text:
Futureproof
Ingrid Burrington
Calculated Risks
"The unique feature that sets mathematics apart from other sciences, from philosophy, and indeed from all other forms of intellectual discourse, is the use of rigorous proof. It is the proof concept that makes the subject cohere, that gives it its timelessness, and that enables it to travel well." —Steven G. Krantz, "The History and Concept of Mathematical Proof"
"I have already told you of the sickness and confusion that comes with time travelling." —H.G. Wells, The Time Machine
The first potential risk of trying to curate in 2017 an exhibition of artwork and artifacts related to imagining futures is that the turnaround time from speculation to reality seems to be getting shorter and shorter. To appropriate and update a hoary William Gibson quote, the future is here, and it's distributing itself at an alarmingly accelerated rate. For much of this year I've heard science fiction writer friends complain that their imagined worlds can't keep up with developments in our own. One of them discovered an editorial titled "Hear Me Out: Let's Elect an AI President" a few days before a deadline to finish a short story about the executive branch of the United States being replaced with an AI. This hour's dystopian narrative becomes the next's Wired thinkpiece-as-product placement.
But what is happening now feels less like an acceleration toward the future than like one toward the recent past. Four years after a friend told me that the tech bubble was likely to burst in the next year and a half, it seems as if the future is approaching faster than ever—or, to be precise, a version of the future heralded a few decades ago. 2017 is the twenty-fifth anniversary of the publication of Snow Crash, the fifteenth anniversary of the release of the film Minority Report, and the tenth anniversary of the iPhone (arguably the greatest contributing factor to how life is lived here in the accelerated future tense). So many of the manifestations of "the future" in (white, Western, mainstream) pop culture remain under the art direction of Hollywood circa 2002.
This future-inertia is, to some extent, by design. In an article about the weekend-long summit in which a group of futurists and technologists designed the Minority Report vision of the future for Steven Spielberg, consultant Peter Schwartz noted, "Steven and I talked specifically about creating a new set of vernacular images of the future. Before then, the only images that anybody ever referred to were either Blade Runner or 2001. It was a very dark vision. Our goal was to get on screen a really amazing vision of the future that people would talk about. We achieved that overwhelmingly."1
Schwartz, like the other Minority Report consultants, is part of a larger political economy of The Future whose origins could be traced as far back as the Oracle of Delphi but whose shiny, modernist beginnings (perhaps more relevant to understanding the culture that brought us Minority Report) track with the emergence of the Cold War and the growth of the RAND Corporation. Most histories of the modern corporate futurist field locate its origins in the discipline of "operations research", a term as conveniently vague as "futurism." Operations research emerged during World War II from US military logistics research using nascent analog and digital computing technologies to make more informed decisions grounded in computational analysis and statistical modeling. The brightest minds of World War II operations research would go on to leadership roles at the RAND Corporation, a quasi-governmental private think tank created in 1948 to provide research and development support to the United States military. At RAND, operations research gave way to two major developments that would become integral to the pursuit of rational futures: game theory and scenario planning. Both were integral to the development of Cold War-era military simulations and war games. Of the two, scenario planning employs more narrative interpretation, and is generally expected to be attuned to the subtleties of here and now rather than relying only on calculations and archetypes.
The government and military approaches to scenarios would go on to shape the field of corporate scenario planning, most notably the Shell Oil scenarios team. Formed in 1965, Shell Scenarios continues its work of future visioning to this day. Its reports are full of cautions about the limitations of scenarios, and insist that they are not "predicting the future" per se so much as laying out some reasonably assessed possibilities. Modest protestations aside, the Shell team is among the most written about examples of in-house corporate futurists in part because of the fact that the team largely validated its existence when one of its scenarios "predicted" the 1973 Middle East oil embargo.
It's the spirit of Shell Scenarios that drew me to Climate of Concern (1991), an in-house film on climate change produced by Shell and rediscovered twenty-five years later by journalists at Dutch news site De Correspondent. While Climate of Concern wasn't produced by the Shell Scenarios team, it certainly comes across as an extension of the thinking behind their work. The film provides a startlingly detailed overview of the real threats of climate change as a result of carbon emissions, describing a future of "not a steady and even warming overall, but alterations to the familiar patterns of climate, and the increasing frequency of abnormal weather." Although the film cautions that the evidence from models remains uncertain, "Many think that to wait for final proof would be irresponsible. Action now is seen as the only safe insurance. But what should that action be?"2 For Shell, "action" apparently meant twenty-five more years of drilling, oil production and exploration, and lobbying against climate regulations. Although Shell is far from the only petroleum giant long cognizant of—and complicit in—accelerating climate change, as a company it is uniquely known for their use of scenario planning and project a public image of future-forward thinking through artifacts like Climate of Concern and their scenario reports. But Shell's end goal isn't to use scenarios and futures research to avert the disasters of climate change. It's to navigate a course toward profit in spite of them. There's a reason so much of the work of corporate futures and scenario planning goes into a discipline known as risk assessment.
Ilona Gaynor
Everything Ends in Chaos
For Everything Ends in Chaos, Ilona Gaynor deconstructs the realm of corporate risk assessment in an effort to model and reverse engineer a "black swan event". First coined in its current sense by statistician and essayist Nassim Nicolas Taleb in 2001, the term refers to unexpected and unpredicted events that reshape the course of history and that, only in hindsight, might be understood as inevitable. The iPhone (an amalgam of existing emerging technologies unified by a singular design vision and supply chain somehow not predicted by science fiction or industry) is an example of a black swan, as is the collapse of the Soviet Union. The expression itself goes back to a line from the Latin poet Juvenal (rara avis in terris nigroque simillima cygno—"a rare bird on earth and very much like a black swan"), written at a time when black swans were thought not to exist (nor, apparently, virtuous women, as that's actually what Juvenal was comparing to black swans). Following their first documentation by Dutch explorers in 1697, "black swan" (commonly used, along with "rara avis," for individuals who defy expectation) also became a way to describe outlier events that undermined common understanding.
Working in 2011, Gaynor was interested in the black swan of the 2008 global financial crisis and the infinite number of small-scale grifts that accumulated to made such a byzantine catastrophe possible. Everything Ends in Chaos contains similarly intricate complexities, connections, and financial assessments researched to the point of meticulous absurdity (Gaynor remains the only artist I know who consults hedge fund managers and hires private detectives to plan kidnappings as part of her artistic practice). Through this exhausting inventory of research artifacts and cinematically breathtaking scenarios, Gaynor grounds speculative design (a discipline unfortunately as vague and hyped as scenario planning, mostly associated with Royal College of Art graduates and a fascination with architectural renders) squarely in the realities of economic speculation. Her scenarios demonstrate the extent to which fissures, chaos, and collapse are inherent in, not deviations from, networked globalized finance.
In engineering, industrial design, and architecture, futureproofing typically refers to creating something in such a way as to minimize or slow down its technological obsolescence. Techniques for futureproofing vary, from designing buildings that are sturdy enough to withstand nuclear fallout to creating open technical protocols that can adapt in order to accommodate new technologies. In the realm of the corporate scenario researcher and Gaynor's risk analysts, the future may not always be predictable but it can certainly be contained, plotted, modeled, and conquered. The scenario planner futureproofs by writing proofs—rhetorically breaking down the constituent parts of the future with a performative mathematical precision, turning conjecture into irrevocable truth.
This isn't to say that top-down efforts to govern the future through information flows and to define the future are only the domain of military think tanks and multinational corporations. The never fully-realized Project Cybersyn offers a reminder of an alternate path that such futureproofing might have taken. Begun in 1971 to organize and manage Chile's economy under Salvador Allende's new democratically elected socialist government , Cybersyn was an ambitious undertaking. Years before the ARPANet sent its first packet-switched transmission, Cybersyn's architects pursued a telex-driven data network to track worker absenteeism, the price of cotton, and other economic indicators. Using a computer system called Cyberstride, government bureaucrats and factory workers alike would democratically plan goals and make data-driven decisions for the economy.
One of Cybersyn's chief architects was British cyberneticist and consultant Stafford Beer. Cybernetics didn't emerge directly from RAND, but many of its pioneers had connections to the think tank (and to MIT, arguably its east coast academic counterpart). John von Neumann, an early influence on cybernetics, consulted for RAND in 1948 and contributed to the development of game theory. He also knew and worked with RAND's Herman Kahn, who is largely credited with the development of scenario planning. But where many of the preferred RAND methods of technical systems and forecasting tools advocated a top-down, command and control-heavy logic, cybernetics appealed both to Beer and Allende's socialist Popular Unity government precisely because of its emphasis on the possibility of decentralized and, theoretically, more democratic control. Whether it actually did or could have achieved these ends is hard to say; before it ever really got off the ground, Project Cybersyn ended along with the Allende government following a CIA-backed coup on September 11, 1973. Efforts to undermine Allende's government over the course of the two preceding years had already impeded the development of Cybersyn. What little of the project's technology had been implemented by 1973 was often clunky and tedious. In this sense, maybe it did have the potential to be a truly democratic vision of futureproofing (while tedium and clunkiness are not core principles of functioning democracy, they are frequent features).
The most famous and familiar images connected to Cybersyn are of the Operations Room ("opsroom"). Since the opsroom was the central interface for assessing Cybersyn data, every decision about its design served its technocratic socialist vision—or was supposed to serve that vision. Only one opsroom was ever built, it was never actually operational, and it was ultimately destroyed by the Pinochet government. What remains of the opsroom are sketches and designs created by industrial designer Gui Bonsiepe. In these, seven (a number selected to allow clear voting majorities) white Tulip chairs in a circle (a format selected to encourage democratic participation) allowed workers, managers, and bureaucrats to view screens of economic data (and, thanks to built-in containers in the Tulip chairs, apparently also sip whiskey and smoke–for all its hexagon-heavy futurist aesthetics, the opsroom retained some of the late 1960s boardroom vibe).
"What are we offered by way of hope? Models, plans, blueprints, wiring diagrams." —Ursula K. LeGuin, "A Non-Euclidean View of California As a Cold Place to Be"
The second risk of a futures exhibition in 2017 is falling into (or being perceived as falling into) the realm of escapist fantasy. Why talk about the city of tomorrow when the city of today is on fire?
Such a critique might be made of the Waste Isolation Pilot Plant, one of the U.S. government's largest initiatives to support and fund speculative fiction disguised as a national security and energy policy issue. In 1979, Congress designated the WIPP site outside of Carlsbad, New Mexico as "a research and development facility to demonstrate the safe disposal of radioactive waste resulting from defense activities." One of the unintended consequences of the short-term peace afforded by nuclear deterrence was the long-term problem of storing and disposing of massive quantities of nuclear waste in a location that could remain secure and undisturbed for tens of thousands of years—the typical half-life of the radioactive material in question. Alongside WIPP's day-to-day maintenance and storage concerns, there were also long-term ones. Designing a structure that can function ten thousand years into the future is one thing, but designing one whose function remains legible across that timespan is quite another. The WIPP needed warning signage to prevent humans from inadvertent exposure to radioactive waste, and they needed that signage to remain meaningful through its half-life. But writing systems, which go back 5000 years to the ancient Sumerians, have already changed dramatically (as have the languages they represent) in a time-span shorter than transuranic half life, and are likely to continue changing.
Recognizing this dilemma, the Department of Energy commissioned a series of reports on and sketches of signage that could conceivably work as a method of communication for ten thousand years. Defining what kind of linguistic and visual cues might work for future civilizations also required hypotheses of how those civilizations might be structured, and in these scenarios the WIPP futures reports veer back into RAND Corporation territory (One of the consultants on the WIPP project, Theodore Gordon, worked at RAND for several years.)
The narratives of WIPP step out of the urgencies of real-time crisis, where fictional futures can't keep up, and enter into the weird romance of deep, geologic time. But this earnest effort to prepare for a future timeline in which our present moment is an insignificant speck can be reasonably critiqued as a short-changing of that present, particularly in the context of a project like the WIPP. Perhaps the challenge facing humanity is not only how to make effective signage to protect future generations from nuclear waste and find a place to store that waste, but also how to create a society that doesn't produce nuclear waste to begin with, or that finds a method of processing nuclear waste without having to resort to centralized burial. What futures are presumed to be a fait accompli by the very creation of a place like the WIPP, or by the current regime's efforts to revive a similar initiative for nuclear waste storage in Nevada's Yucca Mountain?
