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Atlantic rowing

Hello,

It is very rare that I am talking about my work as a novelist, but today I decided to make an exception. Because, while working on my novel, akin to that point to a kind of mythological punishment (Like "you will spend eternity to climb a boulder atop a cliff, tumbling and seen again), I read Camus you soon come to power one or two words ... and I read the other day that Camus had taken seven years, yes, seven years to write Plague . This does not mean you can not write a good novel in less time, it just has to see Chartreuse de Parme , as Stendhal would have ended a few weeks " in the euphoria, "said one of my teachers ... Anyway, I prefer to concentrate on Camus and his seven years, say that I can better relate to. Because after having spent nearly three years in total, to write Anchor Dream - including a year and a half of research - I wonder when I'm finished his little brother . Actually, the other day Plague , I came across a replica of Great, municipal employee who wrote a novel for years and is only the first sentence ... Asked if "it forward" and he replied:

"For years I've been working, obviously. Though in another sense, there is not much progress. "

Incidentally, note the humor of Camus, there is not that dead rats, dying and metaphors of Nazism in Plague in seven years he has had time to slip a lot more, and even laugh at it himself.

So there are writers that span the books in one record time, and others such as Donna Tartt, who released a book every ten years, and although it is very good, we say that at the end of his life, even if they live long (and I we wish), it will not be heavy, as bibliography. It is a little similar to me. I often wonder why we need each of my novels is like a voyage across the Atlantic in a rowing boat. When I hear about this kind of feat, I'm appreciative, I wonder why inflict it. Under the influence of what sweet madness, what masochism spend months alone (e) at sea, catching bedsores, fear of being devoured by a shark or drowned in the storm, eating rations for survival, undergoing all Potential snubs a nutshell, all this to prove what? We have the will to go after?

When I wrote the anchor of dreams, I immersed myself in big books about the lives of Newfoundland, I reread The Interpretation of Dreams , I often said that this book would be of interest and absolutely no one that I gave myself it hard to have three players with my mother. That it was interesting that, a story of kids who have nightmares, and seamen to Newfoundland in 1912? I asked myself several times a day why I persisted in writing this history, why all this research for a book that would probably never emerge. But I was driven by a kind of faith - very thin but tough - I compared to the little unsteady flame of a candle, and although it is always on the verge of extinction it forces you to continue the story. I do not know how to write more, but I discovered the story as it unfolds. The characters escape me as soon as they are, they'll put a spoke in the wheel, do as they head and take pleasure in the script to pieces I scaffold. At the stage where I am from my new novel, my characters have already cut into pieces my synopsis and here I am forced to rely on them for the rest of the story and rebuild according to their personal evolution. It's annoying, but because they express their independence that I love. Generally, I like my novel escapes my control, he drags me along paths that scare me or upset me. I love re-reading what I wrote, do not recognize me. My writing than my small limits, my daily mediocrity, it always goes a bit further. I see each novel as a sinuous path, a path of adventure and learning.

Whatever I write is no different. As Anchor Dream several times a day I wonder why go to all this trouble for a story. But I know, deep down, I do it for three reasons. First for me, selfishly, because it's me face my doubts, my limitations, the difficulty that the novel will become fruitful and that this experience make me rich. (Spiritually, at least!) Then, for readers, because I also write "with them", thinking about them, I'll offer them, and I wonder if this time they leave board or remain on the bank by saying no thank you, water is too cold. Finally, I do it for my ghosts. Because it I write for them all, I know they are there and all my research work is only there to make me quite receptive to hear them and let them incarnate. It is in writing Anchor Dream that I've discovered, my research seemed to have intended only to test hypotheses imaginary, which if proved plausible and consistent as I doubted: perhaps my characters had really existed, perhaps they had just used me to tell their story? ... Idea a bit frightening and fascinating at once. If there are several kinds
novelists, I belong to me "awakeners ghosts. "Maybe they are real ghosts, forgotten voices who seek healing by incarnating in a story. Maybe they are just part of me which I know nothing, that my feed characters. After all we write with the inexhaustible raw material of the unconscious, by getting itself innocence and perversity, all the color chart of human emotions. Maybe a mixture of both. They haunt me anyway and it is with happiness that I have put my words in their service. So no matter if I must, each day, hauling my boulder up the cliff.

not matter if I have the impression that it does advance not only I am like Don Quixote part fighting windmills, I have no shoulders to tell this story, these ghosts wrenching wake of another era. The small flame falters but is still on. And she gets impatient.

Soon I hope, I therefore propose a new novel that takes you to the late nineteenth century Paris, this time, instead of embarking on a world of men, I'll take you auscultate the psyche Women of a time not so old. I ask a little patience, because these ghosts then ask me a lot of energy and attention, but I will in to seven years to finish, do not worry. (The comparison with Camus that I may have unfavorable)

soon, next time we talk about literature!

