BOZEMAN — I bet you didn't know that there is a little slice of France right off of Babcock Street in Bozeman “Everybody says the test of a true croissant is the butter croissant You really get to experience the entire texture,” Mendoza says It's not just croissants that Mendoza is serving up “Once you cut into it and taste that chocolate it's awesome,” says Andrea Greenburg who is visiting Bozeman and eating a delectable treat “Does it feel like you're in a part of France just sitting right here?” I asked Greenburg C'est tres magnifique!” She responds enthusiastically in French Which was exactly Anna’s goal when opening Vienne “I have had a lot of people saying they haven't had croissants like this since they’ve been to France; it's very nostalgic for them which is super rewarding to make people happy and make those memories happen,” Mendoza says is also the name of the little town Anna fell in love with during her pastry internship in France Anna is originally from Great Falls but after experiencing French culture she wanted to bring it back to Montana and it kind of takes over your life for a while,” Mendoza says All of those early mornings baking and expanding their menu beyond baked goods is starting to pay off Vienne is one of 20 nationwide semifinalists for a James Beard Outstanding Bakery Award “To be recognized for all of that hard work is amazing It feels like what we are doing is actually being seen and it makes a difference,” Mendoza says The James Beard Award is considered to be among the nation's most prestigious honors in culinary and food “That's what makes the hard work worth it is making people happy and making them feel like you can escape for a second,” Mendoza says As Andrea indulges in macrons and a chocolate galette there are a lot of different places where you can sit and hangout but this one is very special with the bread and the desserts and everything that they offer.” James Beard Award winners will be announced in the spring This year’s must-see shows range from a Nordic Pavilion exploring transgender spaces to a compelling Lebanese project confronting the realities of ecocide Frieze returns to The Shed in May with more than 65 of the world’s leading contemporary art galleries and the acclaimed Focus section led by Lumi Tan the artist’s life-like dolls use silence to navigate discourse around violence John Cage questions whether time lapses between sounds should be considered silences Even if we were surrounded by complete silence the sound of our nervous system or blood circulation would be heard a consensus around what is deemed worth listening to and what exists within and outside of a musical intention If we transcend silence as solely a sonic phenomenon the concept can also carry political implications in relation to subtle systems of violence Gisèle Vienne’s arsenal of crafted teenage dolls lies inert inside glass vitrines displayed along Haus am Waldsee’s main hall Part of her installation Dolls in glass boxes (2003–21), these life-sized figures – eyes wide open heads turned to one side – resemble corpses Their gloomy configuration hints at a distressed response to an out-of-shot calamity emanating instead a tacit scream prompted by some unrevealed horror Vienne uses this voicelessness to develop a discourse around violence positioning teenage bodies as archetypes of innocence whose developing political opinions encounter social expectations and influences beyond parental control The delicate human replicas in ‘This Causes Consciousness to Fracture – A Puppet Play’ reflect various subcultures in appearance: from the spiked wristbands and skull iconography of black-metal fashion to the pleated skirts white socks and Mary Jane shoes of the preppy aesthetic The exaggerated garments and makeup suggest an imitation game often interiorized by teenagers as an outlet for their effervescent angst the eerie sense of witnessing the aftermath of a brutal event prevails I Apologize (2004–17) features a set of empty crates in which the dolls were likely transported are photographs from the series ‘63 PORTRAITS 2003–2024’ (2003–24) which depict dolls in individual close-ups Their eyes gaze forward into the distance or are cast down narrating with bodies even when they are static objects she considers her wooden teens to be ‘actors in a play’ Their (non)movement is purposefully orchestrated – whether in front of the camera or within the gallery space – to shock and horrify the audience to stir emotions with staggering immediacy in the popular imagination The artist's mordant puppetry is deliberate: she turns her figures into idols akin to uncaptioned images that might fit any storyline they could equally be martyrs of direct conflict such as social inequality and systematic oppression The dolls ultimately reflect our own lack of agency revealing our position as complacent puppets within the social organizations of a decomposing system Whether Vienne’s figures allude to the vicious attacks on children in Gaza and Lebanon the countless victims of American school shootings or a freak-off afterparty at Sean ‘Diddy’ Combs’s mansion is less relevant than the awareness of how depictions of horrors in wide circulation lead to a frightening normalization We have commodified violence into spectacle turning the ones who have the guts to look – but can do nothing to relieve the suffering – into voyeurs By replicating objects of violence in her silent plays without addressing specific contexts or perpetrators Vienne tasks the viewer with assigning meaning and reflecting on collective perception Gisèle Vienne’s ‘This Causes Consciousness to Fracture – A Puppet Play’ is on view at the Haus am Waldsee ‘This Causes Consciousness to Fracture – A Puppet Play’ Courtesy: the artist and Haus am Waldsee; photograph: Frank Sperling memory and tedium to inspect the hidden realities behind everyday life From Monica Bonvicini’s sculptural representations of female agency to Phung-Tien Phan’s dinosaurs that prod at consumer culture, here’s what to see this Gallery Weekend Berlin At Kunsthal Charlottenborg, Copenhagen the artist tracks what safety obscures – from state violence to the silence of forgotten stories a group show studies the variations and chance connections that form our worldview the artist’s unsettling sculptures are replete with religious imagery the artist’s silk canvases reimagine painting as a porous and philosophical practice the artist’s largest exhibition yet features miraculous paintings and drawings that will leave you feeling uplifted  a show traces how the artist’s soak-stain canvases reshaped abstraction an expansive group show highlights precarity as a permanent condition