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Those of you familiar with Japanese cuisine may recognize this standard Miso Soup bowl, which boasts a diameter of 10 cm at the rim.
Date: May 17, 2012
Camera: Sony DSLR-A900
Exposure: 1/250 sec at f/2.2, ISO 320
Lens: 135mm F1.8 ZA at 135 mm
© 2012 Benjamin Torode
The steps of the mystery was almost there. Blazefire and Hunter had uncovered lots of connections between the dead client and his wife had with Wolfe. Now, they were even more aware of the cops and the gangs hot on their trail.
Hunter: So the client, Martin, was a close associate of Wolfe, who stole a batch of money, behind his back. Now insert the story of what his sister told us. Then his wife was the one who added fuel to the fire. She didn’t have enough money, as she wanted more. I thought the pendant was misleading—it’s more than just a red herring that son of a b**** was looking for. While we wait for the results…..
Trent: Which is why I have to think of a connection of how’d he die….surprisingly, he didn’t look like he was panicking when he got killed. I saw the look on his face when he ran towards my direction.
Hunter: Ok, I guess the analysis is done,,,,
Trent: There’s blood markings. And to unlock it, we need to activate with a voice?….
Hunter: Try “Solace”
Trent: No, not working.
Hunter: “Sherpa”. “Lightfoot”. “Behemoth”.
Trent: No, still won’t work.
Hunter: I’ll give my last shot: “Behemoth”
Trent: Still no reaction. I’ll try…. “Exaltedlotus”.
(The pendant opens, much to amusing and slightly shocked faces of the two)
Hunter: How’d you figure? Cheats in your head?
Trent: More like eidetic memory. I realized he’s got a hotel named the Exalted. Lotus is just a location, in Chinatown.
Hunter: Wow. I guess the apple doesn’t really fall far from the tree—
Trent: I’d rather not talk about family or Drew now.
Hunter: Alright then, let’s look at what’s inside. The tiniest chip hidden in the middle of the diamond.
Trent: And I’ll try to play it, the format will be adjusted to our…..
(Both look in more shock over the actions of Wolfe. Security footage is shown to their eyes. He is seen doing violent things, such as assaulting, torturing people in very brutal ways. Unexpected explosion comes out of nowhere, blasting stuff to shards.)
Hunter: Holy….
Trent: Get down! They know we’re here!
Hunter: So the chip’s encoded with a tracker!
Trent: Oh s*** it is then. Who do I see….
Through the blasted walls, men men started approaching closer. Every one of them were at close range. Somewhere nearby, an unscathed Caliber stood there, with a terrifying smile. His bandanna was one his neck, while one of his hands carried one golden shuriken and a gun on the other. In this particular moment, Blazefire did not anticipate their attacks. His mind had told him that setting up traps could only take 1 risky minute that could result either him or his mentor dying.
Hunter: So, we’re out of stock now.
Trent: I guess the “shopping mall’s” closed for today. But they’ll keep coming. You got any claymore?
Hunter: A few charges left.
Trent: Well, they’ll be dead soon anyways.
Hunter: If I didn’t set more up…..
Trent: Then we’ve got to wait…..don’t spare your ammo this time.
*Lock n’ load sound*
Caliber: Show yourself, Blazefire. Playing hide and seek is useless. Don’t even think about running.
Trent: No, I’m not planning on that.
Caliber: I spent a month looking for you….you should have missed me.
Trent: Sorry, a**hole, I ran out of postcards. Anyways, if your boss is so desperate, why can’t he come himself? So he sends a bunch of lap dogs to do his dirty work? That’s funny.
Caliber: Well f*** you!
Bullets were sprayed at each other, but the cover was not enough for the two under a trail of heavy bullets. However, Blazefire leapt through every corner, managing to take down a few unsuspecting henchmen, with bombs and a set of electric wires. Hunter was busy still downloading the files extracted from the pendant. Once he had finished from a matter of seconds, he threw it in the air and latched it with a small EMP, near the generator. Both sides, which had their eyes focused from fighting one another, turned their heads as they panicked.
The room went dark. Gunshots were still heard. Men screamed in rage, lashing at one another. As both the heroes wore special goggles, they knocked out more nearby amidst of the conflict. Behind them, was however....
Caliber: Drop your gun. Now. Enough games with me.
Trent: I’m not done playing—-thought you were always interested.
Caliber: Few tricks up your sleeve eh? Show it to me! Now!
Trent: Not that easy.
Caliber: How is this hard for you?
Trent: You aren’t just working for that cranky f***er, are you? For Cinder as well?
Caliber: Mind your tongue, fireman. One more word, I’ll take your bones back to him. You wanna try my hat?
Trent: No thanks, but if it only were that simple, Clay. You wanted money and fresh kills, so you took the job. You still betrayed him by looking for me. Weren’t you supposed to intercept the other shipments? The assignment was supposed to be carried and tasked by Aaron.....
Caliber: You really have a nose everywhere, Boy Scout. Keep saying stuff, you’re pathetic.
Trent: I knew Cinder paid you better. Haven’t you realised how much of a fool you are? You double-crossing him—-eventually leads him to betray you as well. Because Hendrix wasn’t well enough. You always jumped in between....
Cinder: That’s enough!
(Cinder throws his hat at Blazefire, but he dodges it smoothly, with ease. More equipment is being destroyed. Blazefire tried multiple times to get the upper hand after they engage in CQC. Cinder launches more shurikens until the place starts to burn.)
Cinder: You ruined my mission. It won’t be that easy. I’ll meet you again. Next time ain’t that easy. Now I lose my pay originally than I excepted.
Trent: No, you intercepted, you SOAB. Can’t blame me. (Both escape through fire, with Cinder on a smoke covered exit, while Hunter escapes with Trent. He takes out the fire and absorbs in all the flames. There are still bodies everywhere.)
Hunter: That was intense.
Trent: You didn’t have to improvise over the top, you know. I didn’t ask you to throw it into the air. Or even stick an EMP.
Hunter: It’s my fault again?
Trent: You indirectly started a small firefight—-now we gotta look for a new base. Good thing is, not everything’s gone. I still have a backup warehouse in L.A.
Hunter: While you talked with that a**hole, I watched some of the surveillance. We might be able take him down, with only one chance. It won’t be successful though, only 39% chances of winning. His “fort” is heavily guarded. The fight was made as a distraction to lure you out as well—-Wolfe wants to find the bait/perpetrator behind all this stuff, that’s us, but it’s mostly you.
Trent: Going up against a ton of these guys is suicide. The cops will be there as well.
Hunter: And then you’re gonna go up against them alone? Then face Wolfe yourself?
Trent: Well.....
Suddenly, police flashlights and the sounds of tech sirens were heard nearby. The doors were starting to bang even louder.
Police: This is your last chance to show yourself, the so called vigilante. You will be put under arrest for arson and murder, as well as property damage. Show yourself this moment.
Trent (to Hunter): Dang, why now? I thought we’d get a few days to go into hiding. We need to step up our game.
Hunter: Up the roof then. Our only way out. We might be able to evade that huge chopper.
Trent: But this might be right timing...we’re gonna go up against a crime lord with the cops in pursuit. It’s even more risky. How about 1% chance of winning or survival?
Hunter: Uhh....
Trent: Right, exactly. Up the roof.
Hunter: We got no choice now. Things escalate too quickly. And we’re against a timer now.
Trent: I’ve got that feeling you’re gonna be the death of me.
*dramatic end*
Previous set from Duga here: www.flickr.com/photos/timster1973/sets/72157643924793935/
Duga-3 (NATO reporting name Steel Yard) was a Soviet over-the-horizon radar system. It was developed for the Soviet ABM early-warning network. The system operated from 1976 to 1989. Its distinctive and mysterious shortwave radio signal came to be known in the west as the Russian Woodpecker.
Two stations of Duga-3 were installed: a western system around Chernobyl and an eastern system in Siberia.
The transmitter for the western Duga-3 was located a few kilometers southwest of Chernobyl (south of Minsk, northwest of Kiev). The receiver was located about 50 km northeast of Chernobyl (just west of Chernihiv, south of Gomel).
The Soviets had been working on early warning radar for their anti-ballistic missile systems through the 1960s, but most of these had been line-of-sight systems that were useful for raid analysis and interception only. None of these systems had the capability to provide early warning of a launch, which would give the defenses time to study the attack and plan a response. At the time the Soviet early-warning satellite network was not well developed, and there were questions about their ability to operate in a hostile environment including anti-satellite efforts. An over-the-horizon radar sited in the USSR would not have any of these problems, and work on such a system for this associated role started in the late 1960s. Duga-3 could detect submarines and missile launches in all of Europe and the Eastern coast of United States.
The first experimental system, Duga-1, was built outside Mykolaiv in Ukraine, successfully detecting rocket launches from Baikonur Cosmodrome at 2,500 kilometers. This was followed by the prototype Duga-2, built on the same site, which was able to track launches from the far east and submarines in the Pacific Ocean as the missiles flew towards Novaya Zemlya. Both of these radar systems were aimed east and were fairly low power, but with the concept proven work began on an operational system. The new Duga-3 systems used a transmitter and receiver separated by about 60 km.