Gaëlle Nohant

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Flashcode lot of experimentation to be rooted in the daily

In any case, the month of January 2010 "tagging" the real part of all!

And you bet on a democratization of the use in France even as the campaigns flashcode are driven by brands with good visibility and especially to guide the speech pedagogy. In
show these 3 examples from very different sectors: an actor of urban mobility (RATP), a brand of high consumption (VitaminWater sponsored by Orange) and finally an actor Tourism Institutional (Office of Tourism in Provence Verte).

very different areas that share a common strength: be in direct contact with the ground game of reality and cross paths with their targets. And enable brands to push digital at closer on a new scale, that of hyper. Take the bus, buy a drink in a dispenser, find a hotel, so many new points of contact across the hyper for e-marketing outreach!



RATP announced the deployment of 21,000 tags on neighborhood plans in Paris, 12000 Case issuing bus and in situ real-time traveler information. Tags are recorded every minute since the start of deployment.



Vitaminwater Orange ad with the use of a flashcode and focuses on pedagogy as e shows a video to promote this new use . For now, these are displayed on flashcodes supports the mark (flyers, ditrsibuteur drink, the car brand) and redirects to the iPhone application of alcohol on the AppStore.



Eventually, these will also flashcodes affixed to the bottles.

Another example, another sector, tourism institutions, with the operation flashcode at the tourist office of Green Provence where how to allow access to information (to find a hotel ...) when we are faced with a tourism office crowded or closed. France 3 region devoted a story to this:





Through these three examples, is beyond the scope of experimentation with a manifest desire to anchor this technology in everyday . To recall in 2009, PagesJaunes, Celio, Fnac also exploit this method

Critics oppose 2D code technology applications of image recognition (eg, Google Goggles Android) which scans the object and on the smartphone offers a selection of related links. Certainly. But for me the Flashcode has a distinct advantage on the order of ergonomics incentive ( persuasive design), hence understand, the equivalent of a big button "Click Me" (sorry, "Flash- me "). And it is also the issue of marketing Ubimedia than reporting, interactivity materialize Man Machine default invisible in the interface of reality. Moreover, Google played across the board also relies on 2D code with Googles Places ( With Google, the web exits the web )

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few best pratices compiled by -Ooh-TV on outdoor devices dynamics. Or how interactivity can drive and help navigating the local ecosystem, a shopping district.

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Stefan Zweig in the shadow of legends

Hello,

I invite you to discover a literary gem. A few months ago, during a walk in bookstores, a little red book attracted me the eye: it was a biography of Fouché by Stefan Zweig . I was unaware that Zweig had also written biographies. I bought and devoured in a few days, fascinated. I must admit that the biography is not my favorite genre, I often annoys me. But nothing like with Zweig. Forget your preconceptions about the biographies, forget your preconceptions about history. Grasset editions come out of an anthology of biographies assembled under the title: The Great lives.

From Magellan to Fouche and Marie-Antoinette Marie Stuart, the Viennese novelist makes these historical figures of characters, flamboyant portraits of delivering psychological steeped in modernity and psychoanalysis, which depart from the legend to seek accuracy. With Zweig, one enters the flesh of history, and we must beware of puddles of blood ombrent the soil of this firm Bluebeard:

"Always the big political buildings were built with stones of injustice and cruelty , foundations have always had the blood for cement in politics only losers are wrong and history, continuing his march, the crowd's not brazen. "

Take Joseph Fouche, deputy of the people who managed the feat of making himself indispensable to the Revolution, the Terror, the Convention, the Directory, the Empire and even the Restoration! With Talleyrand, another character emblematic of the era, it is the only one to survive as a political earthquake. Each new master of France deems prudent to put him on his side, rather than having opposite.

Prince opportunists, his strength was no doubt, as Zweig points out, a "unshakable composure" :
"He gives free play to his strength and at the same time, he watches carefully for errors others wear it leaves their ardor and waits patiently they are exhausted or that, losing control of themselves, they discover a weak point: only then it hits relentlessly. This superiority of patience is never at a terrible one that can wait and hide so may also mislead the most experienced. "

From Robespierre to Napoleon, have all hated and feared, and it was right for everyone. Extremist MP, then Minister of Police all-powerful (so powerful it fascinated Balzac and twists and characters inspired several novels, including Vautrin), Duke of Otranto during the Restoration, he turned his coat at each speed while keeping tight the reins of power. Never belong to anyone, and thereby impossible to control, he gave a cold sweat to all governors.

