From the vintage "sexploitation" collection of Richard Perez, relating to "Permanent Obscurity" at: RichardPerez.net

Véhicule : MERCEDES-BENZ O530 Citaro G C2 €6

Identification : 4017 (ES-611-YM)

Exploitant : Keolis Chambéry

Dépôt : Chevaliers Tireurs

Réseau : Bus STAC (Communauté d'Agglo. Grand Chambéry)

Ligne : Chrono B

Voiture : n.c.

Destination : Roc Noir

Merci à Lev. Anthony.

28/03/2019 17:33

Arrêt STAC "P+R Maison Brulée", Route de la Fruitière ; Sonnaz

Véhicule : IRISBUS IVECO Citelis 18 GNV

Identification : 2653 (BN-397-LT)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Centre d'Exploitation du Lac (CEL)

Réseau : TBM (Bordeaux Métropole)

Ligne : 160 NAVETTE RELAIS TRAM B

Voiture : 16017

Destination : BORDEAUX Musée d'Aquitaine

Du Lundi 27 Juillet au Jeudi 6 Août 2020, la ligne de Tram B a été interrompue en plusieurs phases pour les travaux estivaux, consistant en une maintenance et une réfection du système d'Alimentation Par le Sol (APS).

Du 27/07 au 31/07 d'abord, entre les stations "Quinconces" et "Saint-Nicolas" en journée, et prolongée jusqu'aux antennes de PESSAC en soirée et jusqu'à fin de service. Les 3 et 4 Août ensuite, entre les stations "Quinconces" et "Musée d'Aquitaine" (pas de Bus de Substitution). Les 5 et 6 Août pour finir, entre les stations "Berges de la Garonne" et "Musée d'Aquitaine".

Sur les première et troisième phases, des Bus de Substitution ont été mis en place en relais du tram, avec des bus articulés.

06/08/2020 13:41

Quai Armand Lalande ; F-33 BORDEAUX

Exploitant : Keolis Argenteuil Boucles de Seine

Réseau : IDF Mobilités – Argenteuil – Boucles de Seine

Lieu : Centre Opérationnel Bus d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/vehicule/22074

Véhicule : MERCEDES-BENZ O530 Citaro GNV

Identification : 3050 (EL-374-ZB)

Exploitant : Keolis Chambéry

Dépôt : n.a.

Véhicule réformé.

Réseau : n.a.

Ligne : n.a.

Service : Véhicule réformé

Destination : n.a.

Véhicule : MERCEDES-BENZ O530 Citaro GNV

Identification : 3052 (EL-381-ZB)

Exploitant : Keolis Chambéry

Dépôt : n.a.

Véhicule réformé.

Réseau : n.a.

Ligne : n.a.

Service : Véhicule réformé

Destination : n.a.

Véhicule : IRISBUS IVECO Citelis 12 €5

Identification : 2029 (AB-528-RY)

Exploitant : Keolis Chambéry

Dépôt : Chevaliers Tireurs

Réseau : Bus STAC (Communauté d'Agglo. Grand Chambéry)

Ligne : n.a.

Voiture : n.a.

Destination : Maintenance

Merci à Anthony Levrot.

27/03/2019 14:14

Garage Vasseur Renault Trucks, Rue de la Prairie ; Voglans

The Roar of the majestic Waterfalls still in my ears, I walked a bit on a rather difficult trail into the forest. I had to turn back after less than 500 m - my feet and legs to the knees in thick red mud - , and I felt ashamed knowing that Cabeza de Vaca (see my previous photo) and his companions in the early 1540s blazed a trail for 1600 km from the Brazilian coast to Paraquay! His view of nature must have been very different from mine, of course. He'd already spent more than a decade of utter naked (!) deprivation in what is today more-or-less Mexico, and then he made this South American exploit with no hotel for a late afternoon bath at the very place he named the Saint Mary Waterfalls.

It's not without cause that in his correspondence with the Spanish Throne he writes about the harshness of it all, the deprivations in this untamed nature.

And there I am... a mere transitory with a view to those magnifcient Falls seen already my many thousands. On the other hand, only few here, I think, have eye for Spiderwort and Hoverfly. I'm afraid I can't scientifically name my finds but they sure are pretty!

Véhicule : IRISBUS IVECO Citelis 18 GNV

Identification : 2658 (BL-912-HZ)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Centre d'Exploitation du Lac (CEL)

Réseau : TBM (Bordeaux Métropole)

Ligne : 18 NAVETTE STADE EURO 2016

Voiture : 1803

Destination : Mise en Ligne

À l'occasion de l'UEFA EURO 2016 (coupe d'Europe de football), une ligne spéciale a été créée pour délester le Tram C de l'afflux de supporters, malgré les renforts mis en place. Cette "Navette Stade" porte le numéro 18, et fait la liaison entre le Parc des Expositions (et Nouveau Stade) et la station Tram B "La Cité du Vin" (anciennement "Bassins à Flot"), pour une correspondance depuis/vers le Centre-Ville. Cette Navette est mise en place avant et après le match, pour répartir les mouvements sur 2 axes. Pour l'occasion, un large périmètre avait été bloqué à la circulation autour du Stade Matmut Atlantique pour faciliter la circulation des supporters et des bus, et un arrêt spécial a été aménagé parallèlement à la station de Tram. Une zone de stationnement était mise en place pendant le match pour les bus assurant la Navette sur les "Rue du Vergne" et "Avenue de la Jallère". Cette Navette a été pérennisée au sein de l'offre TBM pour les événements au Stade Matmut Atlantique.

18/06/2016 16:00

Rue du Vergne ; F-33 BORDEAUX

Exploité par la société Farafina Tours qui dispose d'une flotte hétéroclite de cars de seconde main venus d'Europe (Setra S213RL, Renault Tracer...) ou d'Asie.

* En toute modestie, bien sûr...

Exploitant : Keolis Versailles

Réseau : Phébus

Ligne : 3

Lieu : Ponts et Chaussées (Versailles, F-78)

Lien TC Infos : tc-infos.fr/vehicule/32762

The Exploited: Wattie Buchan (vocals) performing live in the SO36, Berlin, 27.10.19, singer, Sänger

Follow concert photography on Facebook and/or Twitter.

Se recomienda ver en la caja oscura ( Pulsa "L" )

See recommended in black box ( push "l" )

Copyright © – Fernando Romero Santos ©.

The reproduction, publication, modification, transmission or exploitation of any work

contained herein for any use outside FlickR, personal or commercial,

without my prior written permission is strictly prohibited. All rights reserved."

If interested, please contact with author by private mail in flickr.

Born "John Dillwyn Llewelyn" (12 January 1810 – August 1882) was a botanist and pioneer photographer.

He was born in Swansea, Wales, the eldest son of Lewis Weston Dillwyn and Mary Dillwyn (formerly Adams, née Llewellyn). Upon coming of age he inherited his maternal grandfather, John Llewelyn's estates of Penllergare and Ynysygerwn, near Swansea, and assumed the additional surname of Llewelyn. Educated privately he met, through his father who was a Fellow of the Royal Society and the Linnean Society, and at one time a member of Parliament, many of the eminent men of his time. These included Sir David Brewster, Michael Faraday and Charles Wheatstone. Lewis Weston Dillwyn had been sent to Swansea by his father William, to take over the management of the Cambrian Pottery, Swansea.

John's non-photographic exploits included assisting Wheatstone with the first ever experiments in sub-marine telegraphy, off the Mumbles, south Wales, powering a boat with an electric motor and creating the first private orchid house to replicate the original conditions of the plants in the South American jungles, complete with heated waterfall.

In 1833 he married Emma Thomasina Talbot, daughter of Thomas Mansel Talbot and Lady Mary Lucy, née Fox Strangways. Thomas was related to William Davenport Talbot and Mary was the sister of Elisabeth Talbot, the parents of William Henry Fox Talbot. Henry Talbot, through his botanic interests was a friend of Lewis Weston Dillwyn and spent some of his teenage years at Penrice, the home of the Welsh Talbots, also visiting Penllergare.

In January 1839, following the announcements of photographic processes by both William Henry Fox Talbot and Louis Jacques Mandé Daguerre, John himself began to experiment, with the encouragement of Henry Talbot. He tried all the processes available. His earliest daguerreotype is dated 1840. None of his early photogenic drawings seem to survive, but some thousand calotype and wet collodion negatives still exist together with albums in private and public collections and the branches of the family.

When the Royal Photographic Society was founded in 1853, John was one of those who attended the foundation meeting at the Society of Arts in London, and was, for some years, a founder Council member. He exhibited regularly in the early exhibitions of the Society as well as in Dundee, the Manchester Art Treasures exhibition and Paris in 1855. At this latter exhibition he was amongst those awarded a silver medal for his 'Motion' series.