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timster1973.wordpress.com
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cover for second project of my "translation triptych."
buy issue 1 >>> magcloud.com/browse/Issue/15763
====GCPD====
"Jim, we came as soon as we could. What's the situation?"
"We've got a body in the Coventry district- vic's mistress found the body. Detective Driver from Major Crimes figured you might be interested..." Gordon says, handing him a set of photos.
"Judge Aickerman... He was one of the names on Grange's tapes."
"Yeah, that makes the fifth victim so far, all headshots, all-"
"Two shots to the head... Dent? You said there were others?"
"Here. All members of the Court, all names on Grange's list. And that doesn't even go into the mess in Arkham. 40 bodies recovered, all burnt beyond recognition, only thing identifiable-"
"Are the owl masks fused to their faces. Chemical analysis?"
"Make-up seems to match Lynns' portfolio, and the napalm there's a staple of Joey Rigger. And though I can't condone them, I can't blame them either. After Walker-"
Gordon trails off, and takes his cigarette out of his mouth- after Arkham, he'd relapsed, and looks at Batman's partner. Catwoman
"Well, I'm just glad to see you're on speaking terms again."
Bruce looks at him inquisitively
"Give me some credit, I am a detective too, you know."
...
"Don't worry, Jim, I'll find Dent, before they do."
====The Slab====
"Gar put you up to this, didn't he?"
No response... Drury sighed. He couldn't go anywhere these days without someone else tagging along, acting like his self important babysitters. He didn't much like Flannegan, not these days, not since he started to question things, question people. The man was cruel and irritable, and the only things he cared for were his rats, who he insisted be brought along with them on their flight. "Can't trust those Antarctic rats," he'd declared loudly at the airport, waving his government badge at the security guard trying to pry the rodent-filled suitcase away from him. Even now he was dodging questions, cigarette in mouth, his right hand stuffed in his pocket.
Drury had been to a lot of prisons; Blackgate, Arkham, Stryker's, even spent a night in Iron Heights. Slabside was a different breed entirely. Located in the middle of Antarctica, it's home to some of the world's worst criminals. Following the City of Fear incident, many of the Society's most dangerous member's were relocated here. Many still are. Doomsday. Mongul. Amazo. Just one of them free would be catastrophic, all of them, and even the Justice League might not stand a chance.
In one cell, a masked man punches the wall, blood spurting from his knuckles. With each punch his voice grows louder. "Pow. Pow. Pow." Drury takes one look at him, then hurries after Flannegan.
"Do I know you?" a timid voice asks. A frail man sits housed in the adjacent cell, fumbling with a broken clock.
Drury stared. His name is David Clinton. In this reality, he was never trapped in the void, in this reality he never had an epiphany of any kind, or really any original thought. But, in his cell, he knew there was something missing. A purpose. Memories that he shouldn't have flashed in his head regularly.
In one world, Drury knew him as Chronos, a sociopathic monster. But here, Clinton was just another C-Lister locked in a cage.
"Sir, we've got her down here," the guard said.
"Good," Drury muttered. "Good, I'll be there soon," passing by Chronos.
"Tick tock," the other man murmurs. "Tick tock."
Drury sat down in the visitor centre, a small, dark, smelly room. Opposite sat Marion Grange.
"What do you want?"
Grange shifted in her seat. "I heard about your wife, I want you to know that-"
"No. No, what do you want?"
She sighed. "I don't... I don't want to die. I want that on the record. Any record. I don't want to die."
"I travelled halfway across the world-!"
"Then you know I'm serious. They're coming. They're coming, and when they get here, they'll do whatever they can to make it look like an accident, a suicide."
"I don't-"
"They're going to kill me!" Grange yelled suddenly.
Drury shifted his eyes around the room, and in a harsh whisper asked "The Owls?"
Grange nodded.
"I needed you here, because I know you'll believe me. Because you know how- You know how dangerous they are."
"This is the most secure prison on the planet, they aren't getting in here."
"And what if they're already here? What if they've already bribed, extorted and blackmailed their way in?"
Drury paused. "You didn't bring me here to talk. Or to apologise. You wanted me here, so you'd have a human shield to hide behind. Didn't you?" Grange looks down at the desk, ashamed. "I'm sorry."
"I said, didn't you! My wife is dead. My brother was abducted, and one of my best friend's went missing two days ago."
A rat crawls into the room, and is scooped up by Flannegan. He whispers to it, then addresses Drury. "Shut it."
"Oh, he speaks!" Drury snapped at Flannegan.
"Let's talk about your screwed up little world some other time. Rodriguez just sent word. Someone's infiltrated the security systems."
"Who the hell's Rodriguez?!"
"The rat. Do keep up. Up you get, ma'am."
"Not now, Otis..." Drury murmured. "Did your... rat tell you who it is?"
"It's a rat, you idiot. Not the criminal database," he scowled, as he pulled a knife out of his sock and stormed out. "Oh, you again."
====Keystone City====
"Your turn, Rory. You were saying?"
"Right, right. Wit was ah aboot to say? Oh, aye. The auld guard! Scudder, Scudder wis a daft wee bampot who dragged Lisa doon wi' 'im. And dinnae get me started on that Top bastard. What a pretentious auld cunt he wis. Aw brains an no fookin' human decency..."
"-Don't forget about that Chillblaine loser," Mick muttered, as he put his lighter down.
"Och aye, Chillblaine tae. Ach, the poor lassie sure kent how ta choose 'em. As fer Piper-"
Mardon paused. "Piper? He's gay, McCulloch."
"Wit? The wee rat boy? He didnae ever come across as one a' them."
"One of them"? 'Hell does that mean?" Mick started.
"Ach, I dinnae mean nothing by it, Rory, I'm jus' saying. I mean, I cannae believe it. Hartley bloody Rathaway, and wit, Flannegan? They're a bloody couple?"
"When Flannegan feels like it, that is," Mardon added, checking his watch. "Snart was supposed to be here by now."
Rory growled.
"Oh, don't start," Mardon began.
"He comes and goes as he pleases," he snarls.
"Well, he's the big man, ain't he? He's allowed tae do that."
Mick slouches into his seat. "That's all well and good, I just wish we didn't have to work with *him* to do it."
McCulloch groans. "Aye, I hear ya, he makes Dillon sound like Girder."
As if on cue, a signature smug, booming voice calls out to the assembled trio. "Gentlemen, when is a door not a door?"
"Ach, that's fooking ancient that is..."
"When it's ajar..." Mardon sighed.
Riddler smiled, but he was clearly annoyed. "Quite. So tell me, which one of you three dimwitted numbskulls left the door open *this* time? Need I remind you the importance of what we're trying to accomplish here. If Bane were to discover-"
"Bane's all drugs and bravado. I could summon a hurricane in his gut, and suck his flunkies into a tornado."
"Ah, yes, because Kryptonians are well known for being easily sucked into tornados..."
McCulloch leaps out his chair. "Ach, fook this, ya think that because yer in good wit' Luthor yer better than us?"
"Hardly. I think I'm better than you, because I am."
====ACE Chemicals====
"Hello Charles. I apologise for the hostile greeting, but, you weren't coming quietly."
"That ring, those things, how did you-"
"All in good time, I assure you. Are you angry with me, Charles? You've every reason to be. Day betrayed you, Penguin betrayed you, Sionis too. And now, Mr Dent. All that hurt in so short a time... Any other man may have succumbed to violence, but not you. You're afraid. Afraid that if you were to retaliate, the consequences for your friends would be dire. Why those, those are powerful men. And Calendar Man, heh.
But what, what if something wasn't holding you back, what if you didn't have to be afraid? Fear, fear is what tells us no. Fear holds us back. It controls us, manipulates us. Fear is a weapon, harnessed by me, and harnessed by The Batman. It's funny, when I began this newest experiment of mine, Penguin commissioned me to deliver a weapon, a drug that could help his armies conquer fear, and thus, their enemies. The Court of Owls, The Batman, Joker if the need ever arose, without fear, they'd be easy marks, so he said. I hear he's in hiding now.
But, I never let a good toxin go to waste, and now, one year later, I have the answer! I can cure fear! It took various chemicals, some herbs in Blackfire's garden and the blood of a few murdered Talons, but I have my chemicals, and you will be my guinea pig."
"You could've had the pick of the city, why me?"
"Yes. Why you? Not even remotely special. Because, Charles, the fact is, you're a good man. You've got a moral compass, a strong one, you help people at every turn, even those who don't deserve it. You've never killed without remorse, not even that creature, Salinger, was it? I bet you grieved for days... For many men, the easiest path to breaking them, is fear. And it's gotten so... boring. Cliché. This time, I'll break you, and men of your ilk by destroying you, from the inside out." A yellow claw fills a nearby syringe with red liquid and hands it to a grinning Crane. "Shall we begin?"