But there's also a paradoxical and necessary optimism to these far-future visions. While the form and structure of future civilizations is not set, in WIPP's geologic timeline humanity still persists—which is far from a guaranteed proposition, and one that the 24-hour news cycle tends to narrate as an increasingly unlikely one. When the myopia and brutality of the present moment feel claustrophobically inescapable, escapism isn't a method of denial so much as a survival strategy. Such futures are a leap of faith, an insistence that despite the grimness of the present moment there is a way out, even if the only way out is through.
Salome Asega and Ayodamola Okunseinde's Iyapo Repository exists somewhere past that way out in the timeline. It's an archive literally in the future perfect for objects that will, at some point in the future, become historical artifacts. Through a series of workshops and events, the Repository's archivists invite the public to imagine tools and technologies that reinforce an affirmative and tangible future of people of African descent. Asega and Okunseinde chose the form of a future archive carefully, appropriating the form as a challenge to the long and fraught history of Western archives and museums misappropriating and erasing the history and culture of African diaspora. In addition to written documentation and sketches from workshops, the Repository includes a selection of physical artifacts fabricated by Asega and Okunseinde, which extend the imaginings of workshop participants into technically functional objects. Not satisfied with the fantasy of possible futures, the Iyapo Repository insists this future has already happened and offers both a comprehensive archival paper trail and tangible artifacts as proof. In the face of present-day existential threats to the culture, identity, and lives of black Americans, such envisioning and inhabiting of the future's archives seems far from empty escape.
"…perhaps we need another scenario, or maybe a thousand grubby little ones, that might never make it to the high apocalyptic. Our condition and the condition of the future are wrapped up together—when it comes to the environment, we are all in this together." —Peter Galison, "The Future of Scenarios: State Science Fiction"
The final risk faced in working with and on futures in 2017 is perhaps better understood as the risk inherent in any action in 2017: why do anything when it seems increasingly unclear that there necessarily will be a future? Why look to the stars when the earth is caving in? Working on this show, I feel like a fraud insisting on the possibility of futures and speculative practice when I can barely see past the next twenty-four hours. I procrastinate and agonize over this catalogue essay (hi, Matthew) because I don't really know if I'm going to make it far enough to see the exhibition manifest.
In the weeks after the election I receive emails from nonprofits, from arts organizations, from advocates and activists insisting that The Work (whatever that work may be, but usually that of cultural engagement), matters now, more than ever. This insistence on the present moment as a perpetual now, more than ever persists well into the first 100 days, then on into the next 100 days, and it starts to seem inconceivable that now will ever lose that sense of more than ever urgency. I'm ambivalent about this transformation of time; while I appreciate the idea of living grounded in the present moment, that doesn't really feel like what's happening. The now of now, more than ever operates in the future tense, not the present—the subtext remaining that we must act now, more than ever before it's too late.
But maybe it is too late, or has been too late for a longer time than anyone would like to admit. Perhaps the path to now more than ever began with the absence of imagination to insist that now is as always. By insisting on now as a time of triage and never as a time for immanence or imagination (and because we are rarely able to see that it can be both of them at once), we have already lost ground.
Borrowing a phrase from Franco "Bifo" Berardi, the late Mark Fisher describes this now, more than ever paralysis as "the slow cancellation of the future"—that "increasing sense that culture has lost the ability to grasp and articulate the present. Or it could be that, in one very important sense, there is no present to grasp and articulate any more."3 In the decades after the fall of the Soviet Union (the false-dichotomy "alternative" to capitalism) in which every gesture of resistance is readily subsumed by markets and states, Fisher argues that we're haunted not by the spectre of communism but instead by "the spectre of a world in which all the marvels of [technology] could be combined with a sense of solidarity much stronger than anything social democracy could muster."4
Trying to build alternative futures is often a process of facing that haunting spectre: finding life or potential by invoking and living with the ghosts and weird spirits of a world that could have been. Often, the interface for visiting these particular ghosts isn't the medium or Ouija board but the archive, which is partly why so many of the works in Futureproof take on an archivist, museological tone. The alternative archive is historical evidence of a shift in the timeline, its own kind of proof that another timeline is not only possible, but has already happened, is already happening and emergent before us.
Morehshin Allahyari
She Who Sees The Unknown
In Morehshin Allahyari's ongoing project She Who Sees The Unknown, that already-present alternate timeline unfolds through the construction of an archive and a series of ritual investigations into the dark goddesses, demons, and occult female jinns of pre-Islamic Middle Eastern history. Allahyari uses the term "re-figuring" as a way to describe her feminist approach to deconstructing myth, history, and colonialist appropriation of both. In addition to a rhetorical re-figuring of these female figures through written narratives and reading their histories onto current political conditions, she produces literal reconstruction of the figures with 3D modeling and printing tools, then ritually "re-figures" them through 3D scanning processes.
As 3D scanning and printing increasingly find use in the always problematic realm of Western "cultural heritage" preservation (most recently seen in 3D printed reconstructions of the ruins of Palmyra dropped in cities like New York and London with little to no reference or connections drawn to the present-day destruction and ruins in Syria right now), Allahyari applies them in the service of an alternative mythology and culture, one that embraces the monstrous, the uncertain, and the chaotic. Weirdly, through projects like She Who Sees The Unknown and Additivism (a collaboration with Daniel Rourke), it's become hard for me to imagine these tools being used for anything other than a challenge and critique of digital colonialist imperatives. In this respect She Who Sees The Unknown is, ironically, a much more literal manifestation of the black swan events Gaynor references in Everything Ends in Chaos: a reminder that alternatives to dominant ideology are only outliers until they're made manifest and brought to our attention.
History has a tendency to flatten black swans into inevitabilities. In the summer of 2014 I spent an afternoon in Berlin at the Stasi Museum, which inhabits the former headquarters of the East German secret police. As I peered into the piles of papers that the GDR had been trying to destroy when activists stormed the Stasi headquarters in 1990, I naïvely thought that the museum represented a uniquely German tendency toward sober reflection on and acknowledgment of the horrors of its history. But among the many less-than-pleasant landmarks of German history, the Stasi Museum is actually rare in its rapid turnaround time from operational agency to institutional memory. In The Texture of Memory: Holocaust Memorials and Meaning, James E. Young observes that while many Holocaust memorials were created shortly after the war by survivors (at the site of the Warsaw Ghetto Uprising, at Bergen-Belsen, at Auschwitz), official state memorials and museums took decades longer to emerge. The most salient counterexample to the rapidly historicized Stasi Museum is the House of the Wannsee Conference, where high-ranking Nazi officials planned out the Final Solution in 1942. It formally opened as a museum to the public in 1992, eighteen years after the suicide of Holocaust historian and survivor Joseph Wulf. For years, Wulf had unsuccessfully tried to convince the German government to turn the house into a museum. Today, an exhibition on Wulf's life and death adjacent to the museum includes a note in English that Wulf's vision could only be realized after "the parameters of the politics of memory began to change." This lag in commemoration can be read, in part, as a consequence of the fact that memorializing difficult moments in a nation's history is often perceived as counterproductive to the driving goals of nationbuilding. As Young observes:
"The matrix of a nation's monuments emplots the story of ennobling events, of triumphs over barbarism, and recalls the martyrdom of those who gave their lives in the struggle for national existence—who, in the martyrological refrain, died so that a country might live…[memorials] suggest themselves as indigenous, even geological outcroppings in a national landscape; in time, such idealized memory grows as natural to the eye as the landscape in which it stands. Indeed, for memorials to do otherwise would be to undermine the very foundation of national legitimacy, of the state's seemingly natural right to exist."5
Without dedicated effort to make national reckoning part of cultural heritage, wrongs committed by and in the name of nations fester across generations. In the Stasi Museum, I tried to imagine the United States taking on any part of its history with the same degree of blunt honesty and responsibility to future generations. How would we commemorate the black sites of the War on Terror? I tried to describe this idea to a journalist acquaintance who'd been to Guantanamo multiple times. She declared it impossible.
Two years later I saw a satellite exhibition from Ian Alan Paul's Guantanamo Bay Museum of Art and History, which manages to articulate that impossible future mostly through its stalwart representation of past and present. The artifacts and documents included in GBMAH exhibitions are real items from our timeline, real documentation of what's happened at the prison. While there are other archival initiatives about Guantanamo by human rights groups and legal scholarship institutions, to present that archive in the register of museology—to suggest that the prison and its horrors exists in the past tense—gives those artifacts a more insistent, demanding politics than the mournful tone of oral histories. The museum is less a speculation and more a promise to a future or a timeline in which the United States is capable of facing the grim and cruel parts of its own history.
"People are always shouting that they want to create a better future. It's not true. The future is an apathetic void of no interest to anyone. The past is full of life, eager to irritate us, provoke and insult us, tempt us to destroy or repair it." —Milan Kundera, The Book of Laughter and Forgetting
To think about and work with futures in 2017 is to live immersed in a constant stream of grim and cruel incidents that history may or may not fully reckon with. It is to feel anxious, terrified, trapped in the perpetual future perfect where state violence and shock doctrine capitalism are faits accomplis. We can only react an maneuver around them, never demand they be otherwise.
Futureproof is neither an exhibition of utopian fantasy nor one of dystopian prophecy. The futures and timelines it envisions are not so much guarantees as they are reminders that there are no guarantees, that all futures are imperfect little life rafts built mostly out of history's flotsam and jetsam. They may not actually deliver us from open ocean—in a time of rising sea levels, open ocean may be all we have—but they may serve keep us afloat. Hopefully this collection of conversations and texts might someday serve as a piece of someone else's life raft.
"Thank you, Sarah, for your courage through the dark years. I can't help you with what you must soon face, except to say that the future is not set. You must be stronger than you imagine you can be." —The Terminator
Ingrid Burrington is an artist who writes, makes maps, and tells jokes about places, politics, and the weird feelings people have about both. She is the author of Networks of New York, An Illustrated Field Guide to Urban Internet Infrastructure (Melville House Publishing), and has previously written for The Atlantic, The Nation, The Verge, and other outlets. Her work has been supported by Data & Society, Eyebeam, the Center for Land Use Interpretation, and Rhizome.
"Inside Minority Report's 'Idea Summit,' Visionaries Saw the Future." Wired. June 21, 2012. Accessed July 01, 2017. https://www.wired.com/2012/06/ minority-report-idea-summit/. ↑
Climate of Concern. Film. Writer and producer Douglas Gordon. UK and Netherlands: Royal Dutch Shell, 1991. ↑
Fisher, Mark. Ghosts of My Life: Writings on Depression, Hauntology, and Lost Futures. "00: Lost Futures", para. 15. Washington (USA): Zero Books, 2014. ↑
Young, James E. The Texture of Memory: Holocaust Memorials and Meaning. New Haven and London: Yale University Press, 1993. p.2 ↑
Curator's Talk & Opening Reception
Talk: 4:30 p.m., Reception: 5:30–7:30 p.m.
Film Screening: Containment
Wednesday, November 29th
Screening Room; Visual Culture, Arts, and Media (VCAM)
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Happy Poetry Friday! My link to this week's roundup is at the end of this post.
With Labor Day behind us and a new school year started, I'm kicking off a TeachingAuthors series on "something I learned from my students (or from teaching)." Today I share not one, but two things my students have taught me.
It's true. Writing IS hard. We can get stalled in so many ways, from figuring out what happens next in the plot to trying to decide how our main character looks/talks/walks to researching what flowers would be blooming during the time and place of the story. But "hard" doesn't mean "impossible." If we're persistent, we can succeed.
Admitting this truth helps me let go of self-criticism. When I take longer than planned to finish a project, it's not because I'm stupid or lazy or a bad writer. It's simply because writing is work.
"the reality is that telling a good story with intelligence, emotional truth and narrative complexity is hard. Really, really hard."
I've discussed here before, though, how the best way to eliminate excuses is to focus on the joy of the process. Which brings me to the second lesson I've learned from my students.
This phrase has been uttered numerous times by the young writers in my summer writing camps. And it's one of the reasons I keep teaching those camps--I need to keep hearing it! How are young writers able to focus on the fun? I think it's because they're simply trying to tell a story for their own enjoyment. They aren't burdened by needing to please anyone else.
So, there's the paradox: Writing IS hard, but it can be fun, too.
I'm so glad to be the one kicking off this topic because the reminder to focus on joy comes at the perfect time for me. Just this week, I recommitted to making time for some "fun" writing (as opposed to the freelance work I do to pay the bills). I can hardly wait to get back to it.
Don't forget, this week's Poetry Friday roundup is at Matt Forrest's Radio, Rhythm, & Rhyme.
These two lessons are probably the most important to the writing process, and yet the most challenging to recognize. Thank you for your wisdom!
Thanks for the feedback, Bobbi!