"We must deeply probe the story out in the heat of the Revolution and Napoleon's legendary light, the mere presence of this man of modest appearance, but in reality is at hand and directs all the time. Throughout his life he remained in the shadows - but he stepped over the bodies of three generations. "

Very different, less Machiavellian and gasoline, which are the two queens Stefan Zweig chose to tell the life. On the one hand, the Austrian frivolous and carefree, the other the indomitable Scottish tyrannical passions. All both illustrate the end of the world. Marie-Antoinette that of absolute monarchy, Mary Stuart that of medieval chivalry. Both queens have much in common, although Zweig famous outset strength of character of Mary Stuart and will recognize, however, to Marie-Antoinette that the qualities of a woman "basically ordinary, not too smart , not too silly, or a being of fire and ice, with no inclination for good, without any love of evil, the average woman of yesterday, today and tomorrow. " about it he speaks of " involuntary heroism. " Marie Antoinette, "head wind "nice and charming, was made for a quiet life, preserved from the chaos of life. But the repeated blows of fate, which gives it right away to help in the strip then go to carve billhook a heroine in his royal flesh soft and languid.

This echoes a theme dear to Stefan Zweig: it is the reverse of existence that shape us and show us to ourselves, purifying our character and highlighting the salient features. Battered, wounded, torn from all those she loves, Marie-Antoinette becomes another woman, more profound, dignified and courageous. "Suffering was the first and true master of Marie Antoinette, the one she has learned something. " He adds further, in the biography of Mary Stuart:

" That is why only the moments of crisis, the decisive moments in history have a life, so the story that This is true only seen by them and through them. Only when a being put into play all his strength he is really living for himself and others, still there must be a fire kindled within his soul and devours that externalized his personality. "

Aged six days Mary Stuart, Queen of Scots and legitimate contender for the throne of England, is already an object of lust. While she did not five years, the Scots to deliver it to the British war, and lost. "Mary Stuart has not yet reached its fifth year already rivers of blood flowed because of it. "This will all his life, tragedy of Mary Stuart's fatal to those who love and defend it.

If, like Marie Antoinette, all the fairies seem to have looked at his birthplace, he must believe that the witches in Macbeth also roamed around the castle Holyrood on the night of his baptism ... For the life of Mary Stuart is a Shakespearean tragedy, intense, violent and passionate. I must say it is born in an age where you can switch to one day of the throne of Scotland to the scaffold, and where Catholics and Protestants engaged in a war across Europe littered with dead. His kingdom is a bitter and miserable country, where the nobility did not support the Kings if it can control them, or political assassination is commonplace and where the love of a queen may cost him his life. Drama, murder, conspiracy, deadly passions, betrayals, these are the ingredients of the fall of Mary Stuart, who pay very expensive errors of his youth. As Marie-Antoinette, she will be hated after being adored, will cross under the cries of hatred and humiliation the country which once embraced the people on the ground track of his steps.

Finally, it is drawn in front of her worst enemy, Elizabeth Tudor, bastard of Henry VIII (the serial killer of wives) once imprisoned in the Tower of London by her own sister, desperate to defend the crown of England so painfully won. Their fratricidal war and no thank you, that Zweig calls "a knife fight" is with rifle poisoned gifts, venom-coated love the sugar throat before slowly suffocate.

"In recent weeks, these last years she has lived in the flames, flames so high and burning their reflection still shines across the centuries. But now the fire down, goes out, after having eaten the best of itself: what else is slag and ash, miserable remnant of a magnificent splendor. Become a shadow of herself, Mary Stuart juts into the twilight of his destiny. "

Again, away from the legend, not on the lengthy investigation of Mary Stuart and Elizabeth, Zweig makes focus on important details, and shows an Elizabeth torn between his hatred for Mary Stuart, his desire to push on the scaffold, and the nagging feeling that this unreported decision (the public performance of a queen) will a dangerous precedent. What interests him is to show the inner struggle of people against their feelings and their impulses, to probe their deeper truth. Zweig, which lasted a period of research on Mary Stuart into exile (between time Hitler took power), feels an affinity with the proven, the outcasts, those to whom everything was taken. He knows the truth of The words of Marie Antoinette: "It is in misfortune we feel more of what we are. " With it, you never look at history the same way.

soon.

Gaëlle Nohant

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building facades or interactive potential of digital hyper



An inspiring example that illustrates the concept of hyperlieu connected within a local ecosystem, a shopping area here in Japan and the potential hyperlocal web, combining 2D code technology and mobile augmented reality.

• playing both visual impact and strong incentives (and therefore non-intrusive) 2D code on the path of pedestrians


• wealth and display data on the smartphone via Augmented reality


• and beyond the communication aspect-branding, a new way to make the city more friendly and tame accomplice and a hybrid world.
  

Spotted on Fubiz , I quote "A structure" N Building "located near the station Tachikawa and in the middle of a shopping district. Designed by Design Terada, it is a facade entirely dressed in a QR code, allowing additional information readable on a mobile phone. "

N Building from Alexander Reeder we Vimeo.