City lights shine brighter during the holidays in the United States when compared with the rest of the year, as shown using a new analysis of daily data from the NASA-NOAA Suomi NPP satellite. Dark green pixels are areas where lights are 50 percent brighter, or more, during December.
Because snow reflects so much light, the researchers could only analyze snow-free cities. They focused on the U.S. West Coast from San Francisco and Los Angeles, and cities south of a rough imaginary line from St. Louis to Washington, D.C.
Credit: Jesse Allen, NASA’s Earth Observatory
Read more: www.nasa.gov/content/goddard/satellite-sees-holiday-light....NASA image use policy.
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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The problem with sinking is that some things float and others don’t, while still more will alternate between sinking and floating, or sink or float at different rates. Gravity doesn’t get to make all of the rules.
Boards Of Canada
Book :
Xavier Veilhan
1999 - 2009
JRP I Ringier
2009
CD :
The Sea And Cake
The Moonlight Butterfly
Thrill Jockey
THRILL278
Recorded and Mixed by John McEntire
Drawing by Eric Claridge
Design by Archer Prewitt Sam Prekop & Sheila Sachs
iTunes :
Shuttle358
Understanding Wildlife
Mille Plateaux
MP115
Sir GMAttenborough ...
Top left: A corniform above a rectangle, with four thin lines stretching away as if the legs of a cow. This may be an attempt to add detail to the description of cow, or a visual description of a raw-hide pelt being stretched. An alternative might be that the rectangular body is a hut with the 'legs' as tethering ropes and the horns are entrance fencing delimiting and protecting from wind and sun - a 'farmyard' work area.
Top right: one of Mont Bégo's most enigmatic petroglyphs comes from Fontanalba's 'Voie Sacrée' and seems to defy analysis. The lines are thought through, and with so much lifestyle description assigned to the Mont Bégo petroglyphs, one feels that there must be a slot for the image in a pastoral context: Stretching leather? A hut with guide ropes? And so on. One of the problems here is the 'boundary line' that goes through the design and appears to be part of the image rather than a superimposition.
Possible explanations:
1. A fridge. There is a simple mountain structure of the Pyrenees called a 'houn'. Here, a cold spring of mountain water flows through a dark stone hut, and any heat inside is transferred to the flowing water. Naturally, the environment inside the hut becomes cold enough to preserve milk products, often as they are assembled prior to transformation into curd, butter and cheese. The principle of heat transfer is similar to that at the back of a fridge and indeed 'houns' are archaic fridges. The pilgrims of Mont Bégo had cows in their lifestyle and transforming their milk into cheese would be within the date range. Just such a proto-houn might assure quantities necessary for cheese production during hot periods, and the stone steps or ledges aside the directed spring water may be pictured here covered by a stretch of taught leather attached to two long poles.
2. A ceremonial space. It seems safe to say that Mont Bégo's largely Bronze age population were walking into the barren non agricultural zone around Mont Bégo to show the mystical mountain the proud qualities of their life and culture - in effect asking for blessing and 'dialogue'. Today we see the zone's favoured rock surfaces ornamented with a diverse array of schematic images. With the weather shutting down the area for seasons of snow and storms, it becomes possible to suspect that there was a preferred period of pilgrimage - lets say at the time of the golden larch trees around October. Tools and people might all wish to be 'seen' and blessed and one of the mankind's traditional means of blessing is with water. Might this be the image of a temporary shrine for seasonal pilgrims? Here the image may be of a natural spring directed into a ditch and made to pass through a very simple roofed building. It is possible that there are two long poles and that an attempt was made to describe 'uprights' - here drawn vastly before the rules of perspective as flattened right angles. Flat representations of dimension can be verified from an Iron age site to the north (rock 23 Naquane) which depicts an early cart and as the wheels are easy to identify and less ambiguous than straight lines, the principle of 'flat' depiction of height is observed. With this interpretation, the roof is held-up by six posts aside a second smaller building, away from the stream, which would in turn be held up by four posts.
With 'pilgrims' leaving very little outside of the petroglyphs, there is also a possibility that a sacred water spring was located away from Mont Bégo, and that the element was in truth as far away as the described field systems and tools and simply 'taken' to the sacred site as an image idea. Tools, children, young animals might all have been offered sacred water aside rites and ritual.
3. Tanning. Cattle can be used for reserves in extreme conditions, they can be used for their meat, they can be used for their manure (manure cob etc), they can be used for their horns (drinking goblets and measuring devices), and they can be used for their pelt - probably the largest readily available. A large pelt can be one trimmed cover without seams, or a source for multiple smaller products apt for the lifestyle of the whole clan. Leather cord, leather ornament, leather cloths, leather coverings and full leather covered huts can all be envisaged by crofters as they look after even a small number of domesticated cows.
I only saw a small selection of the petroglyphs of Mont Bégo, and in the literature there are discussions of subsets of glyphs that may show stretched pelts. With this image, the stretching, if that is the case, is not as one might expect. The classic image is of a hide stretched evenly on a frame or with multiple pegs (Roberto Rosselini recreated a prehistoric village for one of his films where the stretching leathers were integrated onto hut roofs). If huts were covered in leather, and many of the corniforms are in fact depictions of huts with fence 'farmyards', then cow leather will have been used at its maximum size. Tanning requires large quantities of water, a product (urine, salt solutions, lime) and plenty of repeated 'lissage'. Here a large pelt may have been made temporarily manageable for one 'tanner' by being temporarily sewn into a cylinder. Two long poles could thread through the cylinder and be pulled taught. With this interpretation a drainage ditch or 'rigole' passes under the pelt so that fresh water can constantly be scooped.
Here, the canal here would have been a straight line with a right angle and this does not seem immediately logical. I have seen drainage canals on mountain slopes doing just this. A spring feeds the ditch rather than making the field generally boggy. The ditch then cuts perpendicular across the slope, and in so doing, it catches additional ground water that can be riddling down the slope. Before it overflows the ditch turns back down the slope at an angle and drier pastoral land is preserved within.
Of the three options, the 'fridge' needs data on ancient cheese production in the area. The ceremonial holy spring needs data on this potential representation of vertical posts, and the tanning loop is weakened by depictions of central 'ropes' that seem difficult to explain.
Lower left. Hyperbolic horns, a square body shape, legs like guide ropes and an apparent 'farmyard' where there might be a tail, all suggest that the abstract form of a cow might have been employed as a hut archetype. My work on 'transport dragons' explains how pelts over frames might have helped man navigate the extremes of the ice age. That these mobile structures took on the character from fauna and myth is also to be expected. Culture is not genetic and can survive as a memory even after waves of migration. Sedentary populations holding onto the traditions of a collective consciousness may feel that it is quite natural for their practical huts to resemble an animal. Domestication also added the mind of man to the animal, and was a lifestyle that required constant training and reflection. The cow/hut symbol may have perfectly reflect this inter relation.
Lower right: The closest of the four images to the pelt of a cow - but there are still differences: the horns, the tail and even the general shape do not alight to an image of a pelt. The argument here is that the image is not descriptive but instead communicates the principles of 'cow', and this may well be the case. An alternative explanation may seem idiotic, but needs to be considered, and is that the square of the 'cows' body is once again a small building, but this time for the distribution of feed for young calves or winter hay, and that the legs and tails are calves feeding with their heads tucked into the building's sweet smelling feed, in what may have been at the time an amusing image from the cycle of life.
AJM 6.2.19.
Collection:
Images from the History of Medicine (IHM)
Publication:
Produced: [between 1963 and 1969?]
Format:
Still image
Subject(s):
MEDLARS, Librarians,
Computers, Mainframe,
Library Automation,
National Library of Medicine (U.S.). Office of Computer and Communications Systems.
Genre(s):
Photographs
Abstract:
Image caption on page 100 of the book US National Library of Medicine: "Computer operators working with the tape-driven Honeywell 800 mainframe computer, originally acquired by the library in 1963 which ran the Medical Literature Analysis and Retrieval System (MEDLARS). The Honeywell 800 ran an assembly language called ARGUS (Automatic Routine Generating and Updating System)."
Related Title(s):
US National Library of Medicine
Extent:
1 photograph : 21 x 26 cm
Technique:
black and white
NLM Unique ID:
101648240
NLM Image ID:
A033500
Permanent Link:
Probable juvenile at the Berks County Heritage Center near Reading, Berks County. If accepted this bird would represent the third record for Pennsylvania and second since 2012. The bird was discovered at this location on 21 December 2015 and has been seen daily ever since. Remarkably cooperative, the bird often feeds in the open only a few feet from the ground -- quite photogenic!
Note strong yellowish underparts, strongly green upperparts, and complete almond-shaped eyering, among other features. The bird's call (which I heard twice) appears to match Pacific-Slope per spectrographic analysis of recordings, though note that the taxonomy of the "Western" Flycatcher (Pacific-Slope and Cordilleran) is an open question and debate.