a show of the East Village artist’s photographs and archival materials paints a picture of her queer community the artist’s sculptures challenge the ways bodies are scrutinized at nation-state borders © FRIEZE 2025 Cookie Settings | Do Not Sell My Personal Information Investments in Decarbonization: A strategic lever… Fortune 100 response to DE&I pressures Diana brings over 25 years of business transformation change management and human capital consulting to leaders of Fortune 500 companies Diana leads the Business Transformation Business Unit for North America in her role as Senior Partner and Co-Founder at Notion Consulting Diana helped clients get traction on their change and transformation programs bringing their vision to life in a real and tangible way Diana’s internal and external change management experience allow her to bring a 360-degree perspective to her clients Diana has been a Chief Talent Officer at both Havas and MMC She also spent 17 years consulting on human capital and strategic change for firms including Deloitte and PricewaterhouseCoopers and has worked with executive and functional leaders to tackle global initiatives that address strategic realignment and large-scale technology implementations Her clients have included Cadbury/Schweppes Thrive Global and Organizational Development Network Review from New York University in Business Education and Organizational Effectiveness and a B.A in Economics and International Studies from Siena College Diana holds a Certificate in Strategic Human Resource Management from the University of Michigan Business School Diana is an active participant in the global and local community and volunteers her time outside of work explore and spend time outdoors with her husband and three children Emily MayReviews09 December 2024ArtReview the choreographer imbues her lifelike creations with an unsettling awareness of the limits of their own reality Puppets are made to be manipulated: they only come to life when animated by a puppeteer who that puppets are a key feature of French-Austrian artist choreographer and director Gisèle Vienne’s 25-year practice: their innately submissive personalities are the perfect metaphor through which to explore themes of personal relationships violence and trauma – particularly as experienced by children and adolescents where her lifesize puppets perform alongside human actors and dancers But in this show (part of a wider Berlin-based showcase of her art and staged work) the anthropomorphic creations are motionless captured in a photographic series and displayed like specimens in a line of glass vitrines the puppets’ arrangements are intended – as the show’s title suggests – to evoke the experience of faltering awareness Much of Vienne’s work here references her theatrical repertoire: the key scene in the tableau draws from and is titled after her 2021 production L’Etang (The Pond) an interpretation of eponymous short story (c in which a boy stages his suicide to test his mother’s love a pair of puppets recline rigidly on a bed the boy’s arm reaching suggestively over the girl’s stomach as her head turns uncomfortably away from him staring blankly at the empty white room in front of them – the audience views the whole scene from a distance and is prohibited from entering either space – in which an identical replica of one half of the duo lies dejectedly on the floor While this could represent a staged suicide the scene is more effective as a depiction of dissociation: while physically present at the party floating in an abyss disconnected from their uncomfortable reality Vienne seems to be playing with levels of reality splitting one of her characters in two and causing psychological turmoil in the process The success of this vignette lies in the puppets’ stiff body language and vacant gazes Vienne takes a choreographic approach to demonstrate the expressive potential of movement and bodily gesture This is also evident in 63 colour photographs of her puppets taken between 2003 and 2024 (63 Portraits 2003–2024) By placing their heads at subtly different angles Vienne imbues these lifeless figures with emotions of shame The way that their faces are painted enhances this effect flushed tones and glossy finishes creating the illusion of streaming tears It feels as if Vienne is training us to listen to the stillness and silence of her puppets to become more attuned to signs of suffering in everyday life If there’s any doubt about what has caused her puppets’ distress look closer at the dolls encased in glass boxes on the ground floor While they project confidence in sportswear and spiked punk armbands closer inspection reveals blood-flecked hands bandaged wrists and bruised legs hidden under sheer white tights (The show’s final room is strewn with bloodstained shipping boxes suggesting injuries sustained during the violent journey to their current location.) Here Vienne implicitly urges us to take time to notice these unsettling details and reflect on how paying more attention could improve our understanding of the unspoken struggles of those around us This Causes Consciousness to Fracture – A Puppet Play at Haus am Waldsee, Berlin, through 12 January From the November 2024 issue of ArtReview – get your copy Claudia RossReviews Martin HerbertReviews Tom MortonReviews Gaby CepedaReviews Chris MurthaReviews ArtReviewNewsartreview.com02 May 2025 The painting, worth €50 million, has sustained visible scratches The 10 Exhibitions to See in May 2025ArtReviewPreviewsartreview.com02 May 2025 Our editors on the exhibitions they’re looking forward to this month, from the Venice Architecture Biennale to Gallery Weekends in Berlin and Beijing AdvertisementHow the Museum Became a WeaponWilliam ShokiOpinionartreview.com02 May 2025 In apartheid South Africa, museums glorified white settlement and erased Black history; in the US today, they are again being captured under the guise of neutrality Vyjayanthi Rao to curate 2026 Sharjah Architecture TriennialMia SternNewsartreview.com02 May 2025 She will be joined by Tau Tavengwa as associate curator Ari Emanuel buys Frieze from EndeavorArtReviewNewsartreview.com01 May 2025 The entertainment company’s own former chief executive has acquired Frieze for a reported $200m Inaugural Annie Leibowitz prize awarded to photographer of migrant experiencesArtReviewNewsartreview.com01 May 2025 Zélie Hallosserie to receive $10,000 for her documentary work in Calais Helmut Lang Has Always Been ProvocativeClaudia RossReviewsArtReview01 May 2025 Lang’s newest artwork, like his clothing, explores the uncanny ways that industrial refuse can interact with and even evoke human flesh IKOB Feminist Art Prize