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June 11, 1984 | Lima, Peru
Civil rights suspended in Peru as strike continues
President Fernando Belaunde Terry has declared a state of emergency, suspending civil rights guarantees for 30 days throughout Peru. Interior Minister Luis Percovich Roca said the action was taken because of a civil servants' strike that has closed most public schools, hospitals, municipal offices, and several government ministries.
During the 30 days, Peruvians may not hold public meetings or travel without permission from the government. Police are empowered to search homes, make arrests without warrants, and hold suspects indefinitely without formal charges.
''The measure is necessary to guarantee the personal security of people who wish to arrive at their workplaces,'' Mr. Percovich said.
Peru is facing a deepening economic crisis, marked by 125 percent inflation and high unemployment.
Is Peru's history of terrorism coming back to haunt it?
Joran Van der Sloot to fight extradition to US
Peru sea lion returns to wild

redpajama_set_name: RedPajamaCommonCrawl


text:
7 Secret Messages Hidden in Logos
Do you believe that subliminal messages in product logos can influence your patronage? Do you scrutinize logos to try and find little secret designs within the design? Moreover, do you think that the graphic representation of the growth of the city of London in the Museum of London logo was apparent to anyone besides the logo designers? Neither do we.
Well, regardless of what we or other naysayers think about the merits of hidden logo messaging, if the design concept is strong, more power to 'em, we say.
For the most part, you want your logo to be clear and make sense, and a good logo designer will ensure it matches the rest of your brand as well. Yes, there are subliminal — or hidden — messages in a great many logos. Some of them are brilliant; many others require a decoder ring and precious, nonrefundable hours of our lives to decipher successfully. While there are those who strongly believe that hidden designs have an impact on the buying habits of consumers, there is no real need to try to stuff a hidden image into a logo design in an inelegant fashion; otherwise, you get this.
The classic Toblerone logo with the Matterhorn design actually has a little bear in the negative space. See? It's meant to hark back to the company's roots — which started in the Swiss city of Bern — which is cool, but we're not really sure if it's effective in getting people to put the bar of chocolate in their shopping carts. Still, it's a quaint way of honoring the companies beginnings.
Baskin Robbins integrated its famous "31" right into its badge. The 31 flavors, being a part of the corporate branding for so long, couldn't just be abandoned even though the number of flavors has surely changed by now. Regardless, it's a tight, efficient and fun badge and surprisingly sleek for a brand that is nearly 70.
The Tostitos logo has incorporated two little party-goers, fighting over a single chip near a bowl of salsa. It may seem like a lighthearted event on the surface, but there's a bloodbath a' brewin'.
Amazon, the most efficient and varied online marketplace on the planet, uses its logo to convey exactly what it provides to its customers — namely everything under the sun. The little arrow, which many consider a smiley face, actually points to the "a" and "z" in the word "Amazon," signifying that Amazon can provide anything from A-Z, which it literally does. You could spend the afternoon shopping for groceries, a belt sander and a Sham Wow while streaming the first season of Duck Dynasty. And we have.
Lest you think that the Tour de France is merely an event where heavily performance-enhanced athletes can make names for themselves and then have their titles ripped from them in disgrace, the logo helpfully reminds us that there is also some bicycling involved. Here, the logo makes it perfectly clear with the depiction of a little cyclist, pedaling furiously. No doubt on his way to get some human growth hormone.
Strength! Power! Reliability! A little arrow pointing to the right! All of these qualities have been incorporated into the bold FedEx logo. The little arrow is a supremely nice touch and probably the best example of subliminal logo imagery of any badge we've seen so far. No offense, Toblerone bear. It's one of those things that once you see it, you'll always see it first when watching a FedEx truck drive by.
This logo is very elegantly designed; even if you don't necessarily recognize that the shape of the continent of Australia was integrated into the white space of the yoga model, it is still a thoroughly appropriate image. The Yoga Australia logo is particularly interesting because it made us wonder if an actual person performing the depicted yoga pose would really make the shape of Australia in the space between the extended leg and back. We would try it ourselves, but we're fairly confident that we'd snap every tendon in our bodies.
Even if the above logos didn't psychically make you want a Toblerone, to ship something overnight or to fly to Melbourne for some lessons in downward facing dog, the logos have still been pretty successful from a design perspective. They offer a sound lesson in the use of negative space for supplementary imagery, which is: "Only use negative space for relevant supplementary imagery. Unless you can design a really cool bear, in which case, go for it.
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PublicationsSalmonella escapes adaptive immune response via SIRT2 mediated modulation of innate immune response in dendritic cells. Gogoi M, Chandra, Sarikhani M, Ramani R, Sundaresan NR, Chakravortty D.Talakatta G, Sarikhani M, Muhamed J, Dhanya K, Somashekar BS, Mahesh PA, Sundaresan N, Ravindra PV. Diabetes induces fibrotic changes in the lung through the activation of TGF-β signaling pathways. Scientific Reports. 9th August 2018.
Subramanian G, Kumar GSS, Ravi V, Sundaresan NR and Madras G. Photochemical detoxification of Cr(VI) using iron and saccharic acid: insights from cytotoxic and genotoxic assays. Environmental Science: Water Research and Technology. 1st June 2018.
Spurthi KM, Sarikhani M, Mishra S, Desingu PA, Yadav S, Rao S, Maity S, Tamta AK, Kumar S, Majumdar S, Jain A, Raghuraman A, Khan D, Singh I, Samuel RJ, Ramachandra SG, Nandi D, Sundaresan NR. Toll-like receptor 2 deficiency hyperactivates the FoxO1 transcription factor and induces aging-associated cardiac dysfunction in mice. Journal of Biological Chemistry. 21st June 2018.
Mishra S, Tamta AK, Sarikhani M, Desingu PA, Kizkekra SM, Shriniwas PA, Kumar S, Khan D, Raghavan SC, Sundaresan NR. Subcutaneous Ehrlich Ascites Carcinoma mice model for studying cancer-induced cardiomyopathy. Scientific Reports. 4th April 2018.
Sarikhani M, Mishra S, Maity S, Kotyada C, Wolfgeher D, Gupta MP, Singh M, Sundaresan NR. SIRT2 deacetylase regulates the activity of GSK3 isoforms independent of inhibitory phosphorylation. eLife. 5th March 2018.
Khan D, Sarikhani M, Dasgupta S, Maniyadath B, Pandit AS, Mishra S, Ahamed F, Dubey A, Fathma N, Atreya HS, Kolthur-Seetharam U, Sundaresan NR.
SIRT6 deacetylase transcriptionally regulates glucose metabolism in heart. Journal of Cellular Physiology, 10 January 2018.
Ghosh LD, Ravi V, Sanpui P, Sundaresan NR, Chatterjee K. Keratin Mediated Attachment of Stem Cells to Augment Cardiomyogenic Lineage Commitment. Colloids and Surfaces B: Biointerfaces Volume 151, 1 March 2017, Pages 178–188.
Ming M, Han W, Zhao B, Sundaresan NR, Deng CX, Gupta MP, He YY. SIRT6 promotes COX-2 expression and acts as an oncogene in skin cancer.
Sundaresan NR, Vasudevan P, Zhong L, Kim G, Samant S, Parekh V, Pillai VB, Ravindra PV, Gupta M, Jeevananadam V, Cunningham JM, Deng CX, Lombard DB, Mostoslavsky R, Gupta MP. The sirtuin SIRT6 blocks IGF-Akt signaling and development of cardiac hypertrophy by targeting c-Jun. Nature Medicine 2012, 18(11):1643-50.
Sundaresan NR, Pillai VB, Wolfgeher D, Samant S, Gupta MP, Vasudevan P, Parekh V, Raghuraman H, Cunningham JM, Gupta M Gupta MP. SIRT1 regulates Akt and PDK1 membrane localization and activation during cell growth associated with tumorigenesis and cardiac hypertrophy.Science Signaling 2011, 4(182):ra46.
Sundaresan NR, Gupta M, Kim G, Rajamohan SB, Isbatan A, Gupta MP. Sirt3 blocks the cardiac hypertrophic response by augmenting Foxo3a-dependent antioxidant defense mechanisms in mice. Journal of Clinical Investigation 2009, 119(9):2758-71.