Show Must Go On
W x H (“): 70 x 60
Oil painting on Cotton (dock canvas)
Signed
Early Period
(1)Mechanism of Inspiration
From a title or period of painting’s execution it is believed that Jaisini was driven in its creation by an influence of a song with corresponding title and the death of its author and singer Freddie Mercury. The interpreting of emotions resulted and transferred by Jaisini in his painting is unexpected development of the theme of Show Must Go On painting rich in color combination, with dynamic composition, nerve and emotion urging to attempt read into it’s concept. At a first glace the picture’s space reminds of an outlandish or even sci-fi landscape with elements that may support the impression, a red sun against a silhouette that reminds a dinosaur. On the right upper side there is a depiction of what looks like a water tower. The color develops from the front ground’s almost black cobalt blue that changes gradually to the lighter value of blue enriched by additional colors and finally to fuse in a sun light spot in the upper left corner that holds a voluptuous female figure with bulging thighs. Her position is either gymnastic of erotic. Her figure is touched by some phallic finger and seems to carry little information except being a compositional space brake.
The figure’s configuration is light almost weightless as is she was a balloon navigating the space. In contrast to this image’s lightness there is another female figure, located below. Her image is independent but at the same time she delineates a right hand of a central man. This is a reclining female torso of intense transparent red color of stain-glass.
This color of transparent red is a highlighting color of the entire picture that is dominated by blue and yellow. The inclusion of such pure sound red fires up accents and add to Jaisini’s painting special power.
He is a great color master developing his composition with complimentary tonal highlights of pure colors and contrasting inclusions that always light up the paintings with additional dimension as multi faceted precious stone that casts color sparkles. His established rule is the inclusion of pure brisk color accents. To justify such pure and intense red in the predominately cobalt composition is a complex task Jaisini successfully accomplishes in SMGO.
The work as most paintings is painted in one go in detection of light and immediate lines that create the whole compositional swirl.
This mode of work in oil called a-la-prima painted without preliminary
sketch and sure is exhausting way of creation.
It will always remain puzzling how is it possible to paint monumental, finished version of a single painting without minimum preparation. In the interview Jaisini confirmed that it takes long time, months if not years to think about future painting. If he is not capable to construct a vision of his future work in his mind until this “vision” occurs, the artist is not ready to paint or if he would persist the result can’t satisfy the artist.
The notion of having direct influence of the music and events that inspired Jaisini to paint SMGO enter the analysis and to understand the immediate mechanics of Jaisini’s creativity is a challenging task.
What moves him in this particular work to bring out strange, unexplainable images to interpret the signer’s death and the musical tune and poetic meaning of the song with theatrical slogan that “show must go on”?
In the picture the central man is in the middle of composition and picture’s concept as a main figure. As in Forbidden Fruit same here the man’s figure is depicted in a rushing forward movement that could read symbolically and remain statuesque. Such duality of being dynamic and still at the same time is always found in the best works of art that can be looked at from different aesthetic points as Rodin’s Thinker, who seemed to be so lively but at a standstill.
In SMGO the central man’s body has an athletic anatomy but also a grotesque exaggerated body part that look like a blown out of proportions phallus, erected from the man’s lower body having no anatomical detailing.
The color serves to divide phallic element in two parts. It enters a figure of a bending down man of light yellow tone. The phallic part of a central man on the point of entering into the bending man’s backside becomes the painting’s red color inclusion with transparent effect of stain glass.
The central man seems to interact with the other in internal game that can be physical game of power. The central man opens his mouth in scream from the own pain that is caused to him by a double-jawed sward-fish who in turn enters his body from the back.
On the entering the swordfish’s nose is ultramarine and then red.
There is also an interesting image of a grieving profile that fills the space between the shark and reclining woman’s torso. The sward-fish is moving out of a dark space where scalaria fish of enlarged size demarcates the side of darkness and light.
Corrals in the front ground add more ambiguity to the space with the red color and rounded shaping.
In the right corner there is a third figure of a man who could fit the definition of submissiveness or weakness by the depiction.
Such personages are often found in Jaisini’s works where they find a place to contrast images of the masculine males.
To conclude the count in SMGO I should mention a profile with a grotesque dinosaur’s long bending neck. This profile is situated between spatial contrasts of almost black concave opening.
Inside the round enclosure of the neck the space is light but indicative of shaping by the reflexes of light.
The interest to understand the work, the birth of the above-described images and their relevance to the painting’s theme, why and how did they arrive in association with prime impulse of the artist, his favorite song and sorrow.
As a formulation of the artist’s reaction to the song he liked and death of its singer in the outcoming painting is most unusual. The painting’s formal quality is complete in its dynamical and color elaboration.
When you try to see the picture in its entirety you see a great contrast of spots, beautiful combination of colors enriched by unusual color choices.
The dynamic development of picture’s space divided endlessly to create vigorous effect of foliage washed by sunlight. The yellow color parts are offset by cold deep ultramarine and refined by bold inclusion of red.
Space of the painting can’t be defined as perspective.
As in most Gleitzeit works space is multi perspective with Cubist principle of space being observed from different angles but at the same time unified by Jaisini’s plastical line unlike cubism’s straight angles.
This painting has strong sense of spontaneity with little predictability of the images. The execution of the work holds perfectly an outburst of emotions into a formulation of unlikely response to the initial drive. Jaisini’s ability to work in a style of direct painting that is loaded with philosophical meaning is a unique gift. If abstract art is mathematical it is possible to formulate its principal’s production. In such works as of Jaisini the formula would be with all unknowns.
The artist expresses his deep understanding of social conflict in Show Must Go On uniting images of violence with concept of grief for the lost such as death of singer who inspired the artist to paint.
In this work Jaisini unites man’s violent act with the concept of “show must go on” that means aggression is a primary purveyor of rebellion and its revolutionary radicalism.
In SMGO the portrayal is of a cry that informs universe of raw demands of man desperate to know whom he is and where is he going.
The title of the song and painting is a dynamic addition to the concept.
The central man is shown vulnerable as the shark enters his body. It seems to freeze the effect of his outcry by physical threat. Jaisini reflects in this work the deep-seated fundamental concept. Men transform their fear of male violence into a metaphysical commitment to male aggression.
For Freud a criminal act-aggression and death, restrictions, and suppressed desire lay at the origins of human society. He establishes conflict between Eros and Thanatos as a primal, constant human condition.
Freud proclaims: “Every individual is virtually an enemy of civilization.”
Humans are unfit for civilization because their destructive urges are antagonistic to the fundamental demands of civilization.
The situation has become particularly dire in modern times, Freud argues for there are increasingly fewer outlets for these urges even as more and more restrictions are imposed. If during time of Surrealist art Andre Breton called the “crisis of consciousness” here is the “crisis of existence”.
The subject of absurdity and extinction of male purpose is not a gender-politicized theme in the Gleitzeit works of Jaisini.
It is an artistic questioning of the potential creativity that is hidden in every man but is restricted by rules and social responsibilities.
And still the artist calls for art to continue for show to go on even through death.
The portrayal of violence and victimization has the effect of the sacrificial ritual of ancient tradition that is echoed in the painting. Life will go on through death and sacrifice. There is recognition of life within death as well as death within life. In SMGO the concept of continuance is in the effort that could be described as violent, deviant, inherently shocking. The imagery of the picture focuses on the bonding between aged long that was and is necessary for creativity, agony and ecstasy, violence and sexuality, all inescapable and vitalizing forces of life emphasized in art tradition.
Struggle between instinct of life and instinct of destruction is the struggle that entire life essentially is about.
The picture seems to illustrate what was Freud’s view of the inclination to aggression to be an original, self-subsisting instinctual disposition in man while civilization is a process in the service of Eros and death, between the instinct of life and the instinct of destruction.
This struggle represents and portrays creation and life.
In SMGO Jaisini united the symbolic of fight with transgression of taboo subject of human rage having cruelty with social purpose to continue create.
“It is in an analysis of the nature of beauty that we see how sight and hearing can be fused into one total assent to God’s gifts of creation and revelation. . . . Beauty by its very nature always elicits a response: one simply cannot experience a form or a phenomenon as beautiful without responding, without assenting”
-Edward Oakes
The following is about the building on the right in the photo.
"The building of the former Komerční banka , originally the Österreichisch-Ungarische Bank (Austro-Hungarian Bank), stands in the center of Karlovy Vary in the city's heritage zone at náměstí Republiky 1229/1. It was built in the Art Nouveau style in 1912–1913.
The building was declared a cultural monument, it has been protected as a monument since October 27, 1991.
In 1912-1913, one of the most important banks of the monarchy, Österreichisch-Ungarische Bank, had its building built on the corner of Brückenstrasse (today Bělehradská) and Zentral Bahnhofstrasse (Západní).
The real author of the project is not known for sure, although the Karlovy Vary architect Alfred Bayer is listed as the submitter of the plans in the building files. According to the stylistic analysis, however, it is believed that the building project was drawn up by one of his Viennese colleagues. Alfred Bayer is definitely the author of the sewer plans.
