Høstdepresjon
- Trådstarter Edzilla
- Opprettet
Men da er jo frokost inkludert...
I 2006 tok jeg med fruen til Paris. Jeg er normalt ganske flink til å organisere reiser, men av og til skjærer ting seg. Bare synd at alt skar seg på en gang, da:
Reisetidspunkt
Tema for turen var lavbudsjett. Vi reiste derfor til Paris i februar, med dagens første Norwegian-fly. En fra før av morgengretten frue, var ekstra utilnærmelig denne fredagsmorgenen klokken 03:30. Humøret ble ikke noe bedre av at vi stod på P6 (ref: lavbudsjett) i 30 minutter i 19 minus og ventet på shuttlebuss.
Reisen
Flyet hold ca. fem grader, da det hadde stått hele natten uten oppvarming. Temperaturen ble levelig omtrent samtidig med at hjulene tok bakken. For å kompensere for den noe traurige starten bestemte jeg oss for at vi skulle droppe kollektiv, og heller ta drosje. Det er jo behagelig. Dessverre hadde jeg ikke tenkt på rushtrafikken. Turen til hotellet tok halvannen time.
Hotellet
Vi bodde i 18. arrondissement. Følte meg ganske trygg her, siden jeg hadde blitt tipset om et "dritbra" hotell av en bekjent. Viste seg at "dritbra" var et ettstjernes hotell, med en heis, som hadde plass til bagasjen og en voksen (dersom den voksne satt oppå bagasjen). Rommet var ca. 7 kvadrat. Sovedelen var glovarm, og badet var iskaldt. Praktisk bad forresten: man kunne både pusse tennene, dusje og gjøre sitt fornødne til én og samme tid.
Restauranter og turisme
Etter at den traurige starten ble til den ekstra traurige starten dro vi på McDonalds og trøstespiste. Blir jo neppe mer trashy enn det: reise til Paris for å spise Big Mac... Dessverre for oss satte dette mer eller mindre standarden for turen, og vi kom oss aldri inn på rett spor. Moulin Rouge, turistfelle ved Sacre Coeur og skitne kaféer på feil side av byen ble gjennomgangstonen. Vi fikk det bare ikke til. Paris er forresten iskald i februar. Lite turister, men det er jammen ikke rart!
Den endelige bekreftelsen på at reisen var en fiasko fikk vi da vi stod foran Eiffeltårnet, trakk på skuldrene og sa " det der gidder vi ikke". Aldri har to mennesker smilt bredere over å lande på Gardermoen med flyet fra Paris.
Moralen med historien? Egentlig ingenting. Vi klarte selv å drepe Paris som destinasjon, og det er vårt tap.
God tur, Edzilla!
Reisetidspunkt
Tema for turen var lavbudsjett. Vi reiste derfor til Paris i februar, med dagens første Norwegian-fly. En fra før av morgengretten frue, var ekstra utilnærmelig denne fredagsmorgenen klokken 03:30. Humøret ble ikke noe bedre av at vi stod på P6 (ref: lavbudsjett) i 30 minutter i 19 minus og ventet på shuttlebuss.
Reisen
Flyet hold ca. fem grader, da det hadde stått hele natten uten oppvarming. Temperaturen ble levelig omtrent samtidig med at hjulene tok bakken. For å kompensere for den noe traurige starten bestemte jeg oss for at vi skulle droppe kollektiv, og heller ta drosje. Det er jo behagelig. Dessverre hadde jeg ikke tenkt på rushtrafikken. Turen til hotellet tok halvannen time.
Hotellet
Vi bodde i 18. arrondissement. Følte meg ganske trygg her, siden jeg hadde blitt tipset om et "dritbra" hotell av en bekjent. Viste seg at "dritbra" var et ettstjernes hotell, med en heis, som hadde plass til bagasjen og en voksen (dersom den voksne satt oppå bagasjen). Rommet var ca. 7 kvadrat. Sovedelen var glovarm, og badet var iskaldt. Praktisk bad forresten: man kunne både pusse tennene, dusje og gjøre sitt fornødne til én og samme tid.