announces winnersArtReviewNewsartreview.com01 May 2025 Matt Copson: Never Grow UpMartin HerbertReviewsArtReview30 April 2025 “What’s living with no hope?” asks the artist’s big animated baby at KW, Berlin. One thing is certain: we can’t stop watching Disability Is Not a Separate Category of PersonhoodAlice HattrickOpinionartreview.com30 April 2025 The disabled experience is increasingly visible in the artworld yet an ableist political landscape is constantly on the attack. This affects us all We use cookies to understand how you use our site and to improve your experience. This includes personalizing content. By continuing to use our site, you accept our use of cookies, revised Privacy VIENNA (AP) — European far-right and nationalist parties are celebrating the hard-right Freedom Party’s win in Austria’s election Even though it’s uncertain whether hard-line leader Herbert Kickl will be able to take his vision of a “Fortress Austria” into government the party’s electoral success could nudge politics further in its direction Sunday’s result leaves Austria’s political future uncertain as it’s questionable how stable the next administration will be — whoever forms it READ MORE: France announces new center-right government two months after divisive elections The Euroskeptic and pro-Russian Freedom Party won a record 29.2% of the vote, gaining 13 percentage points from the 2019 election. Kickl told cheering supporters that “we wrote Austrian history today.” But Kickl needs a coalition partner to govern, and other parties say they won’t work with him. Two mainstream parties that governed Austria for most of the time since the end of World War II were hit by voter anger about immigration and inflation and together have such a thin parliamentary majority that they would likely need a third partner to govern. The Freedom Party is part of a right-wing populist alliance in the European Parliament, Patriots for Europe. Its members welcomed the Austrian result as building on gains in other countries, including in European elections in June. Hungarian Prime Minister Viktor Orbán hailed “an historic victory” for the Freedom Party. Geert Wilders, whose party dominates the Netherlands’ new government, wrote on social media network X that “We are winning! Times are changing! Identity, sovereignty, freedom and no more illegal immigration/asylum is what tens of millions of Europeans long for!” There were congratulations from French far-right leader Marine Le Pen and others too. He predicted that mainstream parties in Austria and beyond will borrow topics from the far right even more, which could lead to a further “shift in the public discourse.” The Freedom Party calls for an end to sanctions against Russia and criticizes Western military aid to Ukraine. Kickl has labeled European Commission President Ursula von der Leyen as a “warmonger.” His party also takes a hard-line stance on immigration, calling for “remigration of uninvited foreigners,” and wants to bring back powers from the EU to Austria. Kickl led the Freedom Party to its best-ever result but could also be its chief impediment to taking power. The 55-year-old has a taste for provocation and is known for deliberately overstepping accepted boundaries. Last year, for example, he described Austrian President Alexander Van der Bellen as a “mummy” and “senile,” shocking the political establishment. Kickl also has appeared to support conspiracy theories, advocating the use during the COVID-19 pandemic of Ivermectin, a medicine to treat parasitic worms in animals. He has called the World Health Organization “an instrument for enforcement of power interests.” Even Chancellor Karl Nehammer’s conservative Austrian People’s Party, which has twice led national coalition governments with the Freedom Party and sits with it in some regional governments, considers Kickl a step too far — even a “security risk.” Nehammer says that Kickl “radicalized himself” and it is “impossible to shape a state” with him. Kickl was a longtime campaign strategist for the Freedom Party, coining catchy and provocative anti-immigration slogans. He spent most of his political career in the background — notably as speechwriter for Jörg Haider, who led the party to success in the 1980s and 1990s — before serving as interior minister between 2017 and 2019 in a government that collapsed because of a corruption scandal surrounding the Freedom Party’s then-leader. He has led the party since 2021. The Freedom Party, founded in 1956 by former Nazis, is a long-established political force in Austria. Analysts predict that forming a government will be time-consuming and complicated. Peter Hajek, an Austrian political analyst, said Kickl could insist on becoming Austria’s next leader — and if that doesn’t happen, as seems likely at present, he will go into opposition and take a comfortable “front-row seat” watching a shaky coalition between the People’s Party and the center-left Social Democrats. Those two parties governed post-World War II Austria together for much of the time. But this time they have such a wafer-thin parliamentary majority that they may decide to bring in a third partner, probably the liberal Neos. While such an alliance would have more seats in parliament, a “three-party coalition is no kindergarten,” Hajek said. That has been an issue in neighboring Germany, where state-level successes for the far-right Alternative for Germany have pushed other parties into uncomfortable, argument-prone alliances in recent years. The president traditionally functions as a discreet mediator after elections, but it’s unclear what approach Van der Bellen will take. He will swear in the new government after a coalition deal is reached, something for which there is no set deadline. On Sunday night, he said he would ensure that “the fundamental pillars of our liberal democracy will be respected.” Associated Press video journalist Philipp Jenne contributed to this report. By Stephanie Liechtenstein, Associated Press By Danica Kirka, Brian Melley, Associated Press By John Leicester, Lori Hinnant, Sylvie Corbet, Associated Press Thank you. Please check your inbox to confirm. © 1996 - 2025 NewsHour Productions LLC. All Rights Reserved. PBS is a 501(c)(3) not-for-profit organization. Subscribe to Here's the Deal with Lisa Desjardins Volume 4 - 2022 | https://doi.org/10.3389/fclim.2022.869456 This article is part of the Research TopicEnhanced Weathering and Synergistic Combinations with Other CDR MethodsView all 12 articles Enhanced weathering (EW) of silicate rocks can remove CO2 from the atmosphere while potentially delivering co-benefits for agriculture (e.g. quantification of inorganic carbon sequestration