The building is located in the commercial and administrative part of the city. In the past, its location was listed as the corner of Bělehradská and Západní streets, currently it is náměstí Republiky 1229/1. The expression of the object is based on the late geometric art nouveau of the Viennese style.
It is a four-story corner building with a usable attic. The entrance facade is four-axis and faces Belehradská street. The ground floor has plastic banding. In the second window axis from the left, there is an arched entrance located in the exiting portal. On its sides are banded pilasters, which support a cornice with two seated sculptures, between which a cartouche is placed. The windows on the ground floor are arched.
The first and second floors are connected above the portal by fluted half-columns, elsewhere by pilasters. The windows of the first to second floors are rectangular, on the first floor in parallel shallow frames, between the windows of the first and second floors there is always a darker rectangular frame. Above the second floor there is a prominent cornice with dentils, above the portal and in the extreme axis on the right it carries a rectangular balcony with a brick incised railing. On the balcony above the portal there are putti on both corner pillars.
The third floor has segmental windows in arched profiled darker frames, the wall here is divided by shallow moldings. The third floor is separated from the attic by a crown cornice with dentil. Above the three window axes on the left is a gable with three narrow rectangular windows in the middle.
Karlovy Vary (German: Karlsbad) is a regional and statutory city in the Karlovy Vary district in western Bohemia, in the Karlovy Vary region, 110 km west of Prague at the confluence of the Ohře and Teplá rivers. Approximately 49 thousand inhabitants live here. Among other things, the glass and food industries are developed here. It is the most visited Czech spa town. As of 2021, it is on the UNESCO World Heritage List under the Famous Spa Cities of Europe. The city is a member of the Euregio Egrensis Regional Association of Municipalities and Cities and the Water Management Association of Municipalities of Western Bohemia.
The place where the center of Karlovy Vary was established remained for a long time outside the interest of the population. Steep slopes and unsuitable climatic conditions near the thermal springs did not provide suitable conditions for growing crops, which were crucial for settlement. The first settlements were more likely to be located in today's peripheral parts of the city.
The exact date of the city's founding is unknown. The permanent settlement around Vřídl was established in the middle of the 14th century. In 1370, it was granted to the city by Charles IV. privileges of the royal city. The legend of the founding of Karlovy Vary, recorded in 1571 by Dr. Fabian Summer, says that a hunting dog began to maul a piece of wild game during an expedition in the woods, falling into a pool of gushing hot water. The moaning of the dog summoned the other members of the expedition, who subsequently tasted the hot water. Charles IV was also informed about the find, who went to the place of the spring. Together with the doctors present, he stated that this hot water has healing effects, which he subsequently tried himself and experienced improvement. He then founded a spa called Teplé lázně u Lokte on the site of the alleged spring.
At first, the town had only a few inhabitants, whose most important role was to take care of the springs. Karlovy Vary initially developed at a slow pace. The Hussite wars did not affect the city in any way, because it was not understood as strategically important. The city slowly began to grow rich from the gradually developing spa industry. But the growth was hampered by several misfortunes that hit the city. A flood swept through the town in 1582 and a devastating fire in 1604, which destroyed 99 houses out of 102. The subsequent rapid growth was interrupted by the Thirty Years' War, which reduced the number of inhabitants and also the number of spa guests. The end of the 17th century starts a new growth in the city. Important European personalities begin to visit Karlovy Vary. The city began to expand with new buildings (e.g. the theater or the Saxon and Bohemian Hall, which became the basis for the Grandhotel Pupp etc.). In 1759, the city was again destroyed by flames. However, thanks to its fame, the city recovered relatively quickly from the fire. The Napoleonic wars rather benefited the city in a way. Thanks to their sufficient distance from the battlefields, they attracted visitors to the famous spa towns of Western Europe. Viennese architects Ferdinand Fellner and Hermann Helmer, who designed 20 important buildings in the city, are largely responsible for the architectural transformation towards Art Nouveau at the end of the 19th century. In the years 1870–1871, the city was connected to Cheb and Prague by means of a railway, which was later followed by regional connections.
The development of the city was disrupted by the First World War, after which it was not possible to continue such extensive growth. The city became the center of important events with the rise of Nazism. Local bookseller KH Frank became the leader of the Karlovy Vary Sudeten German Party, later the second most powerful man in the party. On April 24, 1938, Konrad Henlein presented the so-called eight Karlovy Vary demands, heralding the breakup of Czechoslovakia, in the city. In October of the same year, Karlovy Vary became part of the Third Reich. At the end of World War II, the city (especially the local part of Rybáre) was affected by bombing. The end of the war was also accompanied by the forced displacement of the original German population. During the era of socialism, several important buildings were built in the city center, such as the Vřídelní colonnade, the Thermal hotel, etc. The period after 1989 is characterized by the entry of Russian capital, which also affects the appearance of the city (e.g. by disrupting the historical character of the city with building plans). According to research by Russian activist Mikhail Maglov, who looked at property conditions through an analysis of the local real estate cadastre, "up to half" of local real estate is owned by citizens of the Russian Federation and other countries of the former Soviet Union.
Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Analysis:
As usual, Lego have outdone themselves with their new Star Wars sets.
This X-Wing is AMAZING! It just... aaahh... I'm speechless!!! It is just perfect! And the ground forces stuff is great too, not to big and the ladder is just so nice! Also, BB-8 fits in the astromech slot where R2 usually goes! Pure awesome!
The figures are incredible detailed and the new helmets are awesome! The only downside to this set is the price, but I will definitely be getting it anyways.
DEFINITELY BUYING!
Set Rating: 10/10
Figures Rating: 10/10
A person trained in human osteology would notice several skeletal features of interest in this individual.
For example, the epiphysis on the distal end of the right humerus has not yet fused. In males, fusion takes place at between 15 and 18 years of age. That means our Halloween skeleton is a teen, which is about right.
Also, the 5 metacarpals in his right hand have fused together, a condition that could only occur through chronic overuse of that appendage.
His scapulae are so small as to scarcely provide any support to his shoulders. This is consistent with the slump-shouldered posture of a teen boy who spends too much time on his mobile device.
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In 2020 a severe rainstorm totaled a building that housed a popular restaurant on the strip at the tourist town of Long Beach, Washington.
After standing vacant for the remainder of 2020, the building finally showed signs of life last year.
Yesterday we noticed this seasonal art on the ground-floor windows. If the quality of the restaurant is as high as the designs, Long Beach can look forward to the opening of another good dining spot.
++++++ from wikipedia +++++++++
Biarritz (French pronunciation: [bjaʁits]; Basque: Biarritz [biarits̻] or Miarritze [miarits̻e]; Gascon Occitan: Biàrritz [ˈbjarits]) is a city on the Bay of Biscay, on the Atlantic coast in the Pyrénées-Atlantiques department in the French Basque Country in southwestern France. It is located 35 kilometres (22 mi) from the border with Spain. It is a luxurious seaside tourist destination known for the Hôtel du Palais (originally built for the Empress Eugénie circa 1855), its casinos and its surfing culture.
Contents
1 Geography
2 Etymology
3 History
3.1 Prehistory
3.2 Middle Ages
3.3 Whaling
3.4 18th century
3.5 19th century
3.6 Belle Époque
3.7 After World War II
3.8 The arrival of surfing in Europe
4 Main sights
5 Climate
6 Politics
6.1 Mayors
7 Demography
8 Economy
9 Culture
9.1 Languages
9.2 Museums
9.3 Music and dance
9.4 Theatre
9.5 Cinema
9.6 Civil buildings
9.7 Religious buildings
9.8 Parks
9.8.1 Rocks
9.8.2 Beaches
9.8.3 Gardens
10 Infrastructures
10.1 Sport
10.2 Education
10.2.1 Schools
10.2.2 High Schools
10.3 Transport
11 Notable people and popular culture
12 International relations
12.1 Twin towns/sister cities
13 Festivities
14 References
15 External links
Geography
Biarritz is located in the Pyrénées-Atlantiques department in the Nouvelle-Aquitaine region. It is adjacent to Bayonne and Anglet and 35 kilometres (22 mi) from the border with Spain. It is in the traditional province of Labourd in the French Basque Country.
Etymology
In Basque, its name is Biarritz or Miarritze. Its current Occitan Gascon name is Biàrrits. The name for an inhabitant is Biarrot; Biarriztar ou Miarriztar in Basque. The suffix -itz (cp. Isturitz) is a Basque locative. The name appears as Bearriz in 1170, Bearids in 1186, and Bearritz in 1249.