Restauranter og turisme
Etter at den traurige starten ble til den ekstra traurige starten dro vi på McDonalds og trøstespiste. Blir jo neppe mer trashy enn det: reise til Paris for å spise Big Mac... Dessverre for oss satte dette mer eller mindre standarden for turen, og vi kom oss aldri inn på rett spor. Moulin Rouge, turistfelle ved Sacre Coeur og skitne kaféer på feil side av byen ble gjennomgangstonen. Vi fikk det bare ikke til. Paris er forresten iskald i februar. Lite turister, men det er jammen ikke rart!
Den endelige bekreftelsen på at reisen var en fiasko fikk vi da vi stod foran Eiffeltårnet, trakk på skuldrene og sa " det der gidder vi ikke". Aldri har to mennesker smilt bredere over å lande på Gardermoen med flyet fra Paris.
Moralen med historien? Egentlig ingenting. Vi klarte selv å drepe Paris som destinasjon, og det er vårt tap.
God tur, Edzilla!
Ser at folk allerede har kommet med tips, men tenkte jeg også måtte dele litt.
Prøver å få dratt til Paris 2-3 ganger i året, og da bor vi alltid i Latiner, som regel på Select Rive Gauche. Små men koselige rom, og prisen pleier ikke å være verst.
Vi pleier også alltid å spise en biffmiddag til kurante priser på Sacree Fleur i Montmartre.
Om dere ikke har vært i Paris før kan man spise på KONG, men mest for omgivelsene. Litt turiststed med helt grei mat (ihvertfall den ene gangen jeg var der).
Og om kontoen er tom på slutten av reisen kan jeg anbefale et måltid på latterlige billige Chartier. Stilig sted også
Vet ikke om jeg skal grine eller le @braza2013
Men du fikk meg til å tenke på den gangen jeg og fruen skulle til Paris for å feire hennes 30-årsdag.
Sto tidlig opp for å rekke toget til Oslo. Det gikk ikke helt som planlagt, å vi mistet toget. 30 min senere kommer tog nr. to som ankom Oslo S. noe forsinket pga tekniske problemer på signalanlegget. Flytoget var også forsinket, så vi ankom Gardermoen rundt én time for sent. Ved innsjekkingen får vi beskjed om at vi har kommet for sent, å at vi ikke rekker flyet..... Deppa som vi ble snudde vi på Gardermoen å dro hjem. Dagen etter var jeg hos legen å fikk konstantert dobbeltsidig akutt bronkitt og fruen hadde en "normal" kjip lungebetennelse.
Men jeg har vært i paris flere ganger før, og flere ganger etter denne nedturen i september 2006.
Men igjen. Takk som deler @braza2013 !
Har hørt og les mye bra om Sacrée fleur. Så jeg tror vi nesten må klarer å få klemt inn denne i spiseplanen
Hvis ikke skal den testes ved neste paristur. Synes biff til middag kan bli litt heavy når jeg er ute å spiser.
Orket ikke å vente til fruen kom hjem. Så jeg booket likegodt alene. He he he.
Har tidligere bodd på Sofitel i London et par ganger å det var formidabelt; så da må vel Hotel Scribe Paris managed by Sofitel i Paris være innafor
Hotellet ligger midt i Operadistriktet å ikke så langt fra de viktige klokkegatene.
Har tidligere bodd på Sofitel i London et par ganger å det var formidabelt; så da må vel Hotel Scribe Paris managed by Sofitel i Paris være innafor
Hotellet ligger midt i Operadistriktet å ikke så langt fra de viktige klokkegatene.
Dagens F.P. Journe artikkel fra TimeZone: An elegant(e) night with F.P. Journe
Takk for linken @Wizardsix
Takk for linken @Wizardsix
Var på en micro-gtg i oslo i går.