through EW and potential risks in terms of heavy metal contamination have rarely been assessed we investigate EW in a mesocosm experiment with Solanum tuberosum growing on alkaline soil Amendment with 50 t basalt/ha significantly increased alkalinity in soil pore water and in the leachate losses We did not find a significant change in TIC which was likely because the duration of the experiment (99 days) was too short for carbonate precipitation to become detectable A 1D reactive transport model (PHREEQC) predicted 0.77 t CO2/ha sequestered over the 99 days of the experiment and 1.83 and 4.48 t CO2/ha after 1 and 5 years Comparison of experimental and modeled cation pore water Mg concentrations at the onset of this experiment showed a factor three underestimation of Mg concentrations by the model and hence indicates an underestimation of modeled CO2 sequestration pore water Ca concentrations were underestimated indicating that the calcite precipitation rate was overestimated by this model basalt amendment did not negatively affect potato growth and yield (which even tended to increase) despite increased Al availability in this alkaline soil Soil and pore water Ni increased upon basalt addition but Ni levels remained below regulatory environmental quality standards and Ni concentrations in leachates and plant tissues did not increase basalt amendment significantly decreased nitrogen leaching indicating the potential for EW to provide benefits for agriculture and for the environment only few studies have quantified the associated CO2 sequestration Quantification of DIC leaching losses is difficult in the field but may be estimated using a reactive transport model such as PHREEQC This model can account for the carbonate and cation flows through the soil and estimate CO2 sequestration through EW but these estimates have not yet been verified with experimental data EW application should not necessarily be focused on acidic soils Apart from potential enhancement of mineral dissolution through (a)biotic mechanisms, a considerable share of land area is alkaline. According to the Harmonized World Soil Database (FAO), about 23% of all soils have an alkaline pH (>7) (Fischer et al., 2008). Although EW is currently considered to be most effective for CO2 removal in tropical areas (Hartmann et al., 2013) alkaline soils clearly hold considerable potential for CO2 removal through EW as well as potential side-effects require experimental verification Although terrestrial EW focus shifted to basalt and less problems in Ni contamination are expected with this rock in alkaline soils a comparison with regulatory environmental quality standards (EQSs) remains necessary to ensure environmental safety Al release by weathering of Al-bearing plagioclases is stimulated in alkaline soils The resulting effect may increase Al concentration (Al toxicity) in alkaline soil pore water where pH increase decreases Al availability We quantified CO2 sequestration through EW based on experimental data and using the PHREEQC 1D reactive transport model we hypothesized that potato tuber yield would benefit from the increase in base cations (released from the basalt) while we expected Ni leaching to remain within the safe range according to environmental quality standards we expected that basalt addition would reduce N leaching Soil pore water was sampled from two rhizon samplers (Rhizon Flex NL) installed at five cm depth in each mesocosm mesocosms had a two cm diameter hole at the bottom the bottom of the pot was covered with a root exclusion math to prevent soil export through leaching A glass collector (one liter volume) was placed under the mesocosm to collect the leachates Leachate volumes were determined throughout the experiment and samples for chemical analyses were collected on six occasions (23/5; 28/5; 6/6; 16/6; 7/8; 13/8; 20/8 in 2019) Nitrogen in leachates was analyzed on the last three dates Basalt characteristics are given in Table 1 Surface area was measured in triplicate with Kr using a Quantachrome surface area analyser Basalt (type: DURUBAS) composition was determined by the supplier [Rheinischen Provinzial-Basalt- und Lavawerke (RPBL)] Basalt particle size distribution was determined by sieve separation 30 mg sample was destructed with 20 mL of 0.5 N NaOH Soil cores (5 cm length) were taken across the depth of the mesocosm (0–10 cm the cores were dried at 105°C for 3 days to determine water content (g H2O/g soil) and bulk density Water-filled porosity was calculated by multiplying water content with bulk density The soil samples were ground to pass a 0.2 mm sieve with an ultra-centrifugal mill (Model ZM 200 Soil Total Carbon (TC) was determined with an elemental analyzer (Flash 2000 CN Soil Analyser Total Organic Carbon (TOC) of each 20 cm across mesocosms was determined in the elemental analyser after acid hydrolysis of the original sample: 1 g of soil was digested with excess of 6N HCl at 80°C to and the residue dried The remaining sample was analyzed giving TOC as a result and TIC was calculated as the difference between TC and TOC Other soil elements (Mg, Ca, K, Al, and Ni) for samples taken at 10, 25, and 40 cm depth were determined using ICP-OES. In this way, concentrations in the topsoil, the basalt-soil mixing layer and deeper layers were measured. Brown's procedures (1943) were used for CEC and total exchangeable bases (TEB), for which 1M NH4Acetate at pH seven served as the extractant (Brown, 1943) CEC and TEB were also measured in soils sampled at 10 Total N leaching was calculated as the sum of NH4-N and NO3-N leaching Soil CO2 efflux was measured on three occasions on a shallow stainless steel collar (8 cm high, 10 cm diameter) which was installed at four cm depth in each mesocosm (Figure 1) Measurements were made using a custom-built soil chamber (0.98 L) which was connected to a portable EGM-5 infrared gas analyzer (PP Systems We measured the increase in soil CO2 concentration until a CO2 concentration difference of 50 ppm was reached or during 120 s in case of lower increases In order to simulate mineral weathering in the control soil the input solution (that is added on the top layer of all simulated columns) equals the composition of the efflux soil solution in the control treatment Ca or Mg) are added to this control solution according to the abovementioned rate law This solution is in equilibrium with equilibrium phases (gases and minerals Overview of the PHREEQC reactive transport model Cations can complex on surfaces such as organic matter or ferrihydrite (HFO). Surface complexation of species on organic matter is included by implementing the WHAM model using the organic carbon content of