In 1856 he announced his own oxymel process which allowed collodion negatives to be preserved over many days. This was hailed as a boon by the Illustrated London News of the period. He also took a number of stereo images using a camera he actually bought for his daughter Thereza's birthday in 1856.

His last images would appear to date from the end of the 1850s after which it is possible that his health prevented any further photographic activity. He never took his camera outside Britain, though the family frequently visited mainland Europe. The majority of his images were taken around his estate of Penllergare, near Swansea, and around the Welsh coast. There are also a number taken in Cornwall over several years, many in Bristol including some pioneer animal and bird images in Clifton Zoo, Yorkshire, Derbyshire and a few in Scotland. His circle of photographic friends included Philip Henry Delamotte, Robert Hunt, Hugh Welch Diamond and especially his distant relative Calvert Richard Jones. Another friend was Antoine Claudet with whom John was, in the 1840s, conducting experiments on the daguerreotype process, though what these were is unknown beyond diary references to their taking part. It is interesting that the leading London daguerreotypist should be assisted by the amateur John Dillwyn Llewelyn.

Though he never published any photographic books himself, he did contribute to The Sunbeam edited by his friend Philip Henry Delamotte and other books. His own publication, Picture of Welsh Scenery, due to be published by Cundall, seems never to have appeared.

John died in August 1882 at his London home, Atherton Grange, Emma having died the previous year, and both are buried at Penllergaer Church, originally built by John for his family and estate workers.

John's ancestors were both Welsh and American. His great great grandfather, William Dillwyn, had emigrated to north America in the 17th century and was granted land by William Penn. Descendants still live in the USA and the Parrish Art Gallery and Museum, on Long Island, was founded by a descendant.

John, through marriage, was related to Henry Talbot, and though his father's family to Richard Dykes Alexander, an Ipswich photographer yet to be researched. His sister Mary Dillwyn was an early woman pioneer. In a small notebook kept by John is a recipe for the calotype process sent to Mary by Robert Hunt in 184-, the final figure is missing. His daughter Thereza was also a prolific photographer and married Nevil Story Maskelyne. She and her father would go on joint photographic expeditions with John using his large format cameras and Thereza her birthday present stereo camera. A recent album of photographs by Mary and Thereza recently sold for £41,000! Others in the family, including his brother Lewis Llewelyn Dillwyn, also took photographs, some of which survive.

With thanks to Mike www.flickr.com/photos/7503563@N05/

Mirit Ben-Nun uses lines and points as an expressive resource and does so by exploiting its nuances and associations to the fullest. Some forms follow the same direction and others change it constantly, even urgently. Its language is visual and independent of its expressiveness, lies in the value and organization of its elements. The things of the visible world are unimportant, the achievement is the achievement of reproduction of the world and human nature. Constantly encourages creativity. In this case pointillism conveys emotions by the effect it achieves using color, points, lines and thus captures the attention of the observer.

Dora Woda

place du Général Pierre Billotte, Créteil (Val-de-Marne)

Exploitant : Transdev Montesson les Rabaux

Réseau : Entre Seine et Forêt

Ligne : 21

Lieu : Ermitage Pont (Le Port-Marly, F-78)

Lien TC Infos : tc-infos.fr/vehicule/31180

Véhicule : HEULIEZ BUS GX 427 EEV

Identification : 1067 (BL-448-SY)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Dépôt de Lescure

Réseau : TBM (Bordeaux Métropole)

Ligne : 18 NAVETTE STADE EURO 2016

Voiture : 1811

Destination : Mise en Ligne

À l'occasion de l'UEFA EURO 2016 (coupe d'Europe de football), une ligne spéciale a été créée pour délester le Tram C de l'afflux de supporters, malgré les renforts mis en place. Cette "Navette Stade" porte le numéro 18, et fait la liaison entre le Parc des Expositions (et Nouveau Stade) et la station Tram B "La Cité du Vin" (anciennement "Bassins à Flot"), pour une correspondance depuis/vers le Centre-Ville. Cette Navette est mise en place avant et après le match, pour répartir les mouvements sur 2 axes. Pour l'occasion, un large périmètre avait été bloqué à la circulation autour du Stade Matmut Atlantique pour faciliter la circulation des supporters et des bus, et un arrêt spécial a été aménagé parallèlement à la station de Tram. Une zone de stationnement était mise en place pendant le match pour les bus assurant la Navette sur les "Rue du Vergne" et "Avenue de la Jallère". Cette Navette a été pérennisée au sein de l'offre TBM pour les événements au Stade Matmut Atlantique.

14/06/2016 18:37

Rue du Vergne ; F-33 BORDEAUX

C’est l’arrivée de Mathieu Van Roggen, venu de Hollande, qui a dynamisé vers 1880 les CARRIÈRES DE SPRIMONT. Il les a rendues pleinement performantes par la rationalisation de l’exploitation et la modernisation de l’outil. La grande centrale électrique de 1904, devenue “Musée de la pierre”, en est le remarquable témoin. Par la suite, le groupe Merbes-Sprimont gère les propriétés jusqu’à la reprise en 1984 par la famille Brancaleoni.

Plusieurs sites sont actuellement en exploitation. La réputation de qualité de ces gisements est depuis longtemps établie et

les références de prestige en sont fort nombreuses, depuis la Grand’ Poste de Liège et le pont de Fragnée vers 1900, jusqu’au

nouveau pont haubané du Val-Benoît en 2000.

Importante capacité de production et souplesse de gestion sont les atouts premiers de l’entreprise sprimontoise.

Cette carrière de petit granit consiste en une excavation allongée, partiellement occupée par la 'décharge de classe III du Fond de Correux'. L'activité extractive a encore lieu dans la partie médiane et un grand atelier de taille est installé vers la route. Le secteur occidental, actuellement désaffecté, et les abords supérieurs de la fosse présentent toutefois un intérêt biologique: reproduction du crapaud accoucheur et du lézard des murailles; flanc nord incliné colonisé par une végétation des substrats calcaires (e.a. Catapodium rigidum, Crepis foetida, Teucrium botrys); présence de la fougère Gymnocarpium robertianum.

It was the arrival of Mathieu Van Roggen, from Holland, who revitalised the CARRIÈRES DE SPRIMONT around 1880. He made them fully efficient by rationalising the operation and modernising the tool. The large power station of 1904, which became the “Stone Museum”, is a remarkable example of this. Subsequently, the Merbes-Sprimont group managed the properties until the Brancaleoni family took them over in 1984.

Several sites are currently in operation. The reputation for quality of these deposits has long been established and

their prestigious references are numerous, from the Grand’ Poste in Liège and the Fragnée bridge around 1900, to the

new cable-stayed bridge at Val-Benoît in 2000.

Significant production capacity and management flexibility are the primary assets of the Sprimont company.

This small granite quarry consists of an elongated excavation, partially occupied by the 'class III dump of Fond de Correux'. Extractive activity still takes place in the middle part and a large cutting workshop is installed towards the road. The western sector, currently disused, and the upper edges of the pit are nevertheless of biological interest: reproduction of the midwife toad and the wall lizard; inclined northern flank colonized by vegetation of calcareous substrates (e.g. Catapodium rigidum, Crepis foetida, Teucrium botrys); presence of the fern Gymnocarpium robertianum.

Alpha Jet Solo display 2019 de l'Ecole de l'Aviation de Chasse de Tours (EAC) - Meeting de France 2019 (Dijon-Longvic - Côte d'OR)

Website : www.fluidr.com/photos/pat21

"Copyright © – Patrick Bouchenard

The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."

The term circus freak is a tough one to discern. Deemed barbaric and exploitive by modern terms, it was actually the preferred expression…by the “freaks” themselves during the long 100 year heyday of the American traveling circuses and sideshows. These were individuals who made a living (in most cases) the only way they could…by exhibiting their unusual attributes…even playing up their abnormalities to fearful crowds. By most accounts I’ve read, many of the intelligent ones were treated well. In fact some were revered in the highest regard; they were well paid, lived as extravagantly as Hollywood celebrities of their day, traveled the world and made acquaintances with royalty and the social elite. They found love, often with other freaks from the traveling shows, but it wasn’t uncommon to marry normal patrons who frequented the shows. Freaks with limited mental capabilities, however, didn’t fare as well as their smarter counterparts. Some had compassionate handlers but most were deemed less than human and were subject to physical, sexual, and psychological abuse.

In the heyday of the traveling circus there were several kinds of freaks and most of which I tried to portray in this painting…your biological freaks…were born with (or later acquired) physical abnormalities they couldn’t do anything about. These were your giants, dwarfs, fully or partially conjoined twins, your lobster boys and bearded ladies.

Another category are your self made freaks…often with an unwavering desire to be a part of the circus life, folks would cover themselves in tattoos or piercing and play up an exotic or monstrous persona. Often ticket sales dictated something more compelling than a clever name and tattooed flesh so frequently these folks also gained “acquired” skills like sword swallowing, acrobatics or fire juggling.