Biarritz appears as Bearids and Bearriz in 1150, Beiarridz in 1165, Bearriz and Beariz in 1170, Bearidz (1186), Bearriz and Beariz (12th century), lo port de Beiarriz and Bearridz in 1261, (cartulaire de Bayonne). Other forms include Beiarid (1199), Bearritz (1249), Beiarriz and Beiarrids (1261), Bearridz (1281), Bearrits (1338), (rôles gascons), Bearritz (1498, chapitre de Bayonne38), Sanctus Martinus de Biarriz (1689, collations du diocèse de Bayonne39), mearritcen (1712), Biarrits (1863, dictionnaire topographique Béarn-Pays basque) et Biarritze et Miarritze au XIXe siècleNote 10.
History
Prehistory
Analysis of stones from the Middle Paleolithic show that the Biarritz area was inhabited at that time.
Middle Ages
The oldest mention appears in a cartulary, Baiona’s Golden book, from 1186, where it is named Bearids; some years later the name used was Beiarrids. The first urban town was to the south, at the top and at the interior, where the church of San Martin is located. This church is the oldest in Biarritz.
In 1152, Eleanor of Aquitaine married Henry II of England, who became suzerain of the Duchy of Aquitaine. Prince Edward, oldest son of Henry III of England, was invested with the duchy, and betrothed to Eleanor of Castile, who brought him rights over Gascony.
Two population centers are attested in the Middle Ages. On the one hand, the église Saint-Martin was active in the neighborhoods in the territory's interior, which were:[1]
Gardague (mentioned en 1233)
Legure (lac Mouriscot)
Larrepunte and the domains of Silloete-de-Bas and Silloete-de-Haut,
Arretegui,
Chabiague,
Castera,
Suhy,
Itçar (mentioned in 1342),
Monsegur (1335),
Martin Petit,
Chohy,
Maron,
Catalina
Harausta (which would become La Négresse).
On the other hand, the château of Belay (first mentioned in 1342), also called château de Ferragus, protected the coast and the current Port-Vieux (old port), while religious life and community assemblies took place at Notre-Dame-de-Pitié (a chapel mentioned in 1498), dominating the Port-des-Pêcheurs, or fishing port.
A document dated May 26, 1342 attested to this fishing activity, authorising les Biarrots to "(…) remit to Bayonne all the fresh fish that we and succeeding inhabitantsof Biarritz can fish from the salt sea".
Construction of the château de Ferragus was decided by the English, on the foundations of a Roman work, at the summit of the promontory overlooking the sea, named Atalaye, used as a whale-observation post. This château had a double crenulated wall two meters thick, a drawbridge and four towers. Mentions of this château occur as late as 1603, in the letters patent of Henry IV. One tower remained as of 1739, when a daymark was established there, called de la Haille, then de la Humade. The tower disappeared in 1856.
Whaling
Further information: History of Basque whaling
Most of the documents, records and official agreements gathered in the archives from Biarritz mention whaling. This was the principal local industry. Consequently, the town's coat of arms features the image of a whale below a rowing boat manned by five sailors wearing berets, one of whom is preparing to throw a harpoon. This inscription is written on it: Aura, sidus, mare, adjuvant me (The air, the stars and the seas are helping me).
Biarritz has long made its living from the sea: from the 12th century onwards, it was a whaling town. In the 18th century, doctors claimed that the ocean at Biarritz had therapeutic properties, inspiring patients to make pilgrimages to the beach for alleged cures for their ailments. After the 7th century, Biarritz had many confrontations with Baiona, with the Kingdom of England – Lapurdi was under its control – and with the Bishop of Baiona. Almost all of the disputes were about whale hunting. In 1284, the town's right to hunt whales was reinstated by the authorities of Lapurdi and the Duchy of Aquitaine.
From the Middle Ages and Early modern period a watchtower has looked down over the sea at Biarritz, from “La Humade”, waiting for the sight of a whale. Whenever those keeping watch saw a whale, they would burn wet straw, to create a large amount of smoke and thus communicate the news to their fellow countrymen. Eventually, however, the tower disappeared.
In the 16th century, as a consequence of the attacks suffered in this area, or for other reasons, the whales migrated to other places. Whale hunters from Lapurdi therefore crossed the Atlantic Ocean in pursuit of them, and they spent some time in the Labrador Peninsula and in Newfoundland (island). Later, instead of hunting whales, they started cod fishing in Newfoundland. A century later, due to the ban on fishing off the coasts of America and the steely competence of English and Dutch fishermen, the number of fishing boats from Biarritz diminished and nowadays, the Biarritz fishing industry in these areas has come to an end.
Even though the population from Biarritz was originally Basque, it is hard to assert whether the main language of the village was Basque or French.
The first lighthouse of the village was built in 1650.
18th century
The Cape of Biarritz.
Biarritz was an independent municipality, until 1784, a clergyman, four sworn and the city was governed by twelve deputies. Deputies were democratically chosen: there were four neighbourhoods (Portua, Bustingorri, Hurlaga and Alto), and three deputies has to be chosen from each of them. However, deputies were chosen by the abbot and sworn. Since they had no Town House, they gathered in a ward near the church. As they did not have place for all the attending people, they made their meetings in the cemetery. That time, Biarritz was composed of around 1,700 citizens.
In the mid-18th century, the city began to change into a worldwide known bath-city.
19th century
From 1784 onwards, after the French Revolution, taking a bath at the sea was no longer a behaviour of those who were fools; sea-baths were fashionable. In 1808, Napoleon himself broke prejudices and took a bath on the Basque Country’s coastal water.
In 1840, the Town House or Municipality of Biarritz started to organize an initiative in order to promote and attract those who loved most the sea.
From the 11th century, Biarritz was a village dedicated to whale hunting, until Victor Hugo, found it in 1843. This writer made to Biarritz the following compliments on his book “Alpeak eta Pirinioak” :
« I have not met in the world any place more pleasant and perfect than Biarritz. I have never seen the old Neptune throwing joy and glory with such a force in the old Cybele. All this coast is full of humming. Gascony’s sea grinds, scratches, and stretches on the reefs its never ending whisper. Friendly population and white cheerful houses, large dunes, fine sand, great caves and proud sea, Biarritz is amazing. My only fear is Biarritz becoming fashionable. Whether this happens, the wild village, rural and still honest Biarritz, will be money-hungry. Biarritz will put poplars in the hills, railings in the dunes, kiosks in the rocks, seats in the caves, trousers worn on tourists. »
Either for good or for bad, Victor Hugo’s prophecy was fulfilled. Biarritz planted poplars, tamarinds, hydrangeas, roses and pitosforuses on the slopes and the hills, set railings on the dunes, covered moats with elegant stairs… and polluted with the speculation of the land and the money-hunger.
Humble and proud tourists praise Biarritz’s coast, from the beach at the limit of Bidarte (Plage des Basques), to the cape of San Martin. There it can be found a white lighthouse 44 metres (144 feet) tall, built in 1834 replacing the one Louis XIV ordered to build. Various hotels were made, as well as a municipal casino, the club Belleuve and the casino were opened in 1857, the thalassotherapy house, and wonderful luxury houses. Luxurious store shops from London and Paris were also set up in Biarritz, and 36 small newspapers were published in the village.
Hôtel du Palais, Biarritz, France(2).JPG
Hôtel du Palais, Biarritz, France (2)
Biarritz became more renowned in 1854 when Empress Eugenie (the wife of Napoleon III) built a palace on the beach (now the Hôtel du Palais). European royalty, including British monarchs Queen Victoria and King Edward VII (who caused a minor scandal when he called H. H. Asquith to kiss hands at Biarritz in 1908 rather than return to London for the purpose),[2] and the Spanish king Alfonso XIII, were frequent visitors.
Biarritz's casino (opened 10 August 1901) and beaches make the town a notable tourist centre for Europeans and East Coast North Americans. The city has also become a prime destination for surfers from around the world, developing a nightlife and surf-based culture.
Originally, there were two settlement sites: the neighbourhood that was around the church of San Martin, and the fishing-port defended by Belay or Ferragus Castle. The coat of arms was a whaler, which was a symbol of the town.
Opened in June 1893, Biarritz’s salt-baths were designed and built by the architect Lagarde. From the gatzagas of Beskoitz and after passing through a 20-kilometre (12 mi) pipe, water ten times saltier than the sea was used. The baths were closed in 1953 and demolished in 1968.
The presence of French Republic’s authorities and the fact of having launched the Paris-Henday train, led Biarritz to become one of the most outstanding tourist areas all over Europe. The queen of the beaches became the beach of the kings: Oskar II from Sweden, Leopoldo from Belgium, tireless traveller, the empress of Russia, Nikolas II’s mother, Elisabeth from Austria, Natalia from Serbia, and her ill son Alexandro, Jurgi V from England, Eduardo VII and England’s Queen Victoria, Alfonso XIII from Spain, aristocrats, rich people, actors, from Europe and South America… In the summer-time, high-status people gathered in Biarritz. Therefore, the number of population remarkably increased, from 5,000 to 18,000. At the end of the 19th century, 50,000 vacationers were gathering in Biarritz.
Belle Époque
Biarritz market.