the soil (control group) (Lawlor, 1998) Exchange of cations with soils is also included as the measured cation exchange capacity (CEC) is inserted in the “Exchange” functionality the average observed leachate flux (7.61L/99 days/mesocosm) was inserted The 1D reactive transport model was run for a scenario with and without basalt amendment. Simulated results of weathering products (Ca, Mg) in the first cells were compared with experimental concentrations of Mg and Ca in the topsoil pore water (Figure 6) One-way Anova was used for detecting statistical differences in biomass and soil composition among treatments For analyses that were repeated in time (leachate and pore water chemistry measurements) a repeated measures one-way Anova was used using the lmer package in R studio Version 1.4.1106 Normality and homoscedasticity assumptions underlying statistical tests were evaluated with the Shapiro-Wilk test If residuals were not normally distributed a log10 transformation on the variable was performed Total mesocosm TIC was calculated using Equation 5 (with n = number of depths) In order to calculate total inorganic CO2 (IC) sequestration, the total sequestered mass of carbon as DIC in leachates and as TIC changes are summed. The CO2 sequestration through DIC leaching losses was calculated by multiplying the observed leachate flow (7.61 L/mesocosm/99 days) with the difference in average DIC concentration among treatments. DIC was calculated from the experimentally measured alkalinity with a slope of 6.70 gDIC/Equivalent (Supplementary Figure SF5) the PRS probes indicated no significant basalt effect on Mg and Ca availability although we observed a tendency for an increase at the start of the experiment These PRS probe data also revealed a strong decline in availability of Ca Mg and other cations over the course of the experiment Multiple regression parameters of different soil elements analysed (Ca cation exchange capacity (CEC) and total exchangable bases (TEB) and P) concentrations ± standard error observed in leachates and pore water samples over the entire season and in PRS probes at two occasions (June and August) Inorganic carbon balance in tonCO2/ha/99 days (experimental timeframe) On average, basalt weathering increased leachate and topsoil pore water (0–5 cm) alkalinity with 8 and 29%, respectively (Figure 3). After 99 days of experiment, a higher amount of DIC (calculated from TA), equivalent to only 4.77 kgCO2/ha, had leached from the basalt amended system compared to the control system (Table 4). We found no significant basalt effect on soil TIC content (Figure 4) Note that the large uncertainity on TIC resulted in a large uncertainty on the estimate of ΔIC Total alkalinity (mEq L-1) in pore water and leachates in function of time (days) for basalt and control treatments Error bars represent averages ± standard errors ** and *** refer to p-values in the ranges 0.01–0.05 0.001–0.01 and 0–0.001 respectively (A) TIC (%) for different soil depths (cm) and (B) total kg TIC mesocosm-1 for basalt and control treatments Modeled IC sequestration during the duration of the experiment was 0.77 t CO2/ha (Figure 5). A model run beyond the experimental period indicated a CO2 sequestration of 1.83 and 4.48 t CO2/ha after 1 and 5 years, respectively (Supplementary Table ST3). The evolution of olivine, labradorite and augite dissolution is shown in Supplementary Figure SF8 Simulated inorganic carbon sequestration (ton CO2 ha-1) in function of time (days) for 100 days of experiment in the control and basalt treatment Net inorganic C sequestration (in grey) results from the difference between the basalt and control treatment We calculated the difference in Mg and Ca pore water concentration between the basalt and control treatment and compared this delta for experimental data and simulated values (Figure 6) This indicated that the model underestimated initial increases of Mg in the pore water by a factor 3 simulated concentrations were lower in the basalt treatment than in the control treatment while experimental results showed the opposite pattern Experimental and simulated Mg and Ca increase in pore water (mg L-1) after basalt amendment in function of time (days) Basalt addition tended to increase aboveground biomass and potato tuber yield (albeit not statistically significantly; p = 0.16, p = 0.45). No significant changes in potato tuber Mg, Ca, P, Si, and Ni concentrations were detected upon basalt amendment (Table 5) basalt induced a positive trend in potato stocks of K (p = 0.16) potato tuber or total) biomass and element stocks in potato tuber (96 m% of the total biomass) Nitrogen leaching was significantly lower in the basalt treatment than in the control (Figure 7) This reduction in nitrogen leaching was mainly due to the decrease in NO3--N leaching Average N leaching decreased with about 45% upon basalt amendment Nitrogen leaching (mg N mesocosm-1) among treatments Nickel differences among treatments in the soil (mg Ni kg-1 soil) which corresponds roughly to the world bank estimate of the carbon price in 2050 (100–150$ t−1CO2) and current EU-ETS carbon price which already exceeded 100 US$ t−1 CO2 in 2022 For detection of significant TIC changes with rocks and minerals that have weathering rates similar to basalt our results indicate that multi-year experiments are required PHREEQC simulations show that the standard error on TIC measurements (ranging from 0.03 to 0.12% across the different depths) was larger than the modeled differences in TIC (of about 0.01%) obtained for the experimental duration a TIC increase of ~0.05% would have occurred after about 5 years which we assume would be detectable (given the standard error on TIC ranged between 0.03 and 0.12) weathering was likely underestimated by the model (see below) also pore water Ca concentrations were underestimated by the model indicating that the calcite precipitation rate (and hence degassing rate) was overestimated leading to an underestimation of modeled CO2 sequestration To the best of our knowledge, we are the first to assess model predictions of CO2 sequestration through EW based on experimental pore water cation composition in real soils (Figure 6). Our study builds on the work of Kelland et al. (2020) but did not compare experimental pore water data with simulated values Additional research is needed to determine long-term weathering dynamics as well as to improve model simulations Long-term studies are needed in which soil pore water chemistry is monitored Our results demonstrate that in short-term EW-experiments with basalt measurements of soil pore water chemistry are critical for monitoring weathering rates and for estimating