Another category are your exotic freaks. An individual would qualify into this theme simply by being of a faraway land or culture different from what was deemed as modern or civilized. Tribesmen from Africa, South America, Haiti, Papua New Guinea, The Philippines and the Polynesian islands were often exhibited as head hunters, cannibals, witch doctors, voodoo priests, and savages whether or not they actually engaged in these practices in their homelands. The most extreme and controversial case of this was an African Pygmy tribesman named Ota Benga who was exhibited in a cage in the monkey house at the Bronx Zoo from 1903-1906. He was dressed in animal print loincloths, had apes as companions and was encouraged to act wild whenever patrons drew near. He was played up as “The Missing Link”, bridging the gap between apes and man.

A type of freak I chose not to portray in this painting but are still important to note were the carnival geeks. The term geek nowadays describes a nerdy type or someone extremely interested in a particular brainy subject but in the original meaning, these were considered the lowest of the low; they were not permitted to socialize with other carnival folk. These were vagrant drunks or drug addicts, often picked up when the carnival came to town and left there as the show departed. Its known that addicts of the worst order will usually do anything for their next fix…even act like a maniac in a cage, sling their own urine and excrement around, fight each other and most notably…bite the heads off chickens. This was undoubtedly the most exploitive facet of the traveling freak show but it was well proven that people would pay good money to see people in such a depraved state.

Not really freaks but an equally important part of the traveling show was the pickled punks and other curios. These were often malformed fetuses and animals preserved in jars. Usually they were fakes created to instill awe…most notably the fearsome Fiji Mermaid.

I did this painting with no intent to exploit but only to learn more about our strange world and history. Purposefully I wanted an eerie, yet whimsical representation of the traveling freak show but with a respectful, uplifting, celebratory message. Here we have a freak show owned and operated by Dr. Z…a freak himself (see if you can spot him in the detail pics). In spite of my good intentions, I did meet with what I figured to be weird karma as I was doing the research for this piece. I approached a lady at the town library with an extensive list of books…all of them with “freak show” and “circus freaks” in their titles. As I handed her the list, she looked up from her computer and I saw that she had a severely disfigured face and malformed hands. My gut instinct was to retract the list and maybe approach someone else (or leave and nix this project altogether!) but she seemed unfazed with my list of questionable reading material. She called her associate on another floor, read off the list of books (much to my embarrassment), smiled happily and told me her co-worker was gathering the books now and I should take the stairs or the elevator to find him. I thanked her, then followed her instructions to retrieve my books. It turns out her associate was a severe hunchback, nearly bent in half with his affliction but he happily located and gathered my books for me. Both did an excellent job at their work but had me leaving there with an uneasy feeling of guilt.

In 1984 an “uppity Madison Avenue woman with lofty connections and who has never been to a freak show”…(every book I read made it a point to mention that)…lobbied her connections in congress to pass a law that would deem it illegal to exploit, exhibit or make money off of any type of physical abnormality. Already waning out of popularity, the freak show was deemed illegal with both freaks and patrons alike subject to arrest. Freaks were suddenly at a loss. Even “self-made” heavily tattooed or pierced individuals were at a loss for work. Some had lost considerable incomes, large homes, all of their possessions and the sense of belonging, love and community that the circus life once provided. In some cases, without the means to purchase the expensive medications they required, some have even died or endured the loss of spouses or children. Currently some folks with severe abnormalities are institutionalized, living a solitary life or at best eking a living on welfare or disability.

Whether deemed exploitive or a place for the different among us to find fame, love and a sense of community and belonging, the traveling freak show was an undeniable part of American…and world history. Incidentally, I’ve logged more hours on this painting (about 66) than any other. I hope you enjoy it and if you’ve made it this far…thanks for reading.

Ville: Nice

Réseau: Lignes d'Azur

Exploitant: Régie Ligne d'Azur

Numéro de parc: 462

Ligne: 7 Ariane Général Saramito - Port Lympia

Utilisation de CirclePack (Stephenson) en vue d'exploiter le résultat pour obtenir une spirale de Doyle. La génération des cercles laisse demeurer un trou.

The sambar (Rusa unicolor) is a large deer native to the Indian subcontinent, southern China, and Southeast Asia that is listed as Vulnerable on the IUCN Red List since 2008. Populations have declined substantially due to severe hunting, insurgency, and industrial exploitation of habitat.

The name "sambar" is also sometimes used to refer to the Philippine deer, called the "Philippine sambar" and the Javan rusa, called the "Sunda sambar".

Navette Bas de Station - Arrêt : Déviation (bis)

Exploitant : Faure Auvergne

Réseau Navettes Station Super-Besse

Today the Cow Tower stands in the north-east corner of Norwich like a lost red brick Roman 'Pharos' or lighthouse, yet it has two possible claims to fame. Firstly it may be Britain's oldest 'pillbox' or defensive bunker for the firing guns, secondly it represents one of the first extensive uses of structural brick in Britain. Externally it resembles a Martello Tower or a Pictish broch; it even has the same tapering sides as both types of buildings. Yet other features, such as the cross-shaped gun loops, place it firmly in the Medieval period.

www.flickr.com/photos/barryslemmings/albums/7215766430910... to see the full set.

The Cow Tower was built between 1398 and 1399. Norwich was a prosperous city in the late 14th century, with a population of around 5,000 involved in key medieval industries and forming a centre for international trade. Between 1297 and 1350 the city had erected a semi-circle of defensive stone walls and ditches which assisted with collecting taxes, advertised the status of Norwich as a great city and also defended it against invasion or civil disorder. Remember that the Peasants' Revolt of 1381 was within living memory when Cow Tower was built and Norwich had suffered during that.

Gunpowder weapons had begun to be introduced into England in the early 14th century, initially being used as battlefield or siege weapons but rapidly being adapted for defensive purposes from the 1360s. Although they were expensive, by the 1380s their potential value in defending castles and city walls was well understood and specialised features had begun to be built. By 1385 Norwich had fifty artillery pieces for use along its walls. In Kent, at Bodiam, Cooling and the West Gate at Canterbury, gun loops had been added to new buildings between 1380 to 1385. Firearms were here to stay. Cow Tower is a logical development. A free-standing tower just for gunpowder weapons.

The stone walls of Norwich describe a rough letter 'C' with a bend in the River Wensum covering the north-east gap in the 'C'. The tower stands in the middle of this gap. When first built Cow Tower was called the Dungeon (from Donjon) but was then called the "tower in the Hospital meadows", as the surrounding land was then part of St Giles' Hospital. It was intended to function as a specialised artillery and handgun tower, housing gunpowder weaponry capable of suppressing attackers on the far side of the river and disrupting any assault river crossing.

There are fragmentary references to an earlier tower in the area, responsible for collecting tolls and acting as a prison. This prison function could be the origin of the 'Dungeon' name but it is unclear if this was on the same site as the Cow Tower or merely refers to a different tower in the general area. Although the Cow Tower was not directly attached to the city walls, a protective timber palisade did link the tower with the city wall to the north-west, and ran south to meet Bishop Bridge. With the eye of faith today it is still just possible to see an raised bank fringing the river to the south of Cow Tower which was either the earth revetment to this palisade or else a simple earth bank to prevent flooding. It may even have functioned as both. The present footpath runs along the top of it and is about seven feet above the adjacent former meadow, now a sports field.

The city's accounts show details of payments for the construction of the tower between 1398 and 1399, including charges for 36,850 bricks, stone, sand, lime, a hoist and various equipment. One reason for the tower's height is that it stands on low-lying meadow facing a steep rise about 300 metres away on the other side of the Wensum. The city fathers may have feared that an attacker would set up camp on this rise and use artillery to bombard the city. In 1549 Robert Kett exploited this very weakness when he led an uprising in Norfolk. His army camped on the north-east side of the river, overlooking Cow Tower. Two rebel attacks were then made across the river into the hospital meadows, in an attempt to take nearby Bishop Bridge. Kett had brought artillery, which he turned on the Cow Tower, damaging the latter's parapets. The rebellion failed and the tower does not seem to have required extensive repairs. The hill opposite is now called Kett's Hill.

Cow Tower is a three-storey circular building with a protruding stair turret at the rear, the main building being 11.2 metres across and 14.6 metres tall, tapering towards the top. The walls, 1.8 metres thick at the base, are made of a core of flint rubble stone, faced on the inside and outside with brick. Various putlog holes can still be seen in the walls.

The brickwork, particularly on the stairwell, is well executed. Archaeologist T. P. Smith considers the tower to feature some "of the finest medieval brickwork" in England. It is the earliest known use of brick in an external load-bearing capacity in Norwich. The use of brick in this sort of fortification was both prestigious and practical, as brick absorbed the impact of artillery fire better than stone.

The quatrefoil gunports in the lower levels could have been used for both handgonnes and crossbows with some overlapping fields of fire. The roof was reinforced with large timber joists and could have supported heavier bombards; the tower's considerable height would allowed these bombards to reach across the river to the higher ground (Kett's Hill) which overlooks the city.