text:
Sat, 22 Apr, 2017 - 09:43
CIF welcome for skyscraper plan
Conceptual image for the proposed redevelopment of the Port of Cork site.
Kevin O'Neill
THE Construction Industry Federation (CIF) has labelled proposals for a 40-storey skyscraper in Cork as a "statement of intent" for the future development of the city.
Plans were revealed this week for the €100m building at the Port of Cork's Custom House site in the docklands. The glass and steel structure is proposed by Kerry developers Kevin and Donal O'Sullivan and is more than twice the height of the Elysian tower.
Conor O'Connell, regional director for the CIF in the southern region, said the ambitious project can be a landmark development for Cork.
"It is great news. It is a very exciting development which, alongside the plans for Anderson's Quay, Albert Quay, the Beamish & Crawford site and others could transform the city over the next few years."
While there have been some questions asked about the proposed height of the new structure, Mr O'Connell said that he expects people to get behind the plans.
"I think anyone with an interest in development and in Cork will see this as a great boost. It is a statement of intent for the city, a landmark project that signals Cork's intent to move upwards and forwards."
It will answer a demand for hotel, retail and commercial space, Mr O'Connell added.
The project should also see a huge boost in employment for the city's construction industry, with hundreds of jobs expected to be created if plans are approved.
"There is still capacity to expand in the industry," Mr O'Connell said.
"This exciting development is very much welcome in that regard."
Under the city's development plan, the site is zoned for commercial use, but it is not one of several sites earmarked for 'tall building' development.
These sites are, instead, on the south side of the Lee, including several sites on Kennedy Quay, Monahan Road and Mahon.
It means that the project will likely need a material contravention of the city development plan before it can proceed.
The State 'must bear primary responsibility' for mother-and-baby homes, says President Higgins
Cork weather: Met Éireann warns of risk of localised flooding
Hopes Oxford/AstraZeneca Covid-19 jab will be green-lit by EU this month


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Keep an eye out for this new invader into our district, as it seems to be moving southward. As you can see from the map below, it is starting to encroach into the north of our Network area and a single infestation was located (and eradicated) south of Inglewood.
Buffel Grass (Cenchrus ciliaris and C. pennisetiformis) is a perennial tussock grass from Africa and Asia. It was introduced as a range-land (semi-arid) improvement pasture grass and is now widespread across northern Australia. It is scattered in the pastoral zones of Southern NSW and South Australia, with it most prevalent in the northern areas but more recently it is found to be extending southwards.


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//  Copyright © 2016年 SEU. All rights reserved.
//

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#import "LJModuleAXXXItemPrt.h"

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redpajama_set_name: RedPajamaGithub


The first patient has been enrolled in the TIGERTRIEVR registry at the Cantonal Hospital of Lucerne, Switzerland. The Tigertriever (Rapid Medical) is a one-of-a-kind, fully-visible, controllable stent retriever that is adjusted to perfectly fit the dimensions of a blocked blood vessel causing acute ischaemic stroke.
The TIGERTRIEVER registry is a European multicentre registry that will enrol patients from leading centres in France and Switzerland. It is the first registry that is designed to demonstrate the benefits of the Tigertriever in real-life use.
According to a company release, in addition to the post marketing registry, Rapid Medical plans to initiate a prospective multicentre clinical study for US FDA clearance for the Tigertriever. The TIGER study is planned to start enrolling patients in leading centres in the USA, Europe and Israel during the first half of 2018.


text:
Home Hotel, Casino & Club News Royal India Bistro Now Open at Rio All-Suite Hotel & Casino
Paul Revere and the Raiders and The Cowsills Bring 60's Hits to Eastside Cannery
Comedian Kevin Hart Hosts Memorial Day Beach Bash at Las Vegas' Bagatelle Beach
Royal India Bistro Now Open at Rio All-Suite Hotel & Casino
Royal India Bistro, formally known as Gaylord India Restaurant, has returned to Rio All-Suite Hotel & Casino to offer authentic North Indian cuisine in an updated and newly renovated restaurant (Photos courtesy of Royal India Bistro).
Royal India Bistro at Rio All-Suite Hotel & Casino
Award-winning restaurateur, Harjit Singh Sodhi, has brought his best to Las Vegas. Every dish is individually prepared to ensure freshness and quality, cooked with the freshest hand-picked vegetables and uses only original spices from India.
The 500-degree tandoor clay oven produces a variety of delectable choices including freshly baked flatbread, chicken marinated in yogurt and spices, king prawn skewers and traditional sheesh kabob. The complex flavor combinations of time-honored Indian cuisine are best showcased in classic chicken, lamb, seafood and vegetarian house-specialties. Royal India Bistro imports a selection of Indian beers to compliment the dishes, in addition to a full bar.
For those unfamiliar with Indian food, or unable to decide among a menu of tempting selections, the lunch buffet is offered daily from 11 a.m. to 4 p.m. The daily happy hour offers half-off appetizers plus discounts on wine, beer and a variety of Indian-inspired cocktails including the Mangotini and Cilantro Mojito. During dinner, the best selection of different tastes can be found in the Complete Dinners sections, which offers a variety of dinners comprised of at least two main dishes, dal (lentil soup), rice pulao, naan, dessert and chai.
Royal India Bistro is open daily with a lunch buffet from 11 a.m. to 10:30 p.m., with a daily happy hour from 3 p.m. to 5 p.m. and an extensive dinner menu served from 5 p.m. to 10:30 p.m. To make reservations please call 702-777-2277
Sodhi and his family are the distinctive forces behind a diverse group of award winning restaurants. Their collection includes: Royal India Bistro, India Masala, India Masala Bar & Grill, Indian Delhi Palace in Ariz. and Curry India Bistro in Calif. While each location offers its own style of Indian cooking, all have amazing chefs with a signature combination of thoughtful and memorable food and intelligently mixed drinks.
Harjit Singh
india restaurant
rio all suite hotel
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text:
Prosecutors sum up in Dutch politician's case
Dutch anti-Islam politician Geert Wilders is seen inside the courtroom in Amsterdam, Netherlands, Tuesday, Oct. 12, 2010. Prosecutors say that Wilders cannot defend himself on hate speech charges by arguing that remarks he has made critical of Islam are true. They say there is no general agreement about the nature of Islam and his statements are only his opinion. Wilders is charged with inciting discrimination and hatred and with insulting a people on religious grounds for remarks including comparing Islam to Fascism and for calling for the Quran to be banned. (AP Photo/Jerry Lampen, Pool)
By Toby Sterling
Associated Press Writer / October 12, 2010
AMSTERDAM—Populist politician Geert Wilders' negative views of Islam -- he has called it "retarded" and "inherently violent" -- are his opinions, not irrefutable facts, Dutch prosecutors argued Tuesday at his criminal trial for inciting hatred.
Wilders has argued that his views of Islam are supported by expert and academic analysis, and speaking the truth cannot be a crime. He says the charges against him are an attack on the freedom of speech.
But at the second hearing of his closely watched trial, prosecutors countered that there is no general agreement about the nature of Islam, and Wilders' statements are opinions that cross the legal threshold.
Prosecutors, however, dropped one charge against him, that of insulting a group on the basis of its religion, noting his statements have been mostly directed toward Islam as an ideology, rather than Muslims.
He is still charged with inciting hatred and discrimination against Muslims.
Under Dutch law, it is illegal to insult or incite hatred against a group of people on the basis of gender, religion, race or sexuality.
"What he puts forward is, and remains, his individual opinion, and just like with any expression of opinion, we can test whether it falls under the right to freedom of expression or whether it is a transgression of the criminal code," said prosecutor Birgit van Roessel.
The case against Wilders is based on dozens of public statements. Typical among them were views he published in an opinion piece in the national newspaper De Volkskrant.
"I've had enough of Islam in the Netherlands; let not one more Muslim immigrate," he wrote. "I've had enough of the Quran in the Netherlands: Forbid that fascist book."
As recently as August he repeated his view, rejected by Muslims, that Islam is inherently violent and backward.
"Our culture which is based on Christianity, Judaism and humanism, is better than the retarded Islamic culture, and this is tough to say, but it is true," he said in a televised interview. "It is a violent ideology like communism and fascism and we should deal with it that way."
Wilders, who polls suggest is the Netherlands' most popular politician, denies wrongdoing. He says his opinions are protected by freedom of speech and endorsed by more than a million people who voted for him in national elections last June.
Without addressing any of Wilders' specific remarks, Van Roessel said freedom of speech has limits.
"You can expect a politician to be aware of the impact of his words and in any case, the legal limit may not be crossed, no matter how important it may be to address supposed problems and to contribute to matters of general interest," she said.
Prosecutors had initially declined to act on complaints and press charges against Wilders at all. But an appeals court ruled there was sufficient evidence he has broken the law, and ordered them to bring a case.
They will make their sentencing demand, if any, at the next hearing on Friday. The defense is due to present its case next week, with a verdict expected Nov. 5.
The trial comes at the height of Wilders' influence on public policy. Later this week a conservative minority government is expected to take office, propped up by a pledge of support by Wilders' Freedom Party. The new government has promised to reject more asylum seekers, halve the number of new immigrants from nonwestern countries, ban the public wearing of face-concealing Muslim garb and force immigrants to pay for their own mandatory citizenship classes.
Muslims, mostly from Morocco and Turkey, comprise about 6 percent of the Netherlands' 16.5 million population.
© Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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text:
L'Eiger és una muntanya de 3.970 metres d'altitud dels Alps Bernesos de Suïssa. Es localitza a la regió de l'Oberland bernès, al cantó de Berna. És el pic més oriental de la cadena que inclou també els cims del Mönch (4099 m.) i la Jungfrau (4158 m.). El costat septentrional de la muntanya s'alça al voltant de 3.000 metres sobre la localitat de Grindelwald. La cara meridional queda enfront de la regió Alps suïssos Jungfrau-Aletsch, coberta per algunes de les glaceres més grans dels Alps i declarada Patrimoni de la Humanitat per la Unesco el 2001.