CO2 sequestration Future studies could consider specific elements (e.g. and Na; depending on the mineral composition) that can provide insights in the weathering behavior of mineral phases containing these atoms This would also allow verification of the modeled Al-silicate weathering inhibition by amorphous Al(OH)3 who grew potatoes on soils irrigated with Ni-contaminated (0–250 μgNi/L) wastewater and found no increase in tuber Ni content they even found tuber Ni concentration to decrease with increasing irrigation Ni levels EW can influence Al toxicity in contrasting ways through release of Si and Al the weathering-induced increase in Al availability did not result in significantly higher potato tuber Al and Si stocks the increased Al availability in the aqueous phase did not result in a decrease in tuber biomass lifting concerns of reduced yield for EW with Solanum tuberosum in alkaline soils A risk that was not evaluated here concerns the potential health issues due to spreading fine silicate particles (Webb, 2020). To overcome this, basalt can be applied in a pelletized form to disintegrate again when applied in soils. Avoiding additional grinding of basalt quarry fines, which may not be warranted in terms of additional carbon sequestration gains (Lewis et al., 2021) can also reduce dust formation It is likely that potato tuber yield is increased more in agricultural systems where cations are more depleted than in our experimental soil The K decrease in the top soil of the basalt treatment presumably resulted from the high mobility of K and higher uptake by potato plants Mo released by basalt stimulated denitrifying microbial communities but further research is needed to verify this Simulated CO2 sequestration was 0.77 t CO2/ha in the experimental timeframe (99 days) and 1.83 and 4.48 t CO2/ha after 1 and 5 years This first study comparing experimental and modeled pore water chemistry in an EW mesocosm experiment indicated an underestimation of modeled CO2 sequestration as simulated Ca and Mg pore water concentration were substantially lower than measured concentrations we did not detect a significant increase in TIC probably because TIC increases were too small compared to soil heterogeneity long term assessments in future mesocosm and field experiments can help to further improve experimental and modeled estimates of CO2 sequestration through EW nitrogen leaching significantly decreased with basalt addition suggesting that other processes were at play In order to draw conclusions about the basalt effect on total soil nitrogen losses future analyses should also consider gaseous N losses such as NH3 and N2O and increases in soil and pore water Ni were below allowed environmental quality standards the weathering-induced risk of increased Al availability did not result in lower potato biomass potato biomass was not significantly increased The original contributions presented in the study are included in the article/Supplementary Material, further inquiries can be directed to the corresponding author. Raw data can be consulted at https://zenodo.org/record/6477990#.YmLAPNpBw2x AV did the data analyses and PHREEQC modeling with help from PW and JH and AV drafted the paper All authors contributed to the interpretation of the results and the writing of the paper and contributed to the article and approved the submitted version This research was supported by the Research Foundation—Flanders (FWO) and by the Research Council of the University of Antwerp PW was employed by (GLOBAL) Future Forest Company Ltd The remaining authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations Any product that may be evaluated in this article or claim that may be made by its manufacturer is not guaranteed or endorsed by the publisher We thank Sebastian Wieneke and Cristina Ariza Carricondo for help during the experimental setup The Supplementary Material for this article can be found online at: https://www.frontiersin.org/articles/10.3389/fclim.2022.869456/full#supplementary-material Ideas and perspectives: synergies from co-deployment of negative emission technologies CrossRef Full Text | Google Scholar Enhanced Weathering and related element fluxes - A cropland mesocosm approach Arnórsson Molybdenum and tungsten in volcanic rocks and in surface and <100 °C ground waters in Iceland CrossRef Full Text | Google Scholar Regulation of denitrification at the cellular level: a clue to the understanding of N2O emissions from soils Potential for large-scale CO2 removal via enhanced rock weathering with croplands Farming with crops and rocks to address global climate food and soil security /631/449 /706/1143 /704/47 /704/106 perspective In silico assessment of the potential of basalt amendments to reduce N2O emissions from bioenergy crops Microbial carbonic anhydrases in biomimetic carbon sequestration for mitigating global warming: prospects and perspectives PubMed Abstract | CrossRef Full Text CrossRef Full Text | Google Scholar A rapid method of determining exchangeable hydrogen and total exchangeable bases of soils CrossRef Full Text | Google Scholar Kinetics-informed global assessment of mine tailings for CO2 removal nutritional and social contribution to humankind Nutritional and Social Contribution to Humankind CrossRef Full Text | Google Scholar Effects of silicon and drought stress on tuber yield and leaf biochemical characteristics in potato Purification and characterization of carbonic anhydrase from human erythrocyte plasma membrane Effectiveness of enhanced mineral weathering as a carbon sequestration tool and alternative to agricultural lime: an incubation experiment Silício reduz o conteúdo de alumínio em tecidos e ameniza seus efeitos tóxicos sobre o crescimento de plantas de batata FAO (2008). 