The parapet was crenellated with nine wide splayed embrasures and those embrasures facing out across the river were constructed flush with the floor of the roof, giving the bombards plenty of room to fire and the ability to depress to hit the river in front of the tower itself. Cow Tower has a simple ground floor entrance next to the stairwell turret and – while this is relatively poorly defended – objects could have been dropped from the roof on to anyone trying to force these doors. This is not a castle, it was a local defence 'hard point' capable of proving a severe nuisance to an attacker… and thus my analogy to a modern pillbox in the opening paragraph.

The interior has fireplaces and toilets. The ground floor may have formed a dining area with the floors above being used for military purposes and sleeping. The walls of the ground floor have curious diagonal chasing and sockets cut into them. These may have contained timbers to support brickwork that in turn supported the first floor or they are the remains of a magazine retrofitted in the tower in the 16th century.

Cow Tower is managed by English Heritage and Norwich City Council. The tower is now only a shell as the floors and the roof have been lost. The interior is visible through an iron gate. The riverside walk goes past and around it.

Véhicule : IRISBUS Axer (12,80m.) €3

Identification : 063196 (9681 TB 33)

Exploitant : Keolis Cars de Bordeaux

Dépôt : Bastide - Quai de la Souys

Réseau : Bordeaux Métropole - Transports Scolaires

Ligne : 318

Service : 001

Destination : Mise en Ligne (Jules Ferry)

25/03/2021 16:00

Avenue Marc Desbats ; F-33 PESSAC

Those of you who follow my exploits on Flickr will have noticed my recent enthusiasm for the little or sometimes gigantic fluffy things that happily float above us on a daily basis mostly unnoticed. Imagine my delight then when I spotted this developing on my journey back home the other day. The sun was setting directly ahead as I travelled west and as the road veered I caught sight of this awsome glow starting to radiate over the hills of West Carmarthenshire. This was the second of the two images I captured that evening. Don't you just love nature!!!

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Built for the rick and Morty Exploit the Fans for Art DVD Contest.

He finally found his purpose.

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Ville: Monaco

Réseau: Compagnie des Autobus de Monaco (CAM)

Exploitant: CAM

Numéro de parc: 181

Ligne: 5 Hôpital - Larvotto

Véhicule : IVECO BUS Crossway LE Line (m.) €6

Identification : 5001 (FK-370-GW)

Exploitant : Citram Aquitaine (Groupe Transdev)

Dépôt : Libourne

Réseau : CALIBUS Interurbain (Communauté d'Agglo. du Libournais)

Ligne : 5

Service : n.c.

Destination : ST-SULPICE-ET-CAMEYRAC Gare St-Sulpice Izon

15/05/2020 17:55

Place des Martyrs de la Résistance ; F-33 LIBOURNE

Mercedes-Benz Citaro G C2 €6 n° 242130

Réseau : IdFM - Evry Centre Essonne (Exploitant : TISSE)

Ligne 4203

This former motor vehicle factory was built in 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, for Tilling-Stevens Ltd. It is an example of a factory designed using the Kahn Daylight System. The various sheds which adjoin the factory building to the south are not of special interest.

Reasons for Designation

The former Tilling-Stevens factory, 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, is designated at Grade II for the following principal reasons: * Historic interest: the building is the earliest surviving by the practice of Wallis, Gilbert and Partners, the foremost factory architects of the inter-war period; it is also one of few surviving examples of their early Daylight factories not to have undergone significant alteration; * Technical interest: the building is one of few surviving examples of a group of English factories built using the Kahn Daylight System, an adaptable, efficient and influential system of factory building, developed in America for the construction of automotive factories; * Architectural interest: the front elevation of this imposing building employs the compositional devices and decorative motifs which became synonymous with the work of Wallis, Gilbert and Partners; the powerful rationality of its other elevations expresses the modern approach to industrial architecture that its design, construction and layout embodies.

History

In 1916 Thomas Wallis (1872-1953) founded the architectural practice of Wallis, Gilbert and Partner (becoming Wallis, Gilbert and Partners the following year). In the early years of the practice it worked in close collaboration with Trussed Concrete Steel Limited (Truscon). Truscon's proprietary system of concrete reinforcement had been developed by the Kahn family, who had set up Truscon to exploit the system in America; an English branch of the company formed in 1907. In America the Kahn system had been applied to the creation of a particular model of factory design which was based on a regular grid of column, beam and slab, in which the concrete frame was fully exposed, and the external walls were glass-filled, it was called the 'Kahn Daylight System' of factory design. The best known and most influential American example is Henry Ford's Highland Park Ford Plant, Michigan, designed and built in 1908 by Albert Kahn. Truscon built several Daylight factories in Britian prior to the partnership with Wallis, Gilbert and Partners (including three in Scotland), but the only English one known to survive in anything like original condition is Enterprise House, Hayes, of 1912, listed Grade II.

Together, Wallis, Gilbert and Partners and Truscon designed and constructed of a number of Daylight factories in England, of which the Tilling-Stevens factory is the earliest surviving. Wallis Gilbert and Partners went on to great success as an architectural practice, designing many factories and commercial buildings in the interwar period. One of their best known works is the Grade II* listed former Hoover Factory (1932-35) in Ealing.

Tilling-Stevens Ltd was formed in 1915 after WA Stevens, inventor of the petrol-electric motor, met Richard Tilling of Thomas Tilling Ltd, London's oldest omnibus operator (established 1847). The men recognised the potential for petrol-electric transmission in motorised buses, and the companies went into partnership together, manufacturing their own vehicles. New premises were added to Stevens' Maidstone works (known as the Victoria Works) in 1912, and following the formation of Tilling-Stevens Limited the works were enlarged again with the construction of the Wallis Gilbert and Partners factory in 1917 to accommodate production for war requirements.

The original design for the factory was a five-storey hollow rectangle, with a central, glazed, single-storey space within the well, which would contain part of the assembly shop. It was designed to be built in stages, with the south and west sides of the rectangle shown on the plans as 'future extension' (J Skinner 1997, 50). It is thought likely that the decision only to build the north and east sides of the rectangle was taken at an early stage, as the attic storey is centred over the existing front elevation. The factory was designed so as to accommodate all the various manufacturing processes in a downward flow through the building, each level being linked by electric lifts. Power was supplied to work stations by shafted over-head motors suspended from the beams.

In the early 1950s Tilling-Stevens was taken over by the Rootes Group, which was itself taken over in the mid-1960s by Chrysler (UK) Ltd; the Tilling-Stevens factory closed in 1975.

Details

The factory is constructed of a regular reinforced concrete grid, expressed throughout the exterior of the building; the front elevation, also of concrete, is dressed to present a classically-styled composition to the street.

MATERIALS: the building is composed of a grid of exposed horizontal and vertical reinforced concrete members, which divide the building into 20' by 20' bays; on the outer faces of the building the bays are in-filled with panels of red brick and glazing. The original windows were multi-light steel casements however these have almost universally been replaced with uPVC casements.

PLAN: the building is five storeys high with a small attic storey. The factory floor is L-shaped in plan; the core is 3 bays wide by 16 bays deep, with a perpendicular wing to the rear, 3 bays wide by 3 deep, extending southwards. Another 3 bay by 3 bay wing projects to the north, which contains the main goods lift and stair; this was where the services and amenities for the building were housed. The front of the building is an additional two bays wide to the north, providing a vehicular access at street level. A roadway runs from this entrance, through the centre of the northerly service wing (where there is a weigh bridge), and down the side and rear of the building. To the rear there is a projecting stair and lift tower, and to the south there is a second projecting lift tower; this is later in date, but appears to use the same construction system. There is a third internal fire escape stair on the south side of the building which exits onto St Peter's Street at the front.

EXTERIOR: with the exception of the front, all elevations of the building are without architectural embellishment and form a regular pattern of concrete grid, brick, and glass. The concrete grid is also expressed on the front elevation, however here the concrete is also used decoratively to shape the elevation into a classical composition. There is a heavy cornice over the fourth storey, with recessed ribbing and nail-head corner stops; the fifth storey is treated as a classical attic, having smaller windows and a much plainer and shallower cornice above. The true attic storey is three bays wide, central to the elevation and set back from the front. The bays to the far left and right of the elevation are treated as towers, defined by slightly projecting pilaster-like verticals to either side. The 'capitals' of these pilasters take the form of a circular disk, flanked by triglyph-like elements. At ground floor there is a pedestrian and vehicular entrance/exit to either side of the elevation. These openings are framed by wide, flat, unmoulded architraves and above each of the vehicular openings is a framed panel (which once bore the name of the company) with a stylised tassel motif to either side. This panel with tassels motif is repeated within the parapet above the attic storey.