Nom
L'Eiger s'esmenta ja en documents del , però no hi ha referències clares de l'origen del seu nom. Les tres muntanyes de la cresta es diuen la Donzella (en alemany Jungfrau, que es tradueix com "Verge" o "Donzella"), el Monjo (Mönch) i l'Ogre (Eiger ). El nom ha estat relacionat amb el terme llatí acer, que significa "agut" o "punxegut", però més comunament amb l'alemany eigen, en el sentit de "característic". Atès que és una muntanya mítica de l'alpinisme per la dificultat del seva cara nord, en què hi han mort molts muntanyencs, es justifica el nom "Ogre".

Descripció

L'Eiger es troba 5,5 km al nord-est de la Jungfrau, a la part nord-est dels Alps Bernesos. A la mateixa distància al nord queda el poble de Grindelwald, que està al voltant de 20 km de Interlaken. A l'oest hi ha altres localitats properes, a la vall de Lauterbrunnen. L'Eiger s'alça com una pila de roca continua, tan inclinada que difícilment la neu queda enganxada als seus vessants. La muntanya no forma part pròpiament dita de la cadena principal dels Alps bernesos. És una enorme mola de pedra calcària, que es projecta des de la massa granítica del Mönch creuant el coll anomenat Eigerjoch, i les glaceres a banda i banda alimenten dues branques del mateix corrent, el Lütschine, que s'uneixen per desembocar en el riu Aar.

La impressionant paret de la Jungfrau, el Mönch i el mateix Eiger és el massís més visible dels Alps bernesos, des de molts llocs al nord dels Alps suïssos. La regió és una de les principals destinacions turístiques als Alps. Més alts són el Finsteraarhorn (4.270 m) i el Aletschhorn (4.190 m), que es troben uns 10 km al sud, però són generalment menys visibles i estan situats en mig de glaceres en zones menys accessibles. El costat sud del massís està format només per grans glaceres: Aletsch, Fiesch i Grindelwald Inferior i està deshabitat. El lloc Patrimoni de la Humanitat abasta tota la zona Jungfrau-Aletsch-Bietschhorn comprenent els cims més alts i les més grans glaceres dels Alps Bernesos.

L'interior de l'Eiger està recorregut per un tren cremallera anomenat Jungfraubahn. Surt des de l'estació de Kleine Scheidegg, un pas a 2.061 metres d'altitud entre Grindelwald i Lauterbrunnen, que estan connectats per un altre ferrocarril que també passa i s'atura aquí. Acaba al Jungfraujoch, el coll entre el Mönch i la Jungfrau, a 3.454 metres. L'estació Jungfraujoch és la terminal ferroviària més alta d'Europa. El túnel d'aquest ferrocarril comença una mica més enllà de l'estació d'Eigergletscher, a 2.320 metres. Recorre l'interior de l'Eiger amb dues estacions intermèdies que proporcionen un fàcil accés a finestres amb vistes als vessants de la muntanya. Al kilòmetre 3,8 de la via, hi ha un orifici anomenat Stollenloch, que servia per ventilació i desenrunament del túnel durant la seva construcció. Actualment fa la funció d'accés a la paret per rescats, i també de punt d'inici d'escalades, doncs permet estalviar-se la part més baixa de la paret. Aquesta zona baixa és de poc interès alpinístic per la seva escassa dificultat i té un elevat risc per la caiguda de pedres i allaus des de les zones altes de la paret. El seu ús com a inici d'ascensions és controvertit, ja que suposa un important estalvi de temps, risc i esforç per l'escalada. A 2.864 metres d'altitud, dins de la muntanya, queda l'estació Eigerwand. Aquesta estació està connectada a la cara nord per uns grans finestrals, que de vegades s'ha fet servir per rescatar escaladors, i que serveixen de mirador pels turistes. L'altra estació del túnel es diu Eismeer, i es troba a 3.158 metres, amb vistes a la cara est, al Schreckhorn i la glacera Ischmeer (també coneguda com a Grindelwald-Fieschergletscher).

L'espectacular Nordwand ("cara nord" en alemany) és una paret vertical de 1.800 m. d'altura des de la vall de Grindelwald del (cantó de  Berna). També se l'anomena Eigernordwand ("paret nord de l'Eiger"). Se situa entre l'aresta oest i l'aresta Mittellegi. Pel fet de ser còncava i per la seva orientació, és obaga i freda. A la part superior hi ha una secció anomenada l'"Aranya", una gelera en forma d'estrella de la qual surten una sèrie d'esquerdes gelades que recorden a les potes d'una aranya. Aquest nom el va usar un dels primers escaladors de la cara nord, Heinrich Harrer, com a títol al seu llibre sobre l'escalada de la cara nord de l'Eiger, Die Weisse Spinne ("L'aranya blanca"). La via clàssica o via Heckmair és una ascensió de dificultat (MD+ / V+ / A0 en roca i 50º-60º en gel. El terreny és de predomini mixt, però si la paret està molt seca, llavors el que predomina són els despreniments. El recorregut és d'uns 3.000 metres amb 1.800 metres de desnivell. Els llocs més característics de la ruta estan batejats amb noms evocadors, com el "Primer pilar" (First Pillar / Erster Pfeiler), el "Segon pilar" o "Pilar descompost" (Zerschrundener Pfeifer / Shattered Pillar), el "Forat de ventilació" (Stollenloch), la "Fissura difícil" (Difficult Crack / Schwieriger Riss), la "Travessa Hinterstoisser" (Hinterstoisser Traverse / Hinterstoißer Quergang), la "Primera gelera" (First Icefield / Erstes Eisfeld), el "Niu de les Orenetes" (Swallow's Nest / Schwalbennest), la "Mànega de gel" (Ice hose / Eisschlauch), la "Segona gelera" (Second Icefield / Zweites Eisfeld), la "Planxa" (Flatiron / Bügeleisen), "Bivac de la mort" (Death Bivouac / Todesbiwak), la "Tercera gelera" (Third Icefield / Drittes Eisfeld), la "Rampa" (Ramp / Rampe), la "Xemeneia de la cascada" (Waterfall Chimney / Wasserfallkamin), la "Gelera de la Rampa" (Ramp Icefield / Rampeneisfeld) la "Vira delicada" (Brittle Ledge / Brüchiges Band), la "Fissura delicada" (Brittle crack / Brüchigerriss), la "Travessa dels déus" (Traverse of the Gods / Götterquergang), l'"Aranya" (Spider / Spinne), el "Bivac Corti" (Corti Bivouac / Cortibiwak), les "Fissures de sortida" (Exit Cracks / Ausstiegsrisse) i la "Fissura de quars" (Quartz crack / Quarzriss), fins a enllaçar per la "Gelera somital" (Summit icefield / Gipfeleisfeldamb) amb l'"Aresta Mittellegi" (Mittellegi Ridge / Mittellegigrat) al nord.

És una de les sis grans cares nord dels Alps. Des de l'any 1935, almenys 66 escaladors han mort mentre intentaven pujar per la cara nord, el que li ha valgut el sobrenom alemany de Mordwand, literalment "Paret assassina", un joc de paraules sobre el nom en alemany Nordwand. Actualment segueix considerant-se un formidable desafiament, degut més a la creixent caiguda de roques i a les geleres cada vegada més petites que per les seves dificultats tècniques, que no són pas de les majors per l'alpinisme modern. Sovint a l'estiu no es pot pujar a causa de la caiguda de roques. Cada vegada més, els escaladors estan triant pujar a l'hivern, quan l'esmicolada paret està enfortida pel gel. Les roques que es desprenen i cauen, pel desglaç degut a la calor, són un dels principals perills d'aquesta cara, ja que és una muntanya amb roca que es disgrega. La inestabilitat de la cara es va acreditar el 15 de juliol de 2006, quan al voltant de 700.000 metres cúbics de roca es van ensorrar en el costat est. Era una cosa que s'advertia des de feia setmanes, i a més va caure en una zona deshabitada, per això ni hi va haver ferits ni danys en edificacions.

Història

Primeres ascensions
La primera ascensió a l'Eiger es va realitzar sense gran dificultat per l'irlandès Charles Barrington i els guies  suïssos Christian Almer, Peter Bohrer l'11 d'agost de 1858, per una complexa ruta a la cara occidental. Van començar a les 3:00 p.m. des de Wengen. Barrington descriu una ruta que en gran part se segueix també avui, discorrent prop de la vora de la cara nord durant gran part del camí. Van aconseguir el cim cap al migdia, van romandre-hi durant uns 10 minuts i van baixar en unes quatre hores. Barrington narra l'arribada al cim dient: "els dos guies amablement em van cedir el lloc del primer home a dalt". El seu ascens va ser confirmat per l'observació d'una bandera deixada al cim. Segons l'obra de Harrer L'aranya blanca, al principi Barrington pensava fer el primer ascens del Matterhorn, però per manca de prou mitjans econòmics no podia permetre-s'ho, i es va quedar a la regió de l'Eiger.

Escalada la muntanya per la cara oest van començar a intentar-se els ascensos hivernals i de les altres cares. Així, l'aresta sud-oest va ser pujada per primer cop el 14 de juliol de 1871, per W. A. B. Coolidge, Meta Brevoort, Christian Bohr, Christian Almer i Ulrich Almer. El primer ascens hivernal es va fer el 1890, per Mead i Woodroffe, amb els guies Ulrich Kaufmann i Christian Jossie. Entre 1896 i 1912 es va construir el tren de cremallera del Jungfraujoch. L'aresta est o aresta Mittellegi va ser ascendida per primera vegada el 10 de setembre de 1921 pel japonès Yuko Maki, amb el guies Fritz Amatter, Fritz Steuri i Samuel Brauwand. El 1924 es va fer la primera ascensió  esquiant per la glacera de l'Eiger.

Intents a la cara nord

Després d'obrir-se el 1932 la ruta Lauper per la cara nord-est per Hans Lauper, Alfred Zürcher, Joseph Alexander Graven i Knubel, només quedava el gran desafiament de la cara nord. La batalla per l'ascens de la cara nord va captar l'interès tant dels escaladors com del públic que no ho era. El primer intent per la cara nord el van fer el 1934 Willy Beck Kurt Lowinger i George Lowinger, que varen assolir els 2.900 metres abans de descendir per una finestra del túnel del ferrocarril de l'interior de la muntanya.