The big store named Biarritz Bonheur, created in 1894, enlarged twice (in 1911 and 1926), and still operating, became the temple of luxury and fashion. At the start of the 20th century, most of its workers spoke in English.
After World War II
At the end of World War II in Europe, the U.S. Army's Information and Educational Branch was ordered to establish an overseas university campus for demobilized American service men and women in the French resort town of Biarritz. Under General Samuel L. McCroskey, the hotels and casinos of Biarritz were converted into quarters, labs, and class spaces for U.S. service personnel. The University opened 10 August 1945 and about 10,000 students attended an eight-week term. This campus was set up to provide a transition between army life and subsequent attendance at a university in the USA, so students attended for just one term. After three successful terms, the G.I. University closed in March 1946 (see G. I. American Universities).[3]
The arrival of surfing in Europe
In 1957, the American film director Peter Viertel was in Biarritz with his wife Deborah Kerr working on the film The Sun Also Rises. One of his Californian friends came for a visit, and his use of a surfboard off Biarritz is recognized as the first time surfing was practised in Europe. Biarritz eventually became one of the most popular European surfing spots.
Main sights
Sights in Biarritz include:
The Asiatica Museum houses a significant collection of Asian art primarily from India, Nepal, Tibet, and China.
The Museum of the Sea has 24 aquaria containing sharks and seals.
The annual Biarritz Surf Festival, founded in 1993 at the Côte des Basques, is one of the premier surf events in Europe and longboarding events in the world.[4]
St-Martin's Church, constructed in the 12th century, restored in the mid-16th century.
The Russian Orthodox Church, built in the 19th century for visiting Russian aristocrats, has a famous blue dome.
The Chapelle Imperiale built for Empress Eugenie has an intricately decorated roof interior and elegant wall tiling. She also built a palace on the beach which is now the Hôtel du Palais.
The Museum of Chocolate explains the history and manufacture of chocolate.
Two large casinos, the Barrière and the Bellevue, sit on the waterfront near the Grande Plage.
Cliffs and lookouts lie to the west of the main beach.
Climate
Biarritz has a temperate oceanic climate, Cfb in the Köppen climate classification.
Les baigneuses à Biarritz
Biarritz from the Pointe Saint-Martin.
La Grande Plage, the town's largest beach.
Sainte-Eugénie church.
Outdoor cafés.
Notre Dame du Rocher.
Plage Miramar
Railway poster
Climate data for Biarritz-Anglet (altitude 69 metres (226 feet), 1981–2010)
Month Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Year
Record high °C (°F) 23.4
(74.1) 28.9
(84) 29.7
(85.5) 32.1
(89.8) 34.8
(94.6) 39.2
(102.6) 39.8
(103.6) 40.6
(105.1) 37.0
(98.6) 32.2
(90) 27.8
(82) 25.1
(77.2) 40.6
(105.1)
Average high °C (°F) 12.0
(53.6) 12.8
(55) 15.0
(59) 16.2
(61.2) 19.6
(67.3) 22.1
(71.8) 24.1
(75.4) 24.7
(76.5) 23.2
(73.8) 20.0
(68) 15.1
(59.2) 12.5
(54.5) 18.1
(64.6)
Average low °C (°F) 4.8
(40.6) 5.0
(41) 7.0
(44.6) 8.5
(47.3) 11.6
(52.9) 14.6
(58.3) 16.7
(62.1) 17.0
(62.6) 14.5
(58.1) 11.9
(53.4) 7.7
(45.9) 5.5
(41.9) 10.4
(50.7)
Record low °C (°F) −12.7
(9.1) −11.5
(11.3) −7.2
(19) −1.3
(29.7) 3.3
(37.9) 5.3
(41.5) 9.2
(48.6) 8.6
(47.5) 5.3
(41.5) −0.6
(30.9) −5.7
(21.7) −8.9
(16) −12.7
(9.1)
Average precipitation mm (inches) 128.8
(5.071) 111.5
(4.39) 103.5
(4.075) 129.7
(5.106) 113.9
(4.484) 87.8
(3.457) 69.3
(2.728) 98.4
(3.874) 119.6
(4.709) 152.1
(5.988) 185.9
(7.319) 150.4
(5.921) 1,450.9
(57.122)
Average precipitation days (≥ 1 mm) 13.4 12.0 11.9 13.6 12.9 10.4 8.8 9.6 9.7 12.5 13.0 12.6 140.5
Average snowy days 0.8 1.0 0.3 0.1 0.0 0.0 0.0 0.0 0.0 0.0 0.3 0.5 3.0
Average relative humidity (%) 77 75 73 77 78 81 80 81 80 78 79 78 78.1
Mean monthly sunshine hours 100.2 114.1 164.4 169.4 193.7 203.3 209.0 206.8 192.8 141.7 103.8 88.3 1,887.3
Source #1: Météo France[5][6]
Source #2: Infoclimat.fr (humidity and snowy days, 1961–1990)[7]
Politics
Mayors
Mandate Name
1788-1789 Pierre Moussempès
1813-1814 Pierre Moussempès
1864-1881 Pierre-Paul Jaulerry
1881-1884 Alcide Augey
1884-1888 Alexandre Larralde-Diustegi
1888-1895 Alcide Augey
1895-1904 Félix Moureu
1904-1919 Pierre Forsans
1919-1929 Joseph Petit
1929-1941 Ferdinand Hirigoien
1941-1944 Henri Cazalis
1945-1977 Guy Petit
1977-1991 Bernard Marie
1991-2008 Didier Borotra
2008-2014 Didier Borotra
2014-2020 Mixel Veunac
Demography
Date of Population
1793 1800 1806 1820 1821 1831 1836 1841 1846 1851
929 1.171 1.188 - 1.082 1.495 1.705 1.892 1.993 2.048
1856 1861 1866 1872 1876 1881 1886 1891 1896
2.110 2.771 3.652 4.659 5.507 8.527 8.444 9.177 11.869
1901 1906 1911 1921 1926 1931 1936 1946 1954
12.812 15.093 18.260 18.353 20.776 22.955 20.691 22.022 22.922
1962 1968 1975 1982 1990 1999 2004 - -
25.231 26.750 27.595 26.598 28.742 30.055 - - -
For the census of 1962 to 1999 the official population corresponds with the population without duplicates according to the INSEE.
Economy
Although Biarritz’s economy was based on fishing before, nowadays it has a modern economy due to the metropolitan location of Baiona-Anglet-Biarritz. Together with Baiona and Anglet, Biarritz takes part in the management of the BAB Airport. The most important economic activities are:
Spa tourism
Sport (golf, surf and rugby)
Thalassotherapy
Industry. The most important industries are the following:
Séguier, French publishing house
Dassault Aviation, manufacturer of fuselage for Falcon planes.
Culture
Languages
As Anglet and Baiona, since they are located in the limit of Gascony and Basque Country, it is in doubt if in the Middle Age and the Modern era was Basque or Gascon the main language of the city. According to the book Atlas Linguistique de Gascogne, Biarritz is considered a Gascon town. But in 1863, Luis Luciano Bonaparte located the frontier of Basque in Biarritz, which in some neighborhoods was without any doubt the most used language. However, in the 20th-century French was the official and main language. From the 90th decade on, the Townhall of Biarritz has taken the Basque culture and the Basque language, and also it has promoted it. Nevertheless, the Gascon has been promoted by private institution, for instance the group of Gascon culture Ací Gasconha [19]
Museums
Sea Museum. Constructed in 1993 in the rock of Atalaia, it is an Art Déco building. It has a huge collection of sea animals and birds.
Museum of Chocolate
Asiatica, museum of the Eastern art. Art from India, Tibet, Nepal and China can be found
Museum of the History of Biarritz. Located in the Angelican Church of Saint Andrew in the 1980 decade
Cité de l’Ocean et du Surf, opened in 2011.
Music and dance
The city has the Ballet of Biarritz, which is the choreography location of France. Furthermore, it has the cultural centre Atabal and the chorus Oldarra, created in 1946.
Theatre
The emperors Napoleon III and Eugene of Montijo pusieron de moda the sea-theater on the Old Port neighborhood. Nowadays, the light works made by Pierre Bideau can be seen at night in the clift.
Cinema
Two film festivals of cinema are celebrated in Biarritz:
Festival of Latinoamerican Cinema of Biarritz.