The exterior of the building is generally little altered, the most notable exception being the replacement of the windows. The largest windows to the front were originally 54-light windows, they are now 12-light windows, those to the sides and rear were mostly 45-light windows, these are now 8-light windows. On the front elevation a doorway has been inserted into the left-hand of the three central bays to give access into a site office from St Peter's Street.

INTERIOR: the interior is utilitarian; at each storey concrete pillars support beams and joists which support the floor above. The pillars get progressively smaller in cross-section at each storey up. Circular holes are cast into the joists, through which a conduit carrying electrical cable ran; in some places slots are cast into beams and joists to carry the motors which were suspended overhead, providing power to the factory machinery. The factory floors, which would have been completely open, are now divided into units with concrete block walls built between pillars. Fixtures and fittings which may have been associated with the service and amenity block (which included an office, boiler house, first-aid rooms, lavatories and rest rooms) do not survive.

Sources

Books and journals

Collins, P, Stratton, M , British Car Factories from 1896: A complete historical, geographical, architectural and technological survey, (1993)

Skinner, J, Form and Fancy: Factories and Factory Buildings by Wallis Gilbert and Partners, 1919-1939, (1997)

Souster, E G W , The Design of Factory and Industrial Buildings, (1928), 142-148

'The Architects' Journal' in The Utility of Reinforced Concrete, (26 January 1928), 100-107

Patrouille aérienne BREITLING (APACHE Aviation). Cette formation équipée de L-39C Albatros est basée sur l'aéroport de Dijon-Longvic - Meeting de France 2019 (Dijon-Longvic - Côte d'OR)

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X 3800

Autorail « Picasso » X 4039 en exposition sur les Champs-Élysées en juin 2003.

Identification

Exploitant(s)SNCF

DésignationX 3801-4051

Surnom"Picasso"

CompositionAutorail monocaisse

CouplageJumelage possible avec d'autres autorails

Constructeur(s)Régie Renault/ANF/De Dietrich/SACM

Mise en service1950-1961

Retrait1988 sauf X3997

Caractéristiques techniques

Disposition des essieuxB'2'

Écartementstandard

Carburantgazole

Moteur thermique1 moteur Saurer BZDSe ou Renault

Puissance continue250 kW

Transmissionmécanique

Dimensions

Longueur hors tampons21,851 m

Largeur3,090 m

Hauteur3,952 m

Masse totale31,5 t

Longueur totale21,851 m

Empattement14,201 m

Bogiesmoteur Y 107

porteur Y 108

Empattement du bogie2,600 m

Vitesse maximale120 km/h

Places

1re classe2e classeStrapontins

Classe unique

-625

1re/2e

20326

Consultez la documentation du modèle

La série d'autorails X 3800 constitue l'une des plus importantes séries d'autorails unifiés de la SNCF élaborés par la "Division d'études des autorails de la traction thermique de la SNCF" (DEA) en 1947.

Description:

L'autorail X 3800, dit unifié 300 ch et surnommé autorail « Picasso », est une série d'autorails diesel à bogies exploités par la SNCF entre 1950 et 19881. Ces autorails facilement reconnaissables à leur kiosque de conduite latéral surélevé ont été construits à 251 exemplaires, et en plusieurs sous-séries par trois constructeurs différents, à savoir par la Régie Nationale des Usines Renault (RNUR), De Dietrich et les Ateliers de construction du Nord de la France (ANF).

Vue du compartiment moteur de l'X 4039.

Ils étaient aménagés le plus souvent en deuxième classe, offraient 62 places assises et pouvaient circuler en jumelage et/ou avec une remorque. Ils étaient dotés d'un moteur Renault de type 517 G (d'une puissance unitaire de 300 ch portée par la suite à 340 ch) ou de type 575 (d'une puissance unitaire de 360 ch), ou Saurer de type BZDS (d'une puissance unitaire de 320 ch), ces derniers étant fabriqués sous licence par la Société des Forges et Ateliers du Creusot (SFAC).

Ils sont surnommés « Picasso » à cause de leur cabine de conduite excentrée et dont la forme n'était pas en harmonie avec celle de la caisse, ce qui faisait penser aux tableaux de visages peints par Pablo Picasso où les yeux, le nez étaient complètement décalés1.

La série X 3800 « Picasso » a été remplacée par la famille des Éléments Automoteurs Doubles (EAD). En fin de carrière de rares exemplaires, comme l'X 3828, eurent le toit peint en rouge.

Leur fiabilité, leur rusticité, mais aussi leur ligne si particulière avec le poste de conduite dans le kiosque, sont autant d'atouts qui ont poussé à en conserver : plusieurs exemplaires ont été préservés et sont exploités par des chemins de fer touristiques.

Services assurés

Ces autorails de puissance moyenne ont été utilisés sur la grande majorité des lignes françaises non électrifiées, dans quasiment toutes les régions. En voici quelques exemples :

Laroche-Migennes - Corbigny

Nantes - Saint-Nazaire

Annemasse - Genève Eaux-Vives (en service international)

Annemasse - Bellegarde

Bellegarde -Divonne-les-Bains

Montchanin - Besançon

Besançon - Bourg-en-Bresse

Lyon - Bourg-en-Bresse

Valence - Grenoble - Chambéry - Aix-les-Bains

Nevers -Montchanin - Le Creusot

Épinal - Saint-Dié-des-Vosges

Épinal - Remiremont

Saintes - La Rochelle

Nice - Cannes

Caen - Argentan

Nantes - Saint-Nazaire

Poitiers - La Rochelle

La Rochelle - Saintes

Rouen - Le Havre

Charleville-Mézières - Givet

Belfort - Mulhouse

Sarrebourg - Abreschviller

Vierzon - Montluçon

Nevers - Montchanin

Cahors - Capdenac

Cahors - Montauban

Agen - Montauban

Gare de Dinant - Charleville-Mézières (trajet international)

Paris - Dreux

Paris-Est - Sézanne, puis Paris-Est - La Ferté-Gaucher

Navettes Freyming-Merlebach - Petite-Rosselle

Navettes Paris-Est - Paris-Ourcq

Villefranche - Perpignan

Bollwiller - Lautenbach

(liste non exhaustive)

Dépôts titulaires[modifier | modifier le code]

Bordeaux (de 1975 jusqu'au 28 mai 1988)

Chalindrey (de 1970 à 1980)

Châlons-sur-Marne (de 1958 à 1969)

Chalon-sur-Saône (de 1964 à 1973)

Clermont-Ferrand (dès 1952)

Douai (de 1954 à 1968)

Evreux (dès 1958)

La Plaine (de 1975 à 1985)

La Rochelle - Bongrène (transférés de Saintes en 1960, jusqu'en 1976)

Laroche-Migennes (de 1965 à 1972)

Le Mans-Pontlieue (de 1951 à 1970)

Limoges (dès 1951)

Longueau (de 1970 à 1977)

Lyon-Perrache (dès 1952, puis transfert à Lyon-Vaise en 1957)

Lyon-Vaise (transférés de Lyon-Perrache en 1957, jusqu'en 1980)

Marseille-Blancarde (transférés de Marseille-Saint-Charles en 1957, jusqu'en 1975)

Marseille-Saint-Charles (dès février 1955, puis transfert à Marseille-Blancarde en 1957)

Mohon (dès 1959 et jusqu'en mai 1987)

Nancy-Heillecourt (de 1951 à 1970)

Nantes (dès 1951)

Narbonne (dès 1958)

Nevers (de 1970 jusqu'en mai 1987)

Nice-Saint-Roch (dès septembre 1954, jusqu'en 1961)

Noisy-le-Sec (dès 1959)

Rouen-Orléans (dès 1951)

Rennes (1er dépôt titulaire de France avec l'X 3801 livré neuf en 1950, puis jusqu'en 1980)

Rouge-Barres, près de Lille (dès 1951)

Saintes (de 1951 à 1960, puis transfert à La Rochelle)

Sotteville (de 1970 à 1987, sauf X 3997 modifié toujours en service en 2009)

Tours-Saint-Pierre (de 1955 à 1967)

Vesoul (dès 1951)

Vitry-le-François (de 1953 à 1960)

Engins spéciaux[modifier | modifier le code]

L'X 3953 transformé en X 93953 bleu et blanc pour la ligne de Bréauté - Beuzeville à Fécamp retransformé en X 3953.

L'X 3896 fut transformé le 23 juin 1976 par les Ateliers de Périgueux en autorail de tournée d'inspection, en remplacement du X 42511, et a reçu une livrée vert clair soulignée par des bandes en gris dauphin. À partir de 1988, cet autorail fut affecté au Service de la Recherche pour des essais dans le cadre du projet "ASTREE", première ébauche du système de signalisation ERTMS.