El 1935 dos joves alemanys de Baviera, Karl Mehring i Max Sedlmeyer, van arribar a Grindelwald per intentar ascendir a la cara nord. Van haver d'esperar molt fins que el temps millorés. Quan els núvols es van obrir, van començar a pujar. Van aconseguir l'altura de l'estació Eigernordwand i el seu primer bivac. L'endemà, a causa de les grans dificultats, van guanyar poca alçada. Al tercer dia, amb prou feines van progressar alguna cosa en vertical. A la nit va esclatar una tempesta i la muntanya va quedar coberta de neu. Va seguir nevant. Allaus de neu van començar a escombrar la paret i els núvols es van tancar sobre ella. L'endemà passat, hi va haver un breu moment quan els núvols es van aclarir i la muntanya va ser visible durant una estona. El progrés dels escaladors es veia amb facilitat pels telescopis de Kleine Scheidegg. El contrast entre la civilitzada comoditat de l'estació i les dificultats dels joves que es morien a curta distància va captar l'atenció dels mitjans de comunicació internacionals. En aquest cas, la gent podia veure els dos homes, una mica més amunt i preparats per fer bivac per cinquena vegada. Després la boira va caure de nou i va ocultar als escaladors. Uns pocs dies després el temps finalment es va aclarir, revelant una cara nord completament blanca. Els dos escaladors van morir congelats i se'ls va trobar a 3.300 metres, al lloc conegut com el "Bivac de la mort".

A l'any següent, deu joves escaladors d'Àustria i Alemanya van marxar a Grindelwald i van acampar al peu de la muntanya. Abans de començar els seus intents, un d'ells va morir en un ascens d'entrenament. Aquest fet i que el temps va ser tan dolent durant aquell estiu, tot i esperar un canvi, i veient que no n'arribava cap, diversos membres del grup van abandonar. Dels quatre que van quedar, dos eren bavaresos, Andreas Hinterstoisser i Toni Kurz, el més jove del grup, i dos eren els austríacs Willy Angerer i Edi Rainer. Quan el temps va millorar van fer una exploració preliminar de la part inferior de la paret. Hinterstoisser va caure 120 metres però no va resultar ferit. Uns pocs dies després els quatre homes finalment van començar l'ascens pel cim. Van pujar ràpidament, però l'endemà, després del seu primer bivac, el temps va canviar. Els núvols van baixar i els observadors van deixar de veure el grup. No van tornar a reprendre l'ascens fins l'endemà, quan, durant una estona, es va veure al grup baixant, però des del terra només se'ls veia intermitentment. El grup no va tenir altre remei més que retirar-se des del "Bivac de la mort", ja que Angerer va patir algunes ferides terribles com a resultat d'una caiguda de roques. Van arribar a una zona especialment difícil que no van poder resoldre. Durant l'ascens, Hinterstoisser havia pendolat amb una corda per superar una placa calcària de 75º d'inclinació, que després va deixar perquè passessin els seus altres tres companys. Després la van retirar, cosa que va ser determinant en intentar sense èxit fer el camí invers durant el descens. En no poder superar aquest pas, van haver de baixar directament. El temps va empitjorar durant dos dies. Al final, van ser escombrats per una allau. Hinterstoisser es va estimbar i els tres restants van quedar penjant d'una corda. El de dalt va morir asfixiat contra el clau que els sostenia i el de baix va morir al fracturar-se el crani del cop contra la paret. El del mig, Toni Kurz, va sobreviure a l'allau i va quedar penjant de la corda. Tres guies van començar un rescat extremadament perillós. Van fracassar a l'hora d'assolir-lo, però van arribar a una distància des d'on es podia parlar i llavors Kurz va poder narrar els fets.

Al matí els tres guies van tornar en travessar la paret des d'un forat prop de l'estació Eigernordwand i arriscar les seves vides sota allaus incessants. Toni Kurz encara vivia, però estava gairebé indefens, amb una mà i un braç completament congelats. Kurz es va armar de valor després de tallar la corda que l'unia al seu company mort més avall i va poder unir les cordes per intentar escapar de la paret. Els guies no van ser capaços de superar el sortint, impossible d'escalar, que els separava de Kurz. Van aconseguir donar-li una corda prou llarga per arribar on eren ells en unir les dues cordes. Mentre baixava, a Kurz se li va encallar el nus al  mosquetó i no va poder fer-lo passar. Va intentar durant hores arribar on eren els seus rescatadors, que estaven només uns pocs metres per sota d'ell. Després va començar a perdre la consciència. Un dels guies, va pujar sobre de les espatlles d'un altre i tocar la punta dels grampons de Kurz amb el seu piolet, però no va poder arribar més amunt. Kurz va ser incapaç de baixar més i, tot i que va lluitar fins al límit de les seves forces, va acabar morint lentament, esgotat per complet, a 40 metres de l'equip de rescat.

L'any 1937 van intentar pujar la cara nord de l'Eiger Matthias Rebitsch i Ludwig Vörg. Van començar a pujar l'11 d'agost i van aconseguir un punt alt d'uns pocs llargs de corda per sobre del "Bivac de la mort". Va esclatar una tempesta i, després de tres dies a la paret, van haver de retirar-se. Encara que l'intent no va tenir èxit, van ser els primers escaladors que van tornar vius d'un intent seriós en la paret.

El 1938 van ser els italians Bartolo Sandri i Mario Berti, alpinistes de Valdagno qui van morir en caure de la paret en ser sorpresos per una tempesta. Varen sortir el 21 de juny, i van morir caient en les proximitats de la "Fissura difícil", a la part baixa de la paret.

Com la major part d'aquests primers intents de pujar la cara nord van acabar tràgicament, les autoritats berneses van arribar a prohibir la seva escalada i van amenaçar de multar a qualsevol que ho intentés de nou. El 1938, Edward Lisle Strutt, editor de lAlpine Journal, va anomenar la cara nord de l'Eiger "una obsessió pels mentalment trastornats" i "la variant més imbècil des que va començar el muntanyisme".

 Primera ascensió a la cara nord

La reputació que l'''Eigerwand era una cara inescalable va acabar en aquell mateix any 1938, quan quatre escaladors van arribar al cim per la que avui es coneix com a "via de 1938" o "Heckmair" i és considerada com la ruta clàssica. Aquesta cara nord es va utilitzar en aquella època per les autoritats nazis com una mena de desafiament nacionalista, de manera que s'estimava que aquesta paret, l'última gran cara nord que quedava per conquerir, l'últim gran problema dels Alps, havia de ser aconseguida per joves de raça ària. En principi eren dos grups independents. Els alemanys Heckmair i Vörg per una banda, i els austríacs Harrer i Kasparek per una altra. Harrer ni tan sols portava grampons. Van començar a pujar els austríacs. L'endemà van començar els alemanys, que se'ls van unir, usant la corda fixa per creuar l'anomenada Travessa Hinterstoisser. Van decidir unir les seves forces i van pujar com un grup de quatre, liderats per l'experimentat Heckmair. Aquest va escriure més tard: "Nosaltres, els fills del vell Reich, units amb els nostres companys de la Frontera Oriental per marxar junts a la victòria"
.

L'expedició es va veure constantment amenaçada per allaus de neu. Van ascendir tan ràpidament com podien entre les caigudes. Al tercer dia va esclatar una tempesta i el fred va ser intens. Els quatre homes es van veure atrapats en una allau quan pujaven "l'Aranya", però tots van tenir força suficient per resistir sense ser escombrats de la paret. Van aconseguir amb èxit la cimera a les quatre de la tarda del 24 de juliol de 1938. Estaven tan cansats que només van tenir força per baixar per la ruta normal a través d'una ferotge ventada. En tres dies havien aconseguit superar la cara nord de l'Eiger.

 Ascensions posteriors
Després de la Segona Guerra Mundial, la cara nord va ser ascendida dues vegades el 1947: primer per un grup de dos guies  francesos, Louis Lachenal i Lionel Terray, i després per un grup suís que estava format per H. Germann, amb Hans i Karl Schlunegger.

 Anys 50
Vençuda la cara nord, comença la carrera per fer-ho en menys temps. Així, en un sol dia van pujar la cara nord el 1950 Leo Forstenlechner i Erich Wascak, trigant 18 hores.

No deixava de ser un ascens perillós, com demostra el tretzè ascens, realitzat el 1957 per dos italians, Claudio Corti i Stefano Longhi, al costat de dos escaladors alemanys, Franz Meyer i Gunther Nothdurft. Van trobar extremes dificultats en la part més alta de la ruta. Nothdurft va emmalaltir. Corti havia estat colpejat per una pedra que va caure, i Meyer i Nothdurft el van deixar amb totes les seves provisions, incloent una petita farmaciola, i van intentar baixar de la muntanya i demanar rescat. Corti, es converteix en el primer home rescatat viu de la cara nord des de dalt, en una famosa acció de rescat amb 54 homes (primer emprès per escaladors voluntaris i guies no suïssos). Van treure Corti des del cim en un cable d'acer amb el sistema de rescat de Ludwig Gramminger. Longhi, que patia severes congelacions, va caure a prop de "l'Aranya" i no va poder ser rescatat. No va ser tan afortunat com Corti i va morir a la intempèrie. Meyer i Nothdurft van morir en una allau en el seu descens de la cara oest de l'Eiger després d'acabar el 13è ascens de la cara nord. El cos de Longhi va romandre a la paret durant més de dos anys abans de ser recuperat.

Com Nothdurft i Meyer van morir en la ruta de descens, se'ls va reconèixer a Kurt Diemberger i Wolfgang Stefan, el seu ascens de l'any 1958 com el catorzè de la cara nord de l'Eiger.

El 1959, Adolf Derungs i Lucas Albrecht, dos paletes suïssos, van pujar per la paret amb equipament molt primitiu. Derungs portava quatre camises una sobre l'altra, i Albrecht un vell abric. Tots dos estudiants, valents fins al punt de la imprudència i molt durs, van baixar a la nit pel costat oest. Tres anys després, el 1962, Derungs va desaparèixer mentre intentava un ascens en solitari per la cara nord.

