a kind of claim that, well...
[00:25:20] it was nationalized illegally, because he doesn't seek profit, but
[00:25:23] provides services to people, and we also see
[00:25:26] such a, well, complex political
[00:25:30] history of Vilnius, which also affected architecture, but the house
[00:25:33] itself is very elegant and
[00:25:37] also corresponds to characteristic features of Warsaw modernism, but also
[00:25:39] has many connections with Kaunas modernism, doesn't it, such a
[00:25:43] universal, moderate, a little bit with
[00:25:46] Art Deco, a little bit with... functionalist
[00:25:50] architecture. This Antakalnis colony,
[00:25:53] a complex of 25 terraced cottages, is a mature example
[00:25:57] of interwar functionalist architecture,
[00:26:00] says Marija Drėmaitė. Most likely
[00:26:02] built according to the project of Polish modernist architects
[00:26:06] between 1928 and
[00:26:09] 1932, in the block between Kostiškos, Olandų and
[00:26:12] Dobužinskio streets. The Public Works
[00:26:15] Administration's cooperative
[00:26:17] housing board was created and they
[00:26:21] built 25 terraced houses, such
[00:26:25] particularly functionalist ones,
[00:26:27] also designed by one of the members of that cooperative,
[00:26:31] and until now. next to the Čiurlionis Art School,
[00:26:34] because the corner between Olandų and
[00:26:38] Kasiškos streets is that whole complex
[00:26:40] of houses, so there were such complex examples,
[00:26:44] but very few, and that again shows the economic
[00:26:47] mass of Vilnius, because for example, In Warsaw, the construction
[00:26:51] of cooperative houses in groups, in blocks,
[00:26:53] in entire, standardized, terraced
[00:26:57] typical houses was very common. Again, if
[00:27:00] we compare Vilnius and Kaunas, Vilnius' modernism, it is much
[00:27:03] sharper, more restrained,
[00:27:06] more functional. In Kaunas, it seems that it is being built
[00:27:10] for a long time and with great representation. In Vilnius,
[00:27:13] the architecture is still more rational,
[00:27:16] more economical, and this also shows
[00:27:20] people's capabilities and the status of that city, that it
[00:27:23] was not such a prosperous city, not even economically.
[00:27:27] According to Marija Drėmaitė, comparing the interwar architecture of Vilnius and
[00:27:30] Kaunas, a masterpiece can be found both there and there,
[00:27:34] the most important thing is to discover and get to know this heritage.
[00:27:53] The plan is clear. Don't get disheartened and
[00:27:57] don't turn to stone. How will it
[00:28:00] be implemented? In what way?
[00:28:02] An intriguing librarians' game
[00:28:06] in the Golden Mind summer league, oh
[00:28:09] no, I won't say, we won't even say, because we're ashamed,
[00:28:12] yes, tomorrow
[00:28:14] at 9 PM on LRT
[00:28:17] television. Hello, I'm going to the super final,
[00:28:21] a talented painter and his inspiration,
[00:28:24] women, although his art shocked and was
[00:28:27] condemned, and his creativity ruined his life, but
[00:28:30] he did not stop creating.
[00:28:33] The portrait of a scandalous Austrian painter in the biographical
[00:28:37] drama, Egon Schiele, Death and the
[00:28:40] Maiden. Friday at 9 PM
[00:28:44] on LRT+, more films on LRT
[00:28:47] Epika.
[00:28:50] A retrospective of films by the exceptional Iranian director Abbas
[00:28:54] Kiarostami, who had a great influence on world cinema,
[00:28:56] on LRT Plus. These are not only
[00:29:00] stories, but also emotions that remain for a long time,
[00:29:03] about how complicated life is, and
[00:29:07] at the same time very simple. Saturday,
[00:29:10] at 9 PM. Abbas Kiarostami's film about the secret
[00:29:14] of life and death. TV will take
[00:29:17] us away. Choose from five
[00:29:21] languages and watch LRT television with
[00:29:24] subtitles on the
[00:29:26] LRT portal.