L'X 3900 fut également transformé en 1976 par les Ateliers de Périgueux en autorail de tournée d'inspection, en remplacement du X 42514, et a reçu une livrée vert clair agrémentée d'une bande blanche et soulignée par des bandes en gris dauphin. Il a été acheté par l'Autorail Touristique du Minervois en 1993, puis garé au dépôt de Clermont-Ferrand avant d'assurer les premiers trains pour le compte des Chemins de Fer de la Haute Auvergne (Gentiane Express) en 1997. Depuis, il stationne à Bort-les-Orgues (19) et est en cours de réfection extérieure.

L'X 3997 fut transformé en autorail de mesures de la SNCF (analyse et mesure des courants dans le rail) et a reçu une livrée gris béton, gris-vert foncé avec bandeaux orange.

Autorails préservés et en état de marche[modifier | modifier le code]

X 3814 : AATY: Association des Autorails Touristiques de l'Yonne

X 3817 : Chemin de fer touristique de la vallée de l'Aa

X 3818 : Chemin de Fer Touristique de la Traconne (racheté par la commune de Sézanne2)

X 3823 : Chemin de Fer de la Vendée

X 3824 : Collection privée (Jean-Philippe Isnard) confié à l'AGRIVAP

X 3835 : AATY

X 3837 : Chemin de fer touristique de la Vallée de la Canner

X 3838 : Chemin de Fer Touristique du Sud des Ardennes3

X 3850 : Chemin de Fer Touristique du Sud des Ardennes3

X 3853 : Chemin de fer touristique de la vallée de l'Aa

X 3867 : Agrivap, ex Train Touristique du Mont des Avaloirs (Alençon-Près en Pail), racheté par Agrivap en 2000, remis en service depuis juin 2001. Visible dans le film Etre et Avoir.

X 3876 : Auberge du chemin de Fer de Lanester (56) (tranformation en gites)

X 3886 : ARE, puis revendu à l'association "Les Autorails de Bourgogne et de Franche-Comté"

X 3890 : Association Chemins de fer du Centre-Bretagne4 (CFCB)

X 3898 : Chemin de Fer Touristique du Sud des Ardennes3

X 3900 : Autorail de Commandement, basé à Bort-les-Orgues

X 3926 : Anciennement CFTS, aujourd'hui rénové avec 1re classe entièrement d'origine par le TFBCO en vue d'une exploitation sur Mézy-Montmirail5

X 3943 : Chemin de Fer Touristique du Sud des Ardennes3

X 3944 : Restauré roulant depuis le 14 mai 2001 au Train du Pays Cathare et du Fenouillèdes6. En 2015 il est en cours de restauration intégrale et de réaménagement.

X 3953 : Train touristique de la Sarthe TRANSVAP - ancien X 93953 bleu et blanc

X 3959 : En cours de restauration au Chemin de Fer de Charente-Limousine

X 3968 : Chemin de fer touristique du Haut Quercy

X 3998 : Chemin de Fer à Vapeur des 3 Vallées - Mariembourg (Belgique)

X 4001 : Chemin de Fer du Haut Forez

X 4039 : Les Autorails de Bourgogne et de Franche-Comté

Autorails préservés puis ferraillés, ou hors-service, ou conservés pour pièces[modifier | modifier le code]

X 3801 : Chemin de Fer Touristique des Hautes Falaises (épave)

X 3810 : Train touristique du centre-Var (épave)

X 3825 : Train touristique du Cotentin, vendu en 1998 à Quercyrail (hors service)

X 3846 : Chemin de Fer Touristique du Minervois (ferraillé en 2012)

X 3847 : Musée de Mulhouse, découpé à un tiers de sa longueur

X 3865 : Train touristique de l'Ardèche méridionale, association Viaduc 07 (ferraillé en juillet 2010).

X 3866 : Chemin de fer touristique du Vermandois (hors service, en cours de restauration)

X 3871 : AATY (épave)

X 3897 : ACTA (épave)

X 3907 : Train touristique Étretat-Pays de Caux (épave et ferraillé)

X 3934 : Agrivap (détruit à la suite d'une collision avec un poids-lourd à un passage à niveau en 1998, pièces récupérées, caisse et châssis ferraillés).

X 3937 : Association de modélistes Rambolitrain, Rambouillet (78) (ferraillé, moteur racheté par Agrivap)

X 3997 : autorail de mesures (envoyé au chantier de démolition de Culoz en février 2014)

Autorail X4039 à l'arrêt en gare d'Oyonnax, mars 2014.

X 4013 : a servi de vestiaire pour une discothèque installée dans l'ancienne gare de Sancerre (18) (ferraillé)

X 4025 : préservé par l'ABFC, à Perrigny-lès-Dijon (21) (ferraillé en 2001)

X 4028 : CFT du Minervois, à Narbonne (11) - Garé au TPCF à Caudiès (ferraillé en mars 2013)

X 4042 : Musée de la Mine du Carreau Wendel (hors service)

X 4046 : Centre d’Études Ferroviaires à Denain (59) (hors service)

X 4051 : CFTA-Carhaix (hors service)

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Véhicule : IRISBUS IVECO Citelis 18 GNV

Identification : 2673 (BN-036-LT)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Centre d'Exploitation du Lac (CEL)

Réseau : TBM (Bordeaux Métropole)

Ligne : Lianes 4

Voiture : 0409

Destination : PESSAC Magonty

14/05/2019 17:59

Cours de Verdun ; Bordeaux

My son has become fascinated with bitcoins, and so I had to get him a tangible one for Xmas. The public key is imprinted visibly on the tamper-evident holographic film, and the private key lies underneath. (Casascius)

I too was fascinated by digital cash back in college, and more specifically by the asymmetric mathematical transforms underlying public-key crypto and digital blind signatures.

I remembered a technical paper I wrote, but could not find it. A desktop search revealed an essay that I completely forgot, something that I had recovered from my archives of floppy discs (while I still could).

It is an article I wrote for the school newspaper in 1994. Ironically, Microsoft Word could not open this ancient Microsoft Word file format, but the free text editors could.

What a fun time capsule, below, with some choice naivetés…

I am trying to reconstruct what I was thinking. I was arguing that a bulletproof framework for digital cash (and what better testing ground) could be used to secure a digital container for executable code on a rental basis. So the expression of an idea — the specific code, or runtime service — is locked in a secure container. The idea would be to prevent copying instead of punishing after the fact.

Micro-currency and micro-code seem like similar exercises in regulating the single use of an issued number.

Now that the Bitcoin experiment is underway, do you know of anyone writing about it as an alternative framework for intellectual property (from digital art to code to governance tokens)?

IP and Digital Cash

@NORMAL:

Digital Cash and the “Intellectual Property” Oxymoron

By Steve Jurvetson

Many of us will soon be working in the information services or technology industries which are currently tangled in a bramble patch of intellectual property law. As the law struggles to find coherency and an internally-consistent logic for intellectual property (IP) protection, digital encryption technologies may provide a better solution — from the perspective of reducing litigation, exploiting the inherent benefits of an information-based business model, and preserving a free economy of ideas.

Bullet-proof digital cash technology, which is now emerging, can provide a protected “cryptographic container” for intellectual expressions, thereby preserving traditional notions of intellectual property that protect specific instantiations of an idea rather than the idea itself. For example, it seems reasonable that Intuit should be able to protect against the widespread duplication of their Quicken software (the expression of an idea), but they should not be able to patent the underlying idea of single-entry bookkeeping. There are strong economic incentives for digital cash to develop and for those techniques to be adapted for IP protection — to create a protected container or expression of an idea. The rapid march of information technology has strained the evolution of IP law, but rather than patching the law, information technology itself may provide a more coherent solution.

Information Wants To Be Free

Currently, IP law is enigmatic because it is expanding to a domain for which it was not initially intended. In developing the U.S. Constitution, Thomas Jefferson argued that ideas should freely transverse the globe, and that ideas were fundamentally different from material goods. He concluded that “Inventions then cannot, in nature, be a subject of property.” The issues surrounding IP come into sharp focus as we shift to being more of an information-based economy.

The use of e-mail and local TV footage helps disseminate information around the globe and can be a force for democracy — as seen in the TV footage from Chechen, the use of modems in Prague during the Velvet Revolution, and the e-mail and TV from Tianammen Square. Even Gorbachev used a video camera to show what was happening after he was kidnapped. What appears to be an inherent force for democracy runs into problems when it becomes the subject of property.

As higher-level programming languages become more like natural languages, it will become increasingly difficult to distinguish the idea from the code. Language precedes thought, as Jean-Louis Gassée is fond of saying, and our language is the framework for the formulation and expression of our ideas. Restricting software will increasingly be indistinguishable from restricting freedom of speech.

An economy of ideas and human attention depends on the continuous and free exchange of ideas. Because of the associative nature of memory processes, no idea is detached from others. This begs the question, is intellectual property an oxymoron?