 Anys 60
Durant els anys seixanta, se succeeixen els ascensos de la cara nord per grups formats íntegrament amb escaladors d'una nacionalitat: el primer ascens totalment txecoslovac entre el 30 d'agost i el 2 de setembre de 1961, per Radovan Kucha i Zdeno Zibrín (19è ascens). El primer totalment polonès entre el 31 d'agost i el 2 de setembre del mateix any, per Stanisław Biel i Jan Mostowski (20a ascensió). El 1962 els italians Armando Aste, Pierlorenzo Acquistapace, Gildo Airoldi, Andrea Mellanes, Romà Perego i Franco Solina. El mateix any, els britànics Chris Bonington i Ian Clough. Entre el 28 i el 31 de juliol de 1968 es va produir el primer ascens de l'aresta nord, per un equip polonès: Krzysztof Cielecki, Tadeusz Łaukajtys, Ryszard Szafirski, Adam Zyzak.wspinanie.pl, Eiger part 3, Polish ascents (→1968) N Pillar. Accés 16-03-2010.

Es van començar a fer ascensions a l'hivern. La primera va ser l'any 1961, entre el 6 i el 12 de març, per Toni Kinshofer, Anderl Mannhardt i Toni Hiebeler. El primer ascens en solitari, entre el 2 i el 3 d'agost de 1963, per Michel Darbellay, en unes 18 hores d'escalada. Entre l'1 i el 3 de setembre de 1964, es va produir la primera ascensió d'una dona, l'alemanya Daisy Voog, amb Werner Bittner.

La muntanya conserva la seva fama d'assassina, amb la mort, durant l'ascensió fatalment inacabada del 10 al 15 d'agost del 1963, dels aragonesos Alberto Rabadá i Ernesto Navarro, que intentaven ser els primers espanyols a aconseguir la Nordwand. Els seus cossos no es van recuperar de l'Aranya fins al desembre del mateix any, per tres guies suïssos que van completar el primer descens de la cara nord, entre el 27 i el 31 d'aquell mes. Josep Manel Anglada i Jordi Pons, que ja el van intentar escalar sense èxit l'any 1962, van aconseguir ser els primers catalans a superar la cara nord de l'Eiger entre el 4 i el 7 d'agost de 1964. La segona ascensió espanyola va ser realitzada per César Pérez de Tudela i Carlos Romero Baró entre el 27 i el 30 de juliol de 1969.

Quedava obrir una via directa. Després que es trenqués una corda fixa, el nord-americà John Harlin II es va precipitar i va morir el 22 de març de 1966 mentre intentava obrir la Direttissima , o la ruta "més directa" fins al cim. El seu col·lega, l'escocès Dougal Haston, es va unir a l'equip competidor de Siegi (Siegfried) Hupfauer, Jörg Lehne, Günter Strobel i Roland Votteler, i va seguir endavant fins a completar la primera via directa el 25 de març, a la qual van anomenar "Ruta John Harlin" (Harlin route) en honor del company caigut.

 Anys 70 i posteriors
Des d'aquell moment van seguir-se fent noves primeres ascensions nacionals a la paret nord. El primer ascens belga a la paret es va fer l'any 1971 per Renaat Van Malderen i Vincent de Waele, el neerlandès el 1977, per Ronald naar i Bas Gresnigt.

El 1970, Eric Jones va escalar l'Eiger amb el càmera Leo Dickinson, Pete Minks i Cliff Phillips. Van fer el primer film complet de l'ascens de l'Eiger.

El 1974, Reinhold Messner i Peter Habeler van pujar la cara nord en 10 hores.

El 1981, Eric Jones va fer el primer ascens en solitari britànic, filmat també per Leo Dikinson, fent-ne la pel·lícula Eiger Solo.

Per afegir més dificultat, es van realitzar ascensions durant l'hivern. El 1982 Harry Kent va fer el primer ascens nord-americà a l'hivern. L'eslovè Slavko (Miroslav) Svetičič, que el 21 de juliol de 1984 havia ascendit en solitari per la ruta clàssica, trigant 8 hores, el 1990, entre el 14 i el 15 de gener, va ascendir en solitari la cara nord per la ruta Harlin en 26 hores, el seu primer ascens a l'hivern. El 1991 Jeff Lowe va fer el primer ascens, per la via Metanoia, de la cara nord en solitari, a l'hivern, i sense anclatges.

Des de la gesta del 1974 de Reinhold Messner i Peter Habeler, es va intentar retallar el temps d'escalada. El 28 de gener de 2008, els muntanyencs suïssos Roger Schäli i Simon Anthamatten estableixen un nou rècord per ascens en cordada (de la ruta Heckmair) ascendint en 6 hores i 50 minuts. Un mes més tard, el 23 de febrer, els també suïssos Daniel Arnold i Stephan Ruoss milloren el rècord, ascendint per la ruta Heckmair en 6 hores i 10 minuts.

Més ràpid encara va evolucionar l'ascens en solitari. El 25 d'agost de 1981, el guia suís Ueli Bühler va fer la cara nord en 8 hores i mitja. El 1982, l'eslovè Franček (Franc) Knez va trigar 6 hores. El 27 de juliol de 1983, l'austríac Thomas Bubendorfer escala, sense corda, en 4 hores i 50 minuts, retallant gairebé fins a la meitat el temps de Bühler. El seu rècord el va retallar en 10 minuts el 24 de març de 2003 l'italià Christoph Hainz, que va trigar 4 hores i 40 minuts. El 21 de febrer de 2007 és el suís Ueli Steck qui bat el rècord de Christoph Hainz, fent la cara nord en solitari en 3 hores i 54 minuts. A l'any següent U. Steck va batre el seu propi rècord, marcant 2 hores, 47 minuts i 33 segons el 13 de febrer de 2008. El 31 de maig d'aquell any, U. Steck reb el primer Premi Eiger.

Tot i la millora en tècniques d'escalada, seguretat i en els sistemes de rescat, van seguir produint accidents a l'Eiger. L'any 1971, Peter Siegert i Martin Biock són recuperats des de dalt del "Bivac de la mort" amb un helicòpter, el primer rescat d'aquest tipus que va tenir èxit. El 18 de juliol de 1992, tres clients de BMG / UIAGM / IFMGA van morir en una caiguda pel costat oest: Willie Dunnachie, Edward Gaines i Phillip Davies.

Poden esmentar altres fites en l'Eiger al llarg dels darrers quaranta anys:
 1970: Primer descens en esquí per la cara oest, per Sylvain Saudan.
 1976: Primer ascens en estil alpí de l'Eiger Directa (Ruta Harlin) per Alex MacIntyre (UK) i Tobin Sorenson (USA).
 1983, 21 mar-abril 2 (13 dies a la paret): Primer ascens en solitari i nova ruta a la cara (la Ideal Direttissima) per l'eslovac Pavel Pochylý.
 1992, 10 de març: Catherine Destivelle (França) fa en solitari la cara nord en 17 hores. És el primer ascens femení en solitari.
 1997: Benedetto Salaroli, amb 72 anys, es converteix en l'home més vell que va ascendir la cara nord, ascendint en un sol dia amb els guies Ueli Buhler i Kobi Reichen
 2006, 14 de juny: François Bon i Antoine Montant fan el primer descens speedflying de l'Eiger.You tube video of the descent
 2007, 9 d'abril: Christophe Profit, un guia francès, puja per la paret per desena vegada.
 2008, 7 d'agost: Dean Potter (USA) fa en solitari i lliure Deep Blue Sea (5.12) a la cara nord, i després fa salt BASE des del cim utilitzant un equip ultralleuger que portava durant l'escalada.

I, finalment, es va estendre la idea d'encadenament, és a dir, de pujar d'una manera successiva en el menor temps possible l'Eiger dins d'un ascens més ampli que inclogui d'altres cims.

 Panorama

 Les vies de la cara nord

 Referències a la literatura, el cinema i la música

 Literatura
 Anker, Daniel (editor) (1988) Eiger: La arena vertical (Eiger. Die Verticale Arena) Ediciones Desnivel, Madrid 2000.
 Bonatti, Walter (1996) Montañas d'una vida (Montagne di una vita). Ediciones Desnivel, Madrid 1999.
 de Chatellus, Alain (1947) De l'Eiger à l'Iharen. Ed. J. Susse 1947.
 Diemberger, Kurt Entre 0 y 8000 metros (Tra zero e ottomila) Editorial Nova Terra, Barcelona 1975.
 Gillman, Peter i Haston, Dougal (1967) Direttissima; the Eiger assault, també publicada amb el títol Eiger Direct. Relata la història de l'ascensió de la cara nord de l'Eiger en la que va perdre la vida John Harlin.
 Harrer, Heinrich (1959) La araña blanca: dramática història de la ascensión a la pared norte del Eiger (Die Weisse Spinne) Revisada el 1965 i el 1979. Ediciones Desnivel, Madrid 2005. Harrer descriu els intents d'ascendir lEiger Nordwand, incloent-hi el primer ascens amb èxit. .
 Hargreaves, Alison (1995) A Hard Day's Summer: Six Classic North Faces Solo. London: Hodder & Stoughton.
 Heckmair, Anderl (1949) Los tres últimos problemas de los Alpes (Die drei letzten Probleme der Alpe). Ediciones Desnivel, Madrid 2002.
 Hiebeler, Toni (1973) Aventures extremes (SOS in Fels und Eis) Edició catalana: Editorial RM, Barcelona 1983.
 Hiebeler, Toni (1966) Eigerwand: von d. Erstbesteigung bis heute. Traducció al francés: Combats pour l'Eiger Arthaud 1966.
 Krakauer, Jon (1990) Sueños del Eiger, aventuras entre los hombres y las montañas (Eiger Dreams: Ventures Among Men and Mountains). Ediciones Península, 2000 (reeditat el 2001). .
 Lehne, Jörg i Haag, Peter: Eiger: Kampf um die Direttissima (Lehne, 1966). Sobre l'obertura de la via Directíssima.
 Rébuffat, Gaston (1954) Estrelles i tempestes (Étoiles et tempêtes) Edició catalana: Editorial RM, Barcelona 1982.
 Roth, Arthur (1982) Eiger: la pared tràgica (Eiger: Wall of Death) Ediciones Grijalbo, Barcelona 1985.
 Terray, Lionel Els conquirdors de l'inútil (Les conquerants de l'inutile) Edició catalana: Editorial RM, Barcelona 1982. , vol I i , vol II
 Sallent Vilanova, Eduard (2004) Per ser tan blanca: del Nanga Parbat a l'Eiger (en català i castellà) Ediciones Desnivel, Madrid 2004. .
 Sonnier, Georges Eiger (1977) novel·la. Editions Albin Michel 1977.
 Trevanian (1975) La sanción del Eiger (The Eiger Sanction). Mundo Actual de Ediciones, S.A. Reeditat el 1984, 1989 i 2006. La pel·lícula de 1975 Licència per matar (The Eiger Sanction) protagonitzada i dirigida per Clint Eastwood, es basa en aquesta novel·la. .