International Festival of Audio-Visual Programs (FIPA)
Civil buildings
Hôtel du Palais or Eugénie House
Building of the Hotel of England, built in 1870 by Louis Moussempés
Natasha House
Sacchino or Castel Biarritz, house of Natalia of Serbia
Plaza Hotel
Cassino of Biarritz, from Art déco style
Lighthouse, built in 1834 in San Martin cape
Villa Black or Black House. Built by Alphonse Bertrand between 1880 and 1895
Goëland House, which from 2003 on is a hotel
Françon Castle
Boulard Castle
Pavilion of England
Fishermen House, in the port
The formerly health resort in the Old Port
Miremont sweet shop
Religious buildings
Imperial Chapel
Saint Martin church
Saint Eugene church, built between 1898 and 1903
San Alexandro Nevski (fr) and God’s Mother Protection Church
Synagogue of Biarritz
Parks
Rocks
Rocks of Biarritz. Every year they have an erosion of 70 centimeters
Beaches
Biarritz has six beaches: Miramar, Big, Old Port, Coast of the Basque, Marbella and Milady
Gardens
Biarritz has 120 hectare and two lakes (Marion and Muriskot)
In the centre, in front of the Midi station, apart from the public garden, there are Lahuze and Mazon gardens can be find
Infrastructures
Sport
Surfing in Biarritz is of a world-class standard and first appeared in 1957.[8] The town has a strong surfing culture,[9] and is known worldwide for its surfing scene and the competitions it hosts yearly, including the Quiksilver/Roxy Jam tournament. In July 2011, Biarritz also hosted the Roxy Pro event, a tournament part of the ASP Women's World Tour.
The town is home to a prominent rugby union club, Biarritz Olympique.
Basque pelota is a very popular sport of the Basque country. Several local and international competitions take place in Biarritz.
The golf course near the lighthouse (Le Phare) was created in 1888 by British residents. In addition, the town has a large circular golf range area on the border with illbaritz.
Education
Schools
The city has two public schools (Villa Fal and Jean Rostand) and one private (Immaculée-Conception).
High Schools
Malraux High Schools is the only one in Biarritz. There is also a tourism high school in the border of the Western neighborhood of La Négresse.
Transport
Biarritz is easily accessible from Paris by France's high-speed train, the TGV, and more regionally from Bordeaux, by TGV or TER. Trains are also available to travel east towards Nice. Night trains regularly depart from Irun, south of Biarritz and pass through the city before heading to Paris during an overnight trip. Many tourists and regulars to the city have begun using the night train to take weekend trips to Biarritz and saving travel time by traveling at night. The Biarritz – Anglet – Bayonne Airport is located about four kilometres (2.5 miles) from the city. It is near N10 road towards Anglet and is served by airlines from France, the United Kingdom, Spain, Ireland and Germany.
Notable people and popular culture
Fishing port, beach, and lighthouse
Biarritz was the birthplace of:
Ernest Fourneau (1872–1949), chemist
Arnaud Massy (1877–1950), professional golfer
Maurice Hankey, 1st Baron Hankey (1877–1963), British civil servant
Jean Borotra (1898–1994), tennis player
Maurice Journeau (1898–1999), composer
Jacques Bergerac (1927 - 2014), actor
Léopold Eyharts (born 1957), astronaut
Other:
Eugénie de Montijo (1826–1920), the wife of Napoléon III, built the villa Eugénie, today the Hôtel du Palais.
Aaron Bank (1902–2004), World War II Office of Strategic Services (OSS) agent and co-founder of the U.S. Army's Special Forces Group (later, Green Berets), was a lifeguard and medical (physical) therapist's aide at Biarritz before he enlisted in the army in the late 1930s.
Aimée de Heeren, born Soto-Maior de Sá[10] (1903–2006) mistress of President Getúlio Vargas, owned the villa La Roseraie, 12 rue Martias, where she spent summers for half a century, receiving kings, heads of state, and many famous guests.
Pablo de Sarasate (10 March 1844 – 20 September 1908), who was a well known Romantic Era Spanish composer born in Pamplona, Spain, died in this city.
In 1959, Cadillac Motor Car introduced an upper level trim variant of its Eldorado model, marketed as the Eldorado Biarritz, which remained in production through 1985.
International relations
See also: List of twin towns and sister cities in France
Twin towns/sister cities
Biarritz is twinned with:[11]
United States Augusta, Georgia, United States, since 1992[11]
Portugal Cascais, Portugal, since 1986[11]
Belgium Ixelles, Belgium, since 1958[11]
Spain Jerez de la Frontera, Spain, since 1996[11]
Spain Zaragoza, Spain, since 1986
Argentina Mar del Plata, Argentina since 1996
Festivities
The major festivities are celebrated in November 11, for Saint Martin. That day, the new gentleman of the Confrérie de l’Operne de Biarritz are proclaimed. Barnacle is their logotype and people who work in favor of ecology are chosen Since Biarritz is a city based in tourism, there are acts during the whole summer, such as pelota festivity, equestrian competition, concerts and recitals, folklore festivals, water acrobatic ski, sea trips, performances, rugby competitions, bullfights and night parties.
References
INSEE commune file
Eugène Goyheneche (1979). Le Pays basque : Soule, Labourd, Basse-Navarre (in French). Pau: Société nouvelle d’éditions régionales et de diffusion. p. 590.
Lee, Sidney (1927). King Edward VII: A Biography. London: Macmillan. pp. 581–582.
George P. Schmidt and J. G. Umstattd. "The American Army University at Biarritz, France." Bulletin of the American Association of University Professors. Vol. 32, No. 2 (Summer, 1946): 303-316.
Encyclopaedia of Surfing. Books.google.com.au. 2005. ISBN 0156032511. Retrieved 2013-05-11.
"Données climatiques de la station de Biarritz" (in French). Meteo France. Retrieved December 28, 2015.
"Climat Aquitaine" (in French). Meteo France. Retrieved December 28, 2015.
"Normes et records 1961-1990: Biarritz-Anglet (64) - altitude 69m" (in French). Infoclimat. Retrieved December 28, 2015.
Last Updated: 5:28PM BST 13 Aug 2007 (2007-08-13). "Biarritz: summer nights – Telegraph". Telegraph. Retrieved 2009-05-05.
"News from Biarritz – France". Biarritz.fr. Archived from the original on 2008-11-19. Retrieved 2009-05-05.
Aimee de Heeren Archived 2015-01-10 at the Wayback Machine..
"Twin towns, Biarritz official website". Biarritz.fr. Archived from the original on 2013-07-29. Retrieved 2013-05-11.
Please understand that this certificate is part of a work of appreciation that I do between my wife and me.
The photos that I choose, enter into a photographic quality analysis within the different modalities and if they are artistically fit within what is "photography".
My job is to analyze the quality of the photo, its framing, dynamics, artistic style, perspective, color balance, light compensation and mainly the edition.
The work my wife does is to analyze the effect of the visual balance and the process of psychic acceptance within the natural phenomena of consciousness.
This is to give you some kind of appreciative motivation in your photographs, "which I consider to be of great value for everyone who receives a certificate"
This critical work that we do in private and without attacking the sensitivity of people, is done between my wife and me.
We are based on an emotional motivation and of course without any kind of monetary or recognition interest.
The Critic is a "Group of appreciation and constructive criticism"
Por favor, entiendan que este certificado es parte de un trabajo de apreciacion que hago entre mi esposa y yo.
Las fotos que yo escojo, entran en un analisis de calidad fotografica dentro de las distintas modalidades y si son aptas artísticamente dentro de lo que es "fotografia".
Mi trabajo es analizar la calidad de la foto, su encuadre, dinámica, estilo artístico, perspectiva, balance del color, compensación de la luz y principalmente la edicion.
El trabajo que hace mi esposa es analizar el efecto del visual balance y el proceso de aceptación psíquica dentro de los fenómenos naturales de la consciencia.
Esto es para darles a ustedes algun tipo de motivación apreciativa en vuestras fotografías, "cosa que considero de gran valor para cada cual que reciba un certificado"
Este trabajo de crítica que lo hacemos en privado y sin atacar la sensibilidad de las personas, es hecho entre mi esposa y yo.
Nos basados en una motivación anímica y como es natural sin ningún tipo de interés monetario o de reconocimiento.
El Critico es un "Grupo de apreciacion y crítica constructiva"
"POR FAVOR SI USTEDES LE VAN A DECIR ALGO AL GANADOR, DEBEN DE PINCHAR ENCIMA DE LA FOTOGRAFÍA, DE ESTA FACIL FORMA, TU VAS A IR DIRECTO A LA PÁGINA DE LA PERSONA GANADORA" .
"PLEASE IF YOU WILL SAY SOMETHING TO THE WINNER, YOU MUST CLICK ABOVE THE PHOTOGRAPH, IN THIS EASY WAY, YOU WILL GO DIRECTLY TO THE PAGE OF THE WINNING PERSON."
_______________________________________
Position number three is a privileged position, which tells you that you must understand why you are there.
In many competitions of art, photographs, athletics, etc., this position reiterates that you must attend more about what possibly happened to you, and how you should improve yourself. But this position tells you that you no lost the competition, but that you are a possible chosen to be a winner of the first or second place in the near future.
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La posición número tres es una posición privilegiada, que te dice que debes de entender por que tu estas ahi.
En muchas competencias de arte, fotografías, atletismo, etc, esta posición te reitera que debes de atender mas sobre lo que posiblemente te sucedio, y como debes de mejorarte. Pero esta posición no te dice que perdiste la competencia, si no que eres un posible elegido para ser un ganador del primero o segundo lugar en un futuro próximo.
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