Intellectual Property Law is a Patch

John Perry Barlow, former Grateful Dead lyricist and co-founder (with Mitch Kapor) of the Electronic Frontier Foundation, argues that “Intellectual property law cannot be patched, retrofitted or expanded to contain digitized expression... Faith in law will not be an effective strategy for high-tech companies. Law adapts by continuous increments and at a pace second only to geology. Technology advances in lunging jerks. Real-world conditions will continue to change at a blinding pace, and the law will lag further behind, more profoundly confused. This mismatch may prove impossible to overcome.”

From its origins in the Industrial Revolution where the invention of tools took on a new importance, patent and copyright law has protected the physical conveyance of an idea, and not the idea itself. The physical expression is like a container for an idea. But with the emerging information superhighway, the “container” is becoming more ethereal, and it is disappearing altogether. Whether it’s e-mail today, or the future goods of the Information Age, the “expressions” of ideas will be voltage conditions darting around the net, very much like thoughts. The fleeting copy of an image in RAM is not very different that the fleeting image on the retina.

The digitization of all forms of information — from books to songs to images to multimedia — detaches information from the physical plane where IP law has always found definition and precedent. Patents cannot be granted for abstract ideas or algorithms, yet courts have recently upheld the patentability of software as long as it is operating a physical machine or causing a physical result. Copyright law is even more of a patch. The U.S. Copyright Act of 1976 requires that works be fixed in a durable medium, and where an idea and its expression are inseparable, the merger doctrine dictates that the expression cannot be copyrighted. E-mail is not currently copyrightable because it is not a reduction to tangible form. So of course, there is a proposal to amend these copyright provisions. In recent rulings, Lotus won its case that Borland’s Quattro Pro spreadsheet copied elements of Lotus 123’s look and feel, yet Apple lost a similar case versus Microsoft and HP. As Professor Bagley points out in her new text, “It is difficult to reconcile under the total concept and feel test the results in the Apple and Lotus cases.” Given the inconsistencies and economic significance of these issues, it is no surprise that swarms of lawyers are studying to practice in the IP arena.

Back in the early days of Microsoft, Bill Gates wrote an inflammatory “Open Letter to Hobbyists” in which he alleged that “most of you steal your software ... and should be kicked out of any club meeting you show up at.” He presented the economic argument that piracy prevents proper profit streams and “prevents good software from being written.” Now we have Windows.

But seriously, if we continue to believe that the value of information is based on scarcity, as it is with physical objects, we will continue to patch laws that are contrary to the nature of information, which in many cases increases in value with distribution. Small, fast moving companies (like Netscape and Id) protect their ideas by getting to the marketplace quicker than their larger competitors who base their protection on fear and litigation.

The patent office is woefully understaffed and unable to judge the nuances of software. Comptons was initially granted a patent that covered virtually all multimedia technology. When they tried to collect royalties, Microsoft pushed the Patent Office to overturn the patent. In 1992, Software Advertising Corp received a patent for “displaying and integrating commercial advertisements with computer software.” That’s like patenting the concept of a radio commercial. In 1993, a DEC engineer received a patent on just two lines of machine code commonly used in object-oriented programming. CompuServe announced this month that they plan to collect royalties on the widely used GIF file format for images.

The Patent Office has issued well over 12,000 software patents, and a programmer can unknowingly be in violation of any them. Microsoft had to pay $120MM to STAC in February 1994 for violating their patent on data compression. The penalties can be costly, but so can a patent search. Many of the software patents don’t have the words “computer,” “software,” “program,” or “algorithm” in their abstracts. “Software patents turn every decision you make while writing a program into a legal risk,” says Richard Stallman, founder of the League for Programming Freedom. “They make writing a large program like crossing a minefield. Each step has a small chance of stepping on a patent and blowing you up.” The very notion of seventeen years of patent protection in the fast moving software industry seems absurd. MS-DOS did not exist seventeen years ago.

IP law faces the additional wrinkle of jurisdictional issues. Where has an Internet crime taken place? In the country or state in which the computer server resides? Many nations do not have the same intellectual property laws as the U.S. Even within the U.S., the law can be tough to enforce; for example, a group of music publishers sued CompuServe for the digital distribution of copyrighted music. A complication is that CompuServe has no knowledge of the activity since it occurs in the flood of bits transferring between its subscribers

The tension seen in making digital copies revolves around the issue of property. But unlike the theft of material goods, copying does not deprive the owner of their possessions. With digital piracy, it is less a clear ethical issue of theft, and more an abstract notion that you are undermining the business model of an artist or software developer. The distinction between ethics and laws often revolves around their enforceability. Before copy machines, it was hard to make a book, and so it was obvious and visible if someone was copying your work. In the digital age, copying is lightning fast and difficult to detect. Given ethical ambiguity, convenience, and anonymity, it is no wonder we see a cultural shift with regard to digital ethics.

Piracy, Plagiarism and Pilfering

We copy music. We are seldom diligent with our footnotes. We wonder where we’ve seen Strat-man’s PIE and the four slices before. We forward e-mail that may contain text from a copyrighted news publication. The SCBA estimates that 51% of satellite dishes have illegal descramblers. John Perry Barlow estimates that 90% of personal hard drives have some pirated software on them.

Or as last month’s Red Herring editorial points out, “this atmosphere of electronic piracy seems to have in turn spawned a freer attitude than ever toward good old-fashioned plagiarism.” Articles from major publications and WSJ columns appear and circulate widely on the Internet. Computer Pictures magazine replicated a complete article on multimedia databases from New Media magazine, and then publicly apologized.

Music and voice samples are an increasingly common art form, from 2 Live Crew to Negativland to local bands like Voice Farm and Consolidated. Peter Gabriel embraces the shift to repositioned content; “Traditionally, the artist has been the final arbiter of his work. He delivered it and it stood on its own. In the interactive world, artists will also be the suppliers of information and collage material, which people can either accept as is, or manipulate to create their own art. It’s part of the shift from skill-based work to decision-making and editing work.”

But many traditionalists resist the change. Museums are hesitant to embrace digital art because it is impossible to distinguish the original from a copy; according to a curator at the New Museum of Contemporary Art, “The art world is scared to death of this stuff.” The Digital Audio Tape debate also illustrated the paranoia; the music industry first insisted that these DAT recorders had to purposely introduce static into the digital copies they made, and then they settled for an embedded code that limited the number of successive copies that could be made from the a master source.

For a healthier reaction, look at the phenomenally successful business models of Mosaic/Netscape and Id Software, the twisted creator of Doom. Just as McAfee built a business on shareware, Netscape and Id encourage widespread free distribution of their product. But once you want support from Netscape, or the higher levels of the Doom game, then you have to pay. For industries with strong demand-side economies of scale, such as Netscape web browsers or Safe-TCL intelligent agents, the creators have exploited the economies of information distribution. Software products are especially susceptible to increasing returns with scale, as are networking products and most of the information technology industries.

Yet, the Software Publishers Association reports that 1993 worldwide losses to piracy of business application software totaled $7.45 billion. They also estimated that 89% of software units in Korea were counterfeit. And China has 29 factories, some state-owned, that press 75 million pirated CDs per year, largely for export. GATT will impose the U.S. notions of intellectual property on a world that sees the issue very differently.

Clearly there are strong economic incentives to protect intellectual property, and reasonable arguments can be made for software patents and digital copyright, but the complexities of legal enforcement will be outrun and potentially obviated by the relatively rapid developments of another technology, digital cash and cryptography.

Digital Cash and the IP Lock

Digital cash is in some ways an extreme example of digital “property” -- since it cannot be copied, it is possessed by one entity at a time, and it is static and non-perishable. If the techniques for protecting against pilferage and piracy work in the domain of cash, then they can be used to “protect” other properties by being embedded in them. If I wanted to copy-protect an “original” work of digital art, digital cash techniques can be used as the “container” to protect intellectual property in the old style. A bullet-proof digital cash scheme would inevitably be adapted by those who stand to gain from the current system. Such as Bill Gates.

Several companies are developing technologies for electronic commerce. On January 12, several High-Tech Club members attended the Cybermania conference on electronic commerce with the CEOs of Intuit, CyberCash, Enter TV and The Lightspan Partnership. According to Scott Cook, CEO of Intuit, the motivations for digital cash are anonymity and efficient small-transaction Internet commerce. Anonymity preserves our privacy in the age of increasingly intrusive “database marketing” based on credit card purchase patterns and other personal information. Of course, it also has tax-evasion implications. For Internet commerce, cash is more efficient and easier to use than a credit card for small transactions.

“A lot of people will spend nickels on the Internet,” says Dan Lynch of CyberCash. Banks will soon exchange your current cash for cyber-tokens, or a “bag of bits” which you can spend freely on the Internet. A competitor based in the Netherlands called DigiCash has a Web page with numerous articles on electronic money and fully functional demo of their technology. You can get some free cash from them and spend it at some of their allied vendors.