 Cinema
 Étoiles et Tempêtes, de Gaston Rébuffat i Georges Tairraz, 1955. Film basat en el llibre del mateix nom i autor.
 Trilogie pour un homme seul, de Nicolas Philibert, Les Films d'Ici, 1987. Film sobre l'encadenament el 12 i 13 de març de 1987 fet per Christophe Profit, en 40 hores, de l'ascensió hivernal de les parets nord de Grandes Jorasses, Eiger i Cerví. ISAN 0000-0001-9E70-0000-5-0000-0000-M
 Llicència per matar, en anglès The Eiger Sanction (1975) dirigida i protagonitzada per Clint Eastwood. Film d'acció i thriller ambientada en una ascensió a l'Eiger. Basada en la novel·la homònima de Trevanian.
 La cara nord, en alemany Nordwand (2008), del director Philipp Stölzl, ambientada l'any 1936 durant l'Alemanya nazi i basada en la història real de la lluita per ser el primer a conquerir l'última gran paret dels Alps."Una gesta deportiva y la propaganda nazi", crítica de la pel·lícula Cara norte.

 Televisió
 Eiger, film alemany per la televisió (1974), dirigida per Dieter Wedel
 Reconstrucción de las escaladas de Alberto Rabadá y Ernesto Navarro en Riglos, Naranjo y cara Norte del Eiger (1988), dirigit per Sebastián Álvaro pel programa Al filo de lo imposible.
 The beckoning silence (2007), documental per la televisió en el que l'alpinista Joe Simpson narra la història de l'Eiger i les circumstàncies en què va transcórrer la fatídica expedició de 1936.

 Música
 El grup bilbaí de rock Doctor Deseo reflecteix la dificultad de la cara nord i l'atracció que senten els alpinistes per ella a la seva cançó La cara norte del Eiger.

 Referències

 Enllaços externs

 . Vídeo del programa Temps d'Aventura''. Ascens per l'aresta Mittellegi. S'entrevista als primers catalans a pujar la cara nord el 1964, Anglada i Pons, i es recorda la història de la cara nord.
 Eiger a Summitpost
 Eiger a Peakbagger

Geografia del cantó de Berna
Alps suïssos Jungfrau-Aletsch
Tresmils de Suïssa
Alps Bernesos

redpajama_set_name: RedPajamaWikipedia


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With some of the most historically interesting civilisations, the ancient cultures of Southeast Asia have left some remarkable architecture from the mysterious past, such as the great Hindu and Buddhist traditions that gave rise to the fantastical cities of Angkor in Cambodia, Bagan in Myanmar, Sukhothai and Ayutthaya in Thailand. China too, reflects the achievements of the world's oldest continual tradition, and abounds with historic sites. The heritage of the European colonial era, despite the lingering lament of its legacy, has also thrown up a host of historically interesting hybrid influences throughout the Southeast Asian region.
Southeast Asia is truly blessed with clear warm waters and fine sands to find the ultimate relaxation. As if that wasn't enough already, some of these sandy coves are framed in some fabulous landscapes. The most developed resort style beaches are to be found in Thailand, Malaysia, and to a lesser extent Vietnam, Bali and the Philippines. If developed resorts aren't your thing, the deserted beaches of Myanmar's Mergui archipelago and the countless myriad beaches of the Philippines provide more than a lifetime's beautiful beachcombing.
The culturescape of the East is famously full of mystical intrigue and home to the secretive Chinese teachings of Taoism and Kung Fu, the widespread influence of Buddhist thinking, and in the southern reaches of the region, the spires of Islam, Hinduism and even Christianity. Underlying these major world views, however, is a complex weave of yet more ancient beliefs which still infuse and shape the cultural nuances flowing beneath the mainstream surface cultures to this day.
The forests of Asia are among the World's oldest and are the last refuges of some of the most fascinating and iconic plants, animals and birdlife on earth. Whilst, as everyone knows, these areas are under ecological pressure, there is still a great deal to see, and wildlife trips go a long way to incentivising environmental protection of these last great wildernesses. Offshore too, Southeast Asia is home to some of the World's most cherished dive sites, with superbly clear waters and a dizzying array of amazing marine life.
You can also use the QUICK TOUR SEARCH bar to quickly find sample tours. Alternatively, and especially if you have no fixed destination in mind, you can explore this site visually, using the themed scrolling galleries, which provide useful quick links to their corresponding destination pages. Similarly, each country's root page also has a picture search gallery, together with comprehensive destination resources, travel advice, historical insight, further reading and sample tours.
Haivenu Tours specialise in private, individually crafted holidays throughout Southeast Asia, including China, Vietnam, Cambodia, Laos, Thailand, Myanmar, Bhutan, Malaysia, Singapore, Indonesia and the Philippines, uniquely and expressively designed around your personal holiday aspirations. Since we are actually based within the Southeast Asian region, we possess unrivalled insightful local knowledge and are also able to ensure the provision of our sophisticated palette of travel possibilities at very affordable prices.
Whatever your travel ideas, whether in one country or more, boutique or luxury, we are able to provide for the fulfilment of all manner of experiences, with elements drawn from beach holidays, cultural and historical sightseeing of true depth, cruising, exhilarating and scenic natural encounters, together with a host of special interests and niche activities, all freely and seamlessly combinable to suit to your own style, supported by comfortable private chauffeured transport and, where desired or occasionally required, the personal services of knowledgeable and friendly expert local guides.
Upon receipt of an enquiry, we will appoint one of our deeply experienced personal tour designers to work with you on every nuance of your holiday plans, ascertaining your travel preferences, understanding your likes and dislikes, and assisting with detailed information resources, unvarnished local knowledge and advice on what to see and where to go.
Most importantly of all, no matter how much detail your developing itinerary evolves, or fine tuning over time, our tour designing services are completely free and entirely without any obligation on your part, enabling you to get to know us and freely explore the possibilities of travel with us without entangling yourself in any commitment whatsoever.
Having established good relations and a sound understanding of your wishes, if you do then decide to book, your tour designer will also personally ensure the implementation of your tour plan into a unified silk-smooth and trouble free holiday, and should you need assistance, remain at your continual disposal throughout your period of travel with us.


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Evolutionary dynamics is the study of the mathematical principles according to which biological organisms as well as cultural ideas evolve and evolved. This is mostly achieved through the mathematical discipline of population genetics, along with evolutionary game theory. Most population genetics considers changes in the frequencies of alleles at a small number of gene loci. When infinitesimal effects at a large number of gene loci are considered, one derives quantitative genetics. Traditional population genetic models deal with alleles and genotypes, and are frequently stochastic. In evolutionary game theory, developed first by John Maynard Smith, evolutionary biology concepts may take a deterministic mathematical form, with selection acting directly on inherited phenotypes. These same models can be applied to studying the evolution of human preferences and ideologies. Many variants on these models have been developed, which incorporate weak selection, mutual population structure, stochasticity, etc. These models have relevance also to the generation and maintenance of tissues in mammals, since an  understanding of tissue cell kinetics, architecture, and development from adult stem cells has important implications for aging and cancer.

References

External links
Evolutionary Game Dynamics from Clay Mathematics Institute

Evolutionary biology


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More fun at Busch Gardens!
My niece Amity 16 months, my dear little brother Josh, my wonderful sister in law, Michelle, my daughter Madison, ME, my daughter Alana and my loving husband Kirby.
My niece Amity, 16 months.
Me and Michelle, my little sister that I've always wanted.
This is my other beautiful daughter Madison, age 8.
This is my beautiful daughter Alana, age 3.


The Malayalee post-wedding rituals are very charming to look at. Learn about the Malayalee post-marriage ceremonies and customs, in the article.
Malayalee post-wedding rituals are limited to grihapravesham and traditional feasting, which makes the entire ceremony a very brief one. The one-day-long wedding is also followed by feasting at the bride and thereafter, at the relatives' places. Brief though, it is very touching to see the bride enters her 'new home', prosper the groom and his family's life. In addition, the eyes are often filled with tears, when the bride departs from her maternal home. Check out more information on the Malayalee post-wedding rituals in the following lines.
Generally, the reception is organized by the groom's family, soon after the wedding. However, nowadays, due to convenience, the reception can be held few days after the wedding. Family, friends and faraway acquaintance join in the reception to wish and bless the newly wed couple.
After tying the nuptial knot, the newly wed couple head towards the home of the groom. There, they are welcomed by the parents and family members of the groom. The sister-in law or the maternal relative of the groom welcomes the bride, with aarti. Thereafter, she hands over the traditional deep to the bride, who enters her 'new home', formally. Soon after grihapravesham, the bride and the groom are offered a sweet mixture of banana and milk, by their elder ones.
A day after the wedding, the bride and the groom, along with a couple of relatives of the latter, visit the former's house. A lavish feast is organized at the bride's house, to serve the guests. This is followed by a series of visits to the relative's home (of both the bride and the groom), where they are served with lip-smacking feast.


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Thies Luijt (24 April 1879 – 8 July 1951) was a Dutch painter. His work was part of the art competitions at the 1928 Summer Olympics, the 1936 Summer Olympics, and the 1948 Summer Olympics.

References

1879 births
1951 deaths
20th-century Dutch painters
Dutch male painters
Olympic competitors in art competitions
People from Sliedrecht
20th-century Dutch male artists


Eleven years ago, wealthy Nebraska businessman James Herold gave his only son, Paul, a very raw deal. Now he wants Nero Wolfe to track Paul down so that he can make amends. But what if the young man doesn't want to be found . . . and what if he's the same P.H. who's currently on trial for cold-blooded murder? It's a case that will draw the great detective and his dedicated sidekick into a sticky web of deceit, one that will tax their resources to the utmost, and even cost them one of their own.


Welcome to the newest section to the Outpost Library! Over the past year, we have had many requests from our members and staff writers to review books that didn't fit into the genre's we selected. So, here is your chance to add your favorite books to our Library list.
The Good Books section welcomes book reviews from such topics as the Classics; Action and Adventure stories and series; Historical novels; Murder and Mysteries; and books that may be classics in another language or country; and books that you have had to read and report for school, university or a special project.
We welcome all those books and new readers and reviewers to join the Outpost Library team. Go to the Library home page and click on the "here" text link on the right side of the page. Everything you need to know to read and write for us is there.
Lets make "Good Books" as successful as the rest of the sections!


Lelo's best selling, rechargeable rabbit has returned as the new and improved Ina 2.
Sculpted from smooth, body-safe silicone, the Ina 2 packs 100% stronger vibrations across eight different settings into its newly extended stem, while the flexible 'finger' delivers clitoral stimulation like no other.
The perfect travel companion, the Ina 2 can be taken to the beach, used in the bath or even hot tub as her curvaceous body is also now fully waterproof.
As with all LELO products, INA 2 arrives in a stylish gift box with a full 1-Year Warranty and 10-Year Quality Guarantee.