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This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY) distribution or reproduction in other forums is permitted provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited in accordance with accepted academic practice distribution or reproduction is permitted which does not comply with these terms *Correspondence: Arthur Vienne, YXJ0aHVyLnZpZW5uZUB1YW50d2VycGVuLmJl Disclaimer: All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations Any product that may be evaluated in this article or claim that may be made by its manufacturer is not guaranteed or endorsed by the publisher 94% of researchers rate our articles as excellent or goodLearn more about the work of our research integrity team to safeguard the quality of each article we publish « Back Known the world over, the Jazz à Vienne Festival is a not-to-be-missed institution for all music lovers this Isère-based event draws crowds with its eclectic line-up of jazz the Jazz à Vienne Festival has expanded both its audience and its reputation It has grown from small local concerts to renowned international acts the legendary Ray Charles enchanted audiences with his unique voice many other world-renowned artists have graced the festival stages The festival is not only a venue for big names it also encourages emerging and local artists creating a diverse musical experience for all festival-goers More than 40 years after its creation in 1981 by Jean-Paul Boutellier, the Festival Jazz à Vienne continues to amaze audiences with its eclectic Norah Jones and Thomas de Pourquery have recently set the Festival's summer evenings alight In 2025, Jazz à Vienne returns from June 26 to July 11 , with a host of great musical evenings to be discovered in the majestic setting of Vienne's Théâtre Antique Concerts by jazz double bassist Avishai Cohen Madeleine Peyroux and British pianist and singer Jamie Cullum Don't forget the gypsy jazz evening with Biréli Lagrène as well as the evening of July 11 with Seun Kuti and join us from June 26 to July 11 for the 2025 edition of Jazz à Vienne This page may contain AI-assisted elements, more information here Refer your establishment, click herePromote your event, click here The Hans Hollein transForms exhibition provides a better understanding of the coherence between the creative and critical approaches of Austrian architect Hans Hollein (1934-2014) It showcases his most iconic pieces which themselves reflect research spanning over half a century the view of his “style” as postmodern deserves further study in light of his involvement in the various movements that shaped the post-avant-gardism of the 1960s to 1980s ranging from Informalism to Conceptualism and the Radical Architecture movement the Centre Pompidou devoted a significant exhibition to him in the Forum the Centre Pompidou - Musée National d’Art Moderne acquired a vast collection in 2016 drawings and documentation on all aspects and covering all periods of his work With his first research into the concept of space (1958-1962) and on Architekturskulptur in Austria and the United States followed by the Architektur exhibition with Walter Pichler (Galerie Nächst St 1963) and his collages on urban scale (now at the MoMA) the first phase of his work links in closely with Conceptualism especially through his participation in the catalogues and exhibitions devoted to this movement he played an active role in editing BAU magazine in Austria while still working on noteworthy exhibitions including Austriennale (Triennale di Milano MantransForms (Cooper-Hewitt Museum in New York 1976) and installations such as Die turnstunde (Städtisches Museum Abteiberg in Mönchengladbach His international reputation and his affiliation with this movement were confirmed by the creation of his iconic façade featuring a series of columns for the founding exhibition of postmodernism ‘La Strada Novissima’ at the 1980 Venice Biennale including Retti (1966) and Schullin I and II (1974-1976) Hollein worked on a large number of architectural projects in Austria and on some major creations further afield such as the Museum Abteiberg in Mönchengladbach (1982) the Museum of Modern Art in Frankfurt (1991) Discover how Paris 2024 became the most media-covered Olympic Games in history See how the Olympic Games’ communications team supported by Wiztrust’s tailored PR platform overcame complex challenges-from synchronizing teams and managing thousands of journalists to ensuring top-level security Learn how innovative digital tools and expert support enabled Paris 2024 to achieve record-breaking visibility and flawless brand protection Download the full Paris 2024 Success Case now and get inspired by the strategies behind this record-breaking achievement For further information and other cases please visit Wiztrust.com protect your company and its directors from disinformation and adopt the “trust mark” of the market leaders plan campaigns targeting your audiences through all channels (e-mail social media) and organise your activities and events improve results by exploiting your data's true depth Discover the best way to manage your PR & Marketing efficiently: Wiztrust is THE integrated communication platform for corporate professionals Prioritise your activities thanks to a clearer view on your assets Manage your communication thanks to a collaborative platform for you and your team Certify your corporate communication thanks to our blockchain-backed technology Save your team and yourself some precious time Learn more about Wiztrust in our case study Sign In Subscribe Now Salmon Arm's Vienne Bredick struck gold over the weekend at the Legion National Youth Track and Field Championships one of 15 U16 athletes chosen to represent B.C achieved both a personal best and a first-place podium finish in the U16 Women's High Jump category with 1.68 metres (5.5 feet) Amairah Gayle of Toronto came in second place with a jump of 1.64 metres while third went to Edmonton's Shayla Kaganovsky with 1.60 metres.  Bredick secured a spot as a high jumper on the B.C team after springing to her previous personal best 1.67 metres (5.5 feet) at the U16-SR 2024 BC Athletics Provincial Track & Field Jamboree and coach Ian Cameron with Vernon Triple A Track and Field are proud of her accomplishment though Cameron anticipated Vienne would medal Though she's only trained with him for a year Cameron called Vienne a "standout."  "I’ve been coaching a bunch of years and I’ve been B.C team coach for Legions lots of times and she is very Dialogue and debate are integral to a free society and we welcome and encourage you to share your views on the issues of the day. We ask that you be respectful of others and their points of view, refrain from personal attacks and stay on topic. To learn about our commenting policies and how our community-based moderation works, please read our Community Guidelines 2022 at UF Health The Villages Hospital in Florida with his loving wife by his side the son of Frank Vienne and Ester Ann Worden Peter worked 37 years for HJ Heinz and retired in 2000 with awards of career excellence.  Peter loved his country and proudly served in the United States Army.  He enjoyed sports and the Fighting Illini.  He watched every Illini football and basketball game that he could.  However his greatest enjoyment in life was spending time with his family and friends.  He had a life well-lived and will be dearly missed by all who knew him.  