“One thing is certain: the arts keep you alive. They stimulate, encourage, challenge, and, most of all, guarantee a future free from boredom. They allow growth and even demand it in that time of life we call maturity but too often enter it with a childish faith that what we learned in youth is sustenance enough for the years when most men are mentally famished but won't admit it—or when they are apt to curb their hunger with the sops of complacency, security, and the assurance of death.”- Vincent Price
In the scene where the fishbowl falls to the ground, (dead) sardines painted orange were used in place of actual goldfish, which director Richard Donner refused to kill for the sake of making a movie.
Ilustración para la tapa del libro 10.000 Formas de Morir.
Have you cleaned out your medicine chest lately? I have been doing my fall cleaning and attacking one cupboard at a time and feel like its never going to end. The above bag is from my own cupboard and its larger then it looks. I was amazed by it actually. Although it has no actual pharmaceuticals in it and very few (if any) were actually bought at a "drug store/pharmacy", all drug stores will gladly toss them in their bio-hazard for us, which is wonderful as I'm sure we all know by now the environmental concerns of throwing them in the trash and flushing/ pouring them down the drain etc. with trace drug residues in our water supply/community drinking water and such.
The first pitch follows the initial climbing on Astro-man to the two bolt belay and then cuts across a slab to the base of a widening splitter. Delicate face traversing and lots of rope drag make the 5.8 moves to the crack feel difficult. A few finger size pieces will make a natural gear belay. 200’
Off a gear anchor, the crack widens from a section of difficult big fingers to thin hands to full on offwidth. Reaching the top of the crack is a forty foot horizontal roof. An enormous granite manta ray hangs at the beginning of the roof. After clipping a long sling to the bolts at the top of Terminal Research (5.11c), it is possible to undercling the manta ray feature. A big hands piece then a fist piece can be placed behind the flake. If this piece of rock came off it would seriously jeopardize team safety as the belay is directly below it. Undercling left to better rock. Catch a small break by a flake keystoned in the undercling and then fight leftward. This is not an undercling. It’s a Thundercling! Place a 4 camalot, a 5 camalot and then a 6 camalot. Two bolts protect the final moves. It is easier to clip the first bolt when it is behind you. Moving to the next bolt requires an interesting, though not difficult kneebar move. A few moves of 5.10 liebacking take you to a two bolt anchor. A 60 meter rope will reach to the ground from here. The pitch is 5.13a though the rating comes from the difficulty in placing the large gear and the offensive pump. Some might call it "athletic 12c." It It is difficult to follow and tagging out the gear at the Terminal Research anchor is advisable as it takes some weight off. It's hard to clean the gear- try the pink point tuff stuff. 120’
A few wide moves leads to a hanging rock and a small roof encounter. A finger to hands to fingers crack allows passage on the right side of the hanging rock. A short 5.11c footless 1 camalot hands traverse across the top of the rock leads to the next belay.
Belay off a two camalot, a solid bolt and a quarter incher at the stance. 40’
A series of detached pillars lead to a corner, which is often wet. Place two blue alien size pieces then layback the fin of the corner to a couple of pin scars and a large flake at 5.12. A 3 camalot fits in at the base of the flake. Climb to the top of the flake and clip a manky pin. Either down climb and make a reachy traverse right on delicate feet or continue up to a steep hand crack, a couple funky chimney style moves and the tree out right. Either way is 5.11. Belay at a two bolt anchor by the tree. 100’
Follow a finger crack up and then traverse right through delicate face holds at 5.11c. Climb the corner with care of loose rock at 5.11. The original Quantum Mechanic traverses right on orange rock. The Quantum Leap variation continues in the corner. A belay stance rests below a steep corner. There are 3 solid bolts at the belay. A 70 meter rope just makes it to the top of Planck’s Constant, the Thundercling. 100’
A steep fingers section followed by a wide block marks the initial difficulties of the next 5.11 pitch. Climb both sides of a large block, clip a bolt, then make some steep layback moves up a corner with good feet. A two bolt anchor should be drilled on the left arête to make a solid stance but instead continue climbing the amazing corner to a hanging two bolt aid anchor. 90’
The overhanging hand crack of the Quantum Leap pitch
The Quantum Leap pitch follows a steep 5.11+ hands pitch off the hanging belay. Stay left and be careful not to place a cam at the lip of the crack- your rope might get stuck behind it. After the hands section, continue up to a large ledge. Clip a bolt off a swaying pillar, gaston, cross and then campus to the arête doing a v3 boulder problem. Mantle and place a green alien behind a flake at head height. Traverse left and then up on dirty terrain placing another finger size piece. Good news is that you’re at Hotel California. This is a good bivy for two with no need for a ledge120’
Head up and then left on 5.8 terrain being careful of dirt and loose rock to a two bolt anchor. From here, an easy downclimb can be made to the base of the changing corners pitch on Astroman or the route can continue up the 5 roof pitches of the full Quantum Mechanic.
A double set of cams from blue alien to 2 camalot will suffice. Include a 3, 3.5, 4, 5, and 6 for Planck’s Constant. Rappeling from Hotel California requires two ropes, directionals, and there will be a lot of rope drag. It is possible though.
Much thanks to Tim Derohen, John Schmid, Todd Bartlow, Jake Whittaker, James Selvidge and Rob Miller for the belays, beta and support.
Watch your habits, for they become your posture.
Watch your posture, for it creates your boundaries.
Watch your boundaries, for they restrict your growth.
Watch your immobility, for it becomes your illness.
What does it mean to visit a city you don’t know? How do you approach it? What does an encounter with a new place mean to you? How do you create your own space, your personal connection with the city – in this case, Prague?
As a visitor you might search for frames of reference, for memories of books you read with the city as the place of action, or for photographs that signify Prague for you. Joseph Sudek and Milan Kundera might be on your mind, or the beautiful book “La pleurante des rues de Prague” by the French writer Sylvie Germain.
Or maybe you will approach the city as an indexical sign of your presence there at a certain moment in time. You want to approach it, and in order to frame it, you look at windows. Windows are the frames that stand for the outside and for the inside. The inside is impossible to know, however.
Approaching a new city is always a fragmented experience. The "frame" provided by windows seems to be an attempt to overcome "fragmentation", but at the end of the day fragmentation is all you get. What you can apprehend by approaching a city is fragmentation, disseminations of thoughts, of subjectivity, of looking. The windows and the frames are illusory.
That seems to be the point of a journey through the windows of a city. The look evaporates at the same moment you touch the frame of the window with your camera.
You can only see the city through an infinite series of frames all endlessly removable.
Nevertheless, approaching Prague from windows or through photographed windows gives us the opportunity to look again and again differently. And maybe to position or to project ourselves within and outside a city that will stay elusive while giving us fresh looks all over again.
Oh yesterday was that sort of day for me. Sigh..
seeking the successive autumns."
- George Eliot