Digital cash is a compelling technology. Wired magazine calls it the “killer application for electronic networks which will change the global economy.” Handling and fraud costs for the paper money system are growing as digital color copiers and ATMs proliferate. Donald Gleason, President of the Smart Card Enterprise unit of Electronic Payment Services argues that “Cash is a nightmare. It costs money handlers in the U.S. alone approximately $60 billion a year to move the stuff... Bills and coinage will increasingly be replaced by some sort of electronic equivalent.” Even a Citibank VP, Sholom Rosen, agrees that “There are going to be winners and losers, but everybody is going to play.”

The digital cash schemes use a blind digital signature and a central repository to protect against piracy and privacy violations. On the privacy issue, the techniques used have been mathematically proven to be protected against privacy violations. The bank cannot trace how the cash is being used or who is using it. Embedded in these schemes are powerful digital cryptography techniques which have recently been spread in the commercial domain (RSA Data Security is a leader in this field and will be speaking to the High Tech Club on January 19).

To protect against piracy requires some extra work. As soon as I have a digital $5 bill on my Mac hard drive, I will want to make a copy, and I can. (Many companies have busted their picks trying to copy protect files from hackers. It will never work.). The difference is that I can only spend the $5 bill once. The copy is worthless. This is possible because every bill has a unique encrypted identifier. In spending the bill, my computer checks with the centralized repository which verifies that my particular $5 bill is still unspent. Once I spend it, it cannot be spent again. As with many electronic transactions today, the safety of the system depends on the integrity of a centralized computer, or what Dan Lynch calls “the big database in the sky.”

One of the most important limitations of the digital cash techniques is that they are tethered to a transaction between at least three parties — a buyer, seller and central repository. So, to use such a scheme to protect intellectual property, would require networked computers and “live” files that have to dial up and check in with the repository to be operational. There are many compelling applications for this, including voter registration, voting tabulation, and the registration of digital artwork originals.

When I asked Dan Lynch about the use of his technology for intellectual property protection, he agreed that the bits that now represent a $5 bill could be used for any number of things, from medical records to photographs. A digital photograph could hide a digital signature in its low-order bits, and it would be imperceptible to the user. But those bits could be used with a registry of proper image owners, and could be used to prove misappropriation or sampling of the image by others.

Technology author Steven Levy has been researching cryptography for Wired magazine, and he responded to my e-mail questions with the reply “You are on the right track in thinking that crypto can preserve IP. I know of several attempts to forward plans to do so.” Digital cash may provide a “crypto-container” to preserve traditional notions of intellectual property.

The transaction tether limits the short-term applicability of these schemes for software copy protection. They won’t work on an isolated computer. This certainly would slow its adoption for mobile computers since the wireless networking infrastructure is so nascent. But with Windows ’95 bundling network connectivity, soon most computers will be network-ready — at least for the Microsoft network. And now that Bill Gates is acquiring Intuit, instead of dollar bills, we will have Bill dollars.

The transaction tether is also a logistical headache with current slow networks, which may hinder its adoption for mass-market applications. For example, if someone forwards a copyrighted e-mail, the recipient may have to have their computer do the repository check before they could see the text of the e-mail. E-mail is slow enough today, but in the near future, these techniques of verifying IP permissions and paying appropriate royalties in digital cash could be background processes on a preemptive multitasking computer (Windows ’95 or Mac OS System 8). The digital cash schemes are consistent with other trends in software distribution and development — specifically software rental and object-oriented “applets” with nested royalty payments. They are also consistent with the document-centric vision of Open Doc and OLE.

The user of the future would start working on their stationary. When it’s clear they are doing some text entry, the word processor would be downloaded and rented for its current usage. Digital pennies would trickle back to the people who wrote or inspired the various portions of the core program. As you use other software applets, such as a spell-checker, it would be downloaded as needed. By renting applets, or potentially finer-grained software objects, the licensing royalties would be automatically tabulated and exchanged, and software piracy would require heroic efforts. Intellectual property would become precisely that — property in a market economy, under lock by its “creator,” and Bill Gates’ 1975 lament over software piracy may now be addressed 20 years later.

--------end of paper-----------

2013 & 2021 update: On further reflection, I was focused on executable code (where the runtime requires a cloud connect to authenticate, given the third party element of Digicash. (The blockchain fixed this). Verification has been a pain, but perhaps it's seamless in a web-services future. Cloud apps and digital cash depend on it, so why not the code itself.

It could verify the official owner of any unique bundle of pixels, in the sense that you can "own" a sufficiently large number, but not the essence of a work of art or derivative works (what we call NFTs today). Frankly, I'm not sure about non-interactive content in general, like pure video playback. "Fixing" software IP alone would be a big enough accomplishment.

"Artit's canvas"

Fête de Furdenheim (FRANCE - Alsace)

Website : www.fluidr.com/photos/pat21

"Copyright © – Patrick Bouchenard

The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved

Véhicule : MAN Lion's City G A23 CNG

Identification : 1423 (DR-229-AX)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Centre d'Exploitation du Lac (CEL)

Réseau : TBM (Bordeaux Métropole)

Ligne : 18 NAVETTE STADE EURO 2016

Voiture : 1810

Destination : Mise en Ligne

À l'occasion de l'UEFA EURO 2016 (coupe d'Europe de football), une ligne spéciale a été créée pour délester le Tram C de l'afflux de supporters, malgré les renforts mis en place. Cette "Navette Stade" porte le numéro 18, et fait la liaison entre le Parc des Expositions (et Nouveau Stade) et la station Tram B "La Cité du Vin" (anciennement "Bassins à Flot"), pour une correspondance depuis/vers le Centre-Ville. Cette Navette est mise en place avant et après le match, pour répartir les mouvements sur 2 axes. Pour l'occasion, un large périmètre avait été bloqué à la circulation autour du Stade Matmut Atlantique pour faciliter la circulation des supporters et des bus, et un arrêt spécial a été aménagé parallèlement à la station de Tram. Une zone de stationnement était mise en place pendant le match pour les bus assurant la Navette sur les "Rue du Vergne" et "Avenue de la Jallère". Cette Navette a été pérennisée au sein de l'offre TBM pour les événements au Stade Matmut Atlantique.

14/06/2016 18:40

Rue du Vergne ; F-33 BORDEAUX

© cuma 2013. © Copyright – Marcelo Moreno©. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.

© cuma 2013. © Copyright – Marcelo Moreno©. Estas fotos tienen derechos de autor. Todos los derechos reservados. Las imágenes no pueden ser utilizadas sin autorización expresa del autor.

© Copyright – Marcelo Moreno©.

The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use outside FlickR, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."

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The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Belgian postcard, no. 2. Publicity postcard by The Three Caballeros (Norman Ferguson, Clyde Geronimi, Jack Kinney, Bill Roberts, 1944). Caption: Panchito recounts his exploits to Joe Carioca and Donald Duck.

The Three Caballeros (Norman Ferguson, Clyde Geronimi, Jack Kinney, Bill Roberts, 1944) is an American animated musical film produced by Walt Disney Productions and released by RKO Radio Pictures. It is the seventh animated feature in the Disney Animated Canon, as well as the first animated Disney film to be a sequel (to Saludos Amigos). The film also marked Donald Duck's 10th anniversary and is the first Walt Disney feature to combine animation with live-action footage.

The Three Caballeros plots an adventure through parts of Latin America, combining live-action and animation. It is the second of the Disney package films of the 1940s. The film is a series of self-contained segments, strung together by the device of Donald Duck opening birthday gifts from his Latin American friends. Several Latin American stars of the period appear, including singers Aurora Miranda (sister of Carmen Miranda) and Dora Luz, and dancer Carmen Molina. Throughout the film, the Aracuan Bird appears at random moments. He usually pesters everyone, sometimes stealing José's cigar. His most famous gag is when he re-routes the train by drawing new tracks. He later returns in Melody Time.

The Three Caballeros was produced as part of the studio's goodwill message for South America but is less obviously propagandistic than many of its wartime productions. The film again stars Donald Duck, who in the course of the film is joined by an old friend, José Carioca, the cigar-smoking parrot from Saludos Amigos, representing Brazil, and later makes a new friend in the persona of a pistol-packing rooster Panchito Pistoles, representing Mexico. The Three Caballeros received mixed reviews upon its original release. Most critics were relatively perplexed by the "technological razzle-dazzle" of the film, thinking that, in contrast to the previous feature films up to this time, "it displayed more flash than substance, more technique than artistry." Bosley Crowther wrote in The New York Times, "Dizzy Disney and his playmates have let their technical talents run wild." Today critics are more positive. Stephen Thomas Erlewine at AllMovie: "Filled with achingly funny jokes, good music, and stunning, ground-breaking animation, The Three Caballeros remains extremely entertaining decades after its release. It is one of Disney's unacknowledged classics." Calstanhope at IMDb: "The animation is very good and some of the music (especially the title song) is memorable. Watch it for what it is and enjoy!"

Sources: Stephen Thomas Erlewine (AllMovie), Disney Wiki, Wikipedia, and IMDb.

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