Noen bilder av klokkene som møtte.
Noen bilder av klokkene som møtte.
Til høyre ser dere han gale araberen som ordnet slik at jeg endte opp med min FPJ
Han var forøvrig også med på An elegant(e) night with F.P. Journe
Han var forøvrig også med på An elegant(e) night with F.P. Journe
Ser ut som en herlig GTG med stor variasjon på klokkefronten, min personlige favoritt er en enkel PAM Toolwatch, en flott beater.Var på en micro-gtg i oslo i går.
Noen bilder av klokkene som møtte.
Tom
Her kommer fortsettelsen på F.P. Journe artikkelen fra WatchTime
Who Needs Constant Force?
An Insider's Look at F.P. Journe - Part 2
Remontoir d'Egalité
1977. Paris. A young watchmaker of 20 embarks on an odd quest - to make his own tourbillon. Not to sell, not to show, but simply to prove that he can do it. Passionate and determined, equipped only with George Daniels' book, "the Art of Breguet," Francois-Paul Journe sets to work.
1983. Paris. Francois-Paul Journe completes his first watch:
Francois Paul Journe 4th watch (1984)
It took more than five years to conceive and create a pocketwatch that was never meant to be sold - and not just a simple watch, but a tourbillon. In the '70's and '80s tourbillons were not the craze they are now. Only George Daniels (and then Journe) created a new, modern tourbillon.
Forward to 1984. Still trying to master the tourbillon (and especially the pernicious effects it has on accuracy); François-Paul makes his first
Remontoir d'Egalité in his second and fourth (pocket)watch. It caught the attention of a major collector, Eugen Gschwind (Google the name or visit his collection at the Historiches Museum Basel).
Francois Paul Journe 4th watch (1984)
Fast-forward now to 1991. Francois-Paul Journe creates his first wristwatch - a tourbillon, of course, but also fitted with a remontoir d'égalité, or constant force. This sort of device became popular a few years ago (thanks in part to great articles such as Alan Downing's, followed by David Chokron's in-depth writings in Watch Around No.15, Spring-Summer 2013, pp 44-53). As one may recall in "Power or precision? An Insider's Look at F.P. Journe - Part 1"), due to the nature of the spring, any mechanical object will have more power when the spring is fully loaded, and inversely less as it unwinds. A constant force system is "simply" a system that allows regulating the delivery of energy to the balance wheel. It is not a new issue. Watch masters such as Breguet, Lepine, Berthoud, etc. already had that issue in mind. But in 1991, very few people understood it, or cared.
Francois Paul Journe's first ever wristwatch (1991). Now part of the F.P. Journe museum collection.
What makes F.P. Journe's patented device superior to its new competitors' is the simplicity and the lightness of his device. The heavier the device, the more power needed to move it and the more friction it creates (like a "fusée à chaine," which was a good idea in the 18th century but too heavy to be efficient today). The solution becomes counterproductive to the outcome.
Because the remontoir d'égalité delivers the same packet of energy to each and every second, the seconds hand actually moves and dies every second. Thus it is called a dead second. Like a quartz movement, the second hand does not sweep. Note (and this is important to Mr. Journe) that it is a natural dead second, meaning that unlike some of his competitors, his goal is not to make a dead second mechanism (what would be the point?). It is simply a natural by-product of the remontoir.
Tourbillon Souverain with Remontoir D'Egalité avec Seconde Morte (Dead Second).
Read also our previous insider's look:
"Power or Precision," An Insider's look at F.P. Journe - Part 1
To view the movement: http://www.fpjourne.com/eu/collections-en-sv-csouv-1.html?v=modele
Who Needs Constant Force?
An Insider's Look at F.P. Journe - Part 2
Remontoir d'Egalité
1977. Paris. A young watchmaker of 20 embarks on an odd quest - to make his own tourbillon. Not to sell, not to show, but simply to prove that he can do it. Passionate and determined, equipped only with George Daniels' book, "the Art of Breguet," Francois-Paul Journe sets to work.