He is survived by his wife of 27 years Francine (Serpico); his children Dr and Steven Vienne; Francine’s daughter Nicole (Brian) Sommerfeld he loved like one of his own; grandchildren Peter P and Maria Sommerfield; 14 great-grandchildren; and 1 great-great-grandchildren; and many other relatives and friends Peter was proceeded in death by his parents and sister Barbara Vienne Geneva for Celebration of Funeral Mass at 10:30 am with Father Jonathan Bakkelund Celebrant To view the previously recorded Funeral Mass for Peter, please click on the following link: https://www.youtube.com/watch?v=cKIWWW4tjV4 To view Peter's picture slideshow please click on the following link:  https://www.tributeslides.com/tributes/show/QHWGHSWKCSMSK3CJ Burial will follow at Queen of Heaven Cemetery in Hillside March 8 from 3:00 – 8:00 pm at Malone Funeral Home memorials would be appreciated to help aid the people of Ukraine or to help research the cure for Parkinson’s at The Parkinson’s Foundation For information 630-232-8233 or www.malonefh.com Davis solos less on Merci Miles than I wish he had Miles Davis, Merci Miles! Live at Vienne (Warner/Rhino) One of the great joys in a jazz lover’s life is to cut the shrink wrap and hear a record of new Miles Davis material for the first time Adding to the pleasures so far this summer is Merci Miles recorded live in France almost exactly 30 years ago on July 1 The two-CD or two-LP set has historic as well as musical value The concert happened less than three months before Davis died on September 28 This was the last concert Davis played before the two surprising retrospective concerts in his final three months: the Montreux Jazz Festival concert with Quincy Jones on July 8 revisiting the music Davis recorded with Gil Evans and the surprising all-star career retrospective hastily assembled in Paris just two days later on July 10 One day it would be great to have this entire short European tour — from June 28 in Hamburg to July 21 in Andernos France — released as a compilation or box set The Montreux concert with Jones conducting the Evans arrangements has been released as Miles and Quincy Live at Montreux (Warner) but the all-star concert has frustratingly never seen an official release (there is a poorly mastered bootleg CD out there named Black Devil) A nice touch in this future box set would be some speeches from the July 16 ceremony where Davis was awarded the highest honor in France No one seemed to think that Davis was close to death during these final three months He was happiest with the simple pleasures of spending time and painting with his new partner His two career retrospective concerts in Montreux and Paris were motivated not by commercial interests but by an apparently sincere wish to remind the world of his lasting contributions and to have reunions with the musical partners that meant the most to him over the years (including Evans whom he claimed occasionally made ghostly visits) Davis cut down his touring band from as many as 10 people to just five Merci Miles has a sextet — the same size as the band that recorded Kind of Blue Gone were the racks of keyboard used by Robert Irving III and Adam Holzman in earlier ’80s bands According to the new keyboardist Deron Johnson I tried to put more stuff into my playing than trying to just get every sound… but basically it was one electric piano vibe because with that band there was just so much space.” The band members play less Even the stage-hungry guitar hero Foley was starting to chill: “We were at Venice airport one night and he told me to play half of what I normally played and I began to realize that’s what would make me phrase That was the night I started to learn how to play.” Even if he is only stating the opening melody it’s not hard to aurally unplug the band on the opening choruses of “Amandla” or “Time After Time” and picture the early ’60s Miles Davis in an Italian suit at a small NYC nightclub playing his muted horn for a silenced audience It’s striking to see the big picture of a dented and chipped Harmon mute on the front inside of the CD booklet or the LP sleeve — it’s a powerful reminder of the acoustic thread running from Miles’s earliest recordings to his very last the low-tech tool that became so central to his distinctive voice on the trumpet Perhaps Davis was thinking of his upcoming concert a week later when he would tackle selections from Porgy and Bess and Sketches of Spain preparing to merge his contemporary sensibility with his old sound and phrasing There are newcomers here to freshen up the sound has a jazzier sound than some of his more R&B-oriented predecessors This is his first featured appearance on a Davis album apart from a single track on the compilation Live Around the World then become increasingly harmonically abstract sometimes skirting the edges of Herbie Hancock territory as on “Hannibal” and “Amandla.” I suppose it’s easier to tour with a synthesizer than with a piano or a Hammond B3 organ Bassist Richard Patterson had been around since April 1990; he also appears on Live Around the World Those who’ve listened to many of these Davis concerts since 1987 may take Kenny Garrett for granted There’s often a similar structure to his alto sax solos a well-worn path he takes from his single-phrase beginnings — ones sometimes passed to him directly from Miles’s trumpet and their instruments almost touching — to his percussive Maceo Parker-like middles and his dramatic late-Coltrane inspired finales But he’s a fine player with his own sound and style: it’s impossible to think of these final Davis bands without him on a four-string “lead bass” tuned an octave higher plays the rhythm guitar role high up on the fretboard He’s all over “Wrinkle,” a draining workout for the rhythm section in dramatically shifting tempos I have no idea why he doesn’t just pick up a guitar with strings — it would be much more forgiving given this funky style of rhythm playing Foley’s usual solo space is taken up on this night by Patterson (on real bass) and Johnson on keyboards Some writers have made much of the first appearance on record of two tracks written for Davis by Prince the embarrassingly titled “Penetration” and “Jailbait.” I realize I’m an outlier here and if Miles dug Prince then that’s cool with me but neither of these sound like Prince put his back into it “Penetration” strikes me as a non-jazz musician’s idea of what a jazz melody is supposed to sound like but it’s all the band needs to launch into the more rewarding solos as well as the red meat from Patterson’s funky bass It’s a good foundation to set up a peak Garrett solo — he’s more abstract than you’d expect and he starts with some phrases that wouldn’t sound out of place in a Wayne Shorter solo all three notes of it) hints at Henry Mancini’s “Peter Gunn