Like giant lobster claws snipping away at the Arctic Circle, the Westfjords is where Iceland’s dramatic landscapes come to a riveting climax. Jagged cliffs and broad sweeping beaches flank the south, while dirt roads snake along the tortuous coastline dotted with tiny fishing villages clinging doggedly to a traditional way of life. Further on, stone towers rise from the deep, hoisting tundra-ridden buffs up towards the northern elements. The Hornstrandir hiking reserve crowns the quiet region; it is, undoubtedly, the island’s most scenic terrain, with countless fjords and cairn-marked walking paths.
Give yourself plenty of time for a trip to the Westfjords. The roads around the coast weave in and out of fjords and over unpaved mountain passes pitted with giant potholes. The going is frustratingly slow at times, but the scenery is never short of breathtaking.
Credit: Paul F. Dubois, Ph.D., Program for Climate Model
Diagnosis and Intercomparison, Lawrence Livermore National
This chapter was originally meant to cover mainly topics such as
lexing, parsing, and code generationthe classic issues of
programs that are about programs. It turns out,
however, that Pythonistas did not post many recipes about such tasks,
focusing more on highly Python-specific topics such as program
introspection, dynamic importing, and generation of functions by
closure. Many of those recipes, we decided, were more properly located
in various other chapterson shortcuts, debugging, object oriented
programming, algorithms, metaprogramming, and specific areas such as the
handling of text, files, and persistence Therefore, you will find those
topics covered in other chapters. In this chapter, we included only
those recipes that are still best described as programs about
programs. Of these, probably the most important one is that
about currying, the creation of new functions by
predetermining some arguments of other functions.
JAY WALTERS, JR., wasn’t the type of man you’d expect to find in Jack Coombs’ address book. Coombs, a Sigma Chi at the University of Utah, had graduated in 1950 with a B.S. in Business, after which he began his career with J.A. Hogle and Company, Salt Lake City’s oldest and most prestigious brokerage house. One year later, Coombs left Hogle’s to join the ultra-conservative Harrison S. Brothers firm as a partner. The young man had an air of honesty and dependability. He moved in Utah’s better circles. With his dark wavy hair, blue eyes and athletic build, he was popular with the young-married country club set.
Walters, on the other hand, was sixtyish, had a swarthy complexion, a bay-window and thinning strands of straight, greying hair. An elk’s tooth dangling from his watch chain rivaled anything he had in his mouth. He favored seedy double-breasted suits with suspenders and cowboy boots. His conversation was laced with obscenities. His wallet was usually empty. Walters was a product of the old days when brokers formed mining companies on the floor of the stock exchange, raised the money and then went out and broke rock themselves.
Student. Le village attirait beaucoup de camarades de l’école de Hopper. Ils se réunissaient autour de la table, après le dîner, pour se remémorer leurs vieux souvenirs.
Au retour d’Ogunquit, décidé à éviter le travail d’illustration, il s’essaya à l’enseignement, expérience qui ne lui plut guère, et à laquelle il mit fin rapidement. En quête de nouvelles techniques et perspectives, Hopper se perfectionna dans l’art de la gravure, auquel il se consacra jusqu’en 1923. Bien qu’ignoré par la critique, il parvint enfin à gagner progressivement de l’argent avec ses gravures et à placer ses dernières œuvres dans les galeries et dans des expositions à Brooklyn, Chicago, Los Angeles et au Canada. Il réussit même à exposer son travail lors des expositions d’hiver et de printemps de l’Académie nationale d’art.
De Grandes Découvertes
17. Chambres sur la mer, 1951.
Huile sur toile,
74,3 x 101,6 cm.
Yale University Art
Gallery, New Haven,
Connecticut, legs de
Stephen Carlton Clark.
S’il y eut une année qui représenta le faîte de la carrière d’Edward Hopper, ce fut 1923. Pour commencer, il arrêta de faire des gravures, redécouvrit l’aquarelle et trouva sa future femme.