1983. Paris. Francois-Paul Journe completes his first watch:
Francois Paul Journe 4th watch (1984)
It took more than five years to conceive and create a pocketwatch that was never meant to be sold - and not just a simple watch, but a tourbillon. In the '70's and '80s tourbillons were not the craze they are now. Only George Daniels (and then Journe) created a new, modern tourbillon.
Forward to 1984. Still trying to master the tourbillon (and especially the pernicious effects it has on accuracy); François-Paul makes his first
Remontoir d'Egalité in his second and fourth (pocket)watch. It caught the attention of a major collector, Eugen Gschwind (Google the name or visit his collection at the Historiches Museum Basel).
Francois Paul Journe 4th watch (1984)
Fast-forward now to 1991. Francois-Paul Journe creates his first wristwatch - a tourbillon, of course, but also fitted with a remontoir d'égalité, or constant force. This sort of device became popular a few years ago (thanks in part to great articles such as Alan Downing's, followed by David Chokron's in-depth writings in Watch Around No.15, Spring-Summer 2013, pp 44-53). As one may recall in "Power or precision? An Insider's Look at F.P. Journe - Part 1"), due to the nature of the spring, any mechanical object will have more power when the spring is fully loaded, and inversely less as it unwinds. A constant force system is "simply" a system that allows regulating the delivery of energy to the balance wheel. It is not a new issue. Watch masters such as Breguet, Lepine, Berthoud, etc. already had that issue in mind. But in 1991, very few people understood it, or cared.
Francois Paul Journe's first ever wristwatch (1991). Now part of the F.P. Journe museum collection.
What makes F.P. Journe's patented device superior to its new competitors' is the simplicity and the lightness of his device. The heavier the device, the more power needed to move it and the more friction it creates (like a "fusée à chaine," which was a good idea in the 18th century but too heavy to be efficient today). The solution becomes counterproductive to the outcome.
Because the remontoir d'égalité delivers the same packet of energy to each and every second, the seconds hand actually moves and dies every second. Thus it is called a dead second. Like a quartz movement, the second hand does not sweep. Note (and this is important to Mr. Journe) that it is a natural dead second, meaning that unlike some of his competitors, his goal is not to make a dead second mechanism (what would be the point?). It is simply a natural by-product of the remontoir.
Tourbillon Souverain with Remontoir D'Egalité avec Seconde Morte (Dead Second).
Read also our previous insider's look:
"Power or Precision," An Insider's look at F.P. Journe - Part 1
To view the movement: http://www.fpjourne.com/eu/collections-en-sv-csouv-1.html?v=modele
Ikke så mye å melde her fra süden. Foruten at det blir noe nytt i samlingen når jeg kommer hjem
Hva blir ditt neste ur Edzilla? Kanskje en Patekke Minute Repeater?
Tvilsomt at det dukker opp en Patek i min samling nå som jeg er FPJ-frelst.
Sakset fra WatchTime
Is Your Wristwatch a WRIST Watch?
An Insider's Look at F.P. Journe - Part 3
Résonance movement
From 1910 to 1920, the Swiss industry had hunches on where the market for timekeepers would lead them: pocketwatches or the new craze, wristwatches. In what we call the "conversion era," Swiss watchmakers basically rotated their pocketwatches by 90 degrees, added lugs and voilà: here was your wristwatch.
But by doing so, watches were now confronted with a new issue: the movement of the wrist. As you move your wrist, due to centrifugal (or inversely centripetal) forces, balance wheels have a tendency to go faster (more precisely, have a larger amplitudes) or inversely, thus affecting the accuracy of the watch.
As usual with François-Paul Journe, this idea had been on his mind for some time. As far back as 1984, he attempted to confront the issue with his first resonance watch.
Francois-Paul Journe resonance movement in his 3rd watch (1984)
Journe attempted to include this system in a wristwatch, inspired by his masters (in this case, Antide Janvier and Abraham Louis Breguet, who made six pendulum clocks using the resonance phenomenon. One Janvier clock is in Mr. Journe's office; another one is at the Patek Philippe Museum).
What is resonance? It is an acoustic principle: put a watch to your ear and you hear a "tick tock." Energy has been released in an acoustic form. It makes the air vibrate until your ear membrane absorbs it and gives your brain the information.
There is an emitter (the watch movement) and a receiver (your ear). So the "tick-tock" is proof of energy being released but not used. In the F.P. Journe Chronomètre à Résonance, you have a double movement with two balance wheels that are both emitters and receivers. It is a law of physics that when two sources produce energy, if they are on the same frequency, they will communicate. Each "talks" and each "listens." And nature makes it so that they balance each other in opposition.
In real life, what happens? If a truck passes nearby creating a lot of noise, or if there is a shock, the vibration will modify the balance of the escapement. As the energy received by both balance wheels are in opposition, one will go faster, one slower. As they "resonate" they will balance each other, therefore nullifying the shock/perturbation.
To quote Jack Forster in his article, "In Plain Sight: Revealing The Secrets Of F.P. Journe's Chronomètre à Résonance" (2014): "the Résonance is constructed along exactly these principles [those explained in George Daniels' book: The Art of Breguet, p. 76]. The balances are free-sprung (with no regulator) and regulation is through the use of weights to vary the inertia of the balances. As with Breguet's resonance pocketwatches, the adjustable masses used for regulation are inside the rim of the balance (in the case of Journe's watches, on the arms). Breguet's notes on pendulum clocks are detailed and he notes that the two oscillators have to be closely regulated to each other for a resonance effect to occur." How close? If you pay attention to the movement on the left, you have a screw that can be adjusted to bring closer (or make further apart) the two balance wheels.
Note also that with all F.P. Journe watches the balance wheels have the weights on the outside for ergonomic reasons, but in the case of the Résonance, there was no other way.
Also, when one moves one's wrist, one balance wheel will go faster while the other one will go slower. As they "resonate," they will readjust themselves and therefore compensate for the movement - making the Résonance the only "true" wristwatch. As Lavoisier said: "In nature nothing is created, nothing is lost, everything changes."
Proof? As Anthony G. Randall explains in his article, "Anthony G. Randall discusses F.P. Journe's Chronomètre à Resonance" (F.P. Journe's Chronomètre à Résonance) "a remarkable demonstration of resonance being achieved [is by] using a Witschi timing machine. This machine is able to produce a diagram of the sound of the lever escapement. With two escapements working simultaneously, but not exactly in phase initially, two similar diagrams appear close together. Gradually, as resonance occurs, the two diagrams merge into one. The combined rate then appears as a straight line."
For those in doubt, please see this experiment of synchronizing 32 metronomes at Résonance and Communications.
The seconds hands (as seen below) will always show the same position.
Dial of the Résonance
Because there is a double movement, it allows the user to set two different times on each of the dials. There is much debate on what makes a watch a true world timer. Obviously the resonance offers much more than a GMT (which only partitions time in one-hour increments over 24 hours). But many countries never adhered to the 1884 Washington International Meridian conference. Countries such as Australia use a half-hour increment. Nepal is UTC +5:45!
Here you may set two different times that are totally independent - except that their seconds will be in sync.
F.P. Journe Chronomètre à Résonance
Is Your Wristwatch a WRIST Watch?
An Insider's Look at F.P. Journe - Part 3
Résonance movement
From 1910 to 1920, the Swiss industry had hunches on where the market for timekeepers would lead them: pocketwatches or the new craze, wristwatches. In what we call the "conversion era," Swiss watchmakers basically rotated their pocketwatches by 90 degrees, added lugs and voilà: here was your wristwatch.
But by doing so, watches were now confronted with a new issue: the movement of the wrist. As you move your wrist, due to centrifugal (or inversely centripetal) forces, balance wheels have a tendency to go faster (more precisely, have a larger amplitudes) or inversely, thus affecting the accuracy of the watch.
As usual with François-Paul Journe, this idea had been on his mind for some time. As far back as 1984, he attempted to confront the issue with his first resonance watch.
Francois-Paul Journe resonance movement in his 3rd watch (1984)
Journe attempted to include this system in a wristwatch, inspired by his masters (in this case, Antide Janvier and Abraham Louis Breguet, who made six pendulum clocks using the resonance phenomenon. One Janvier clock is in Mr. Journe's office; another one is at the Patek Philippe Museum).
What is resonance? It is an acoustic principle: put a watch to your ear and you hear a "tick tock." Energy has been released in an acoustic form. It makes the air vibrate until your ear membrane absorbs it and gives your brain the information.
There is an emitter (the watch movement) and a receiver (your ear). So the "tick-tock" is proof of energy being released but not used. In the F.P. Journe Chronomètre à Résonance, you have a double movement with two balance wheels that are both emitters and receivers. It is a law of physics that when two sources produce energy, if they are on the same frequency, they will communicate. Each "talks" and each "listens." And nature makes it so that they balance each other in opposition.
In real life, what happens? If a truck passes nearby creating a lot of noise, or if there is a shock, the vibration will modify the balance of the escapement. As the energy received by both balance wheels are in opposition, one will go faster, one slower. As they "resonate" they will balance each other, therefore nullifying the shock/perturbation.
To quote Jack Forster in his article, "In Plain Sight: Revealing The Secrets Of F.P. Journe's Chronomètre à Résonance" (2014): "the Résonance is constructed along exactly these principles [those explained in George Daniels' book: The Art of Breguet, p. 76]. The balances are free-sprung (with no regulator) and regulation is through the use of weights to vary the inertia of the balances. As with Breguet's resonance pocketwatches, the adjustable masses used for regulation are inside the rim of the balance (in the case of Journe's watches, on the arms). Breguet's notes on pendulum clocks are detailed and he notes that the two oscillators have to be closely regulated to each other for a resonance effect to occur." How close? If you pay attention to the movement on the left, you have a screw that can be adjusted to bring closer (or make further apart) the two balance wheels.
Note also that with all F.P. Journe watches the balance wheels have the weights on the outside for ergonomic reasons, but in the case of the Résonance, there was no other way.
Also, when one moves one's wrist, one balance wheel will go faster while the other one will go slower. As they "resonate," they will readjust themselves and therefore compensate for the movement - making the Résonance the only "true" wristwatch. As Lavoisier said: "In nature nothing is created, nothing is lost, everything changes."
Proof? As Anthony G. Randall explains in his article, "Anthony G. Randall discusses F.P. Journe's Chronomètre à Resonance" (F.P. Journe's Chronomètre à Résonance) "a remarkable demonstration of resonance being achieved [is by] using a Witschi timing machine. This machine is able to produce a diagram of the sound of the lever escapement. With two escapements working simultaneously, but not exactly in phase initially, two similar diagrams appear close together. Gradually, as resonance occurs, the two diagrams merge into one. The combined rate then appears as a straight line."
For those in doubt, please see this experiment of synchronizing 32 metronomes at Résonance and Communications.
The seconds hands (as seen below) will always show the same position.
Dial of the Résonance
Because there is a double movement, it allows the user to set two different times on each of the dials. There is much debate on what makes a watch a true world timer. Obviously the resonance offers much more than a GMT (which only partitions time in one-hour increments over 24 hours). But many countries never adhered to the 1884 Washington International Meridian conference. Countries such as Australia use a half-hour increment. Nepal is UTC +5:45!
Here you may set two different times that are totally independent - except that their seconds will be in sync.
F.P. Journe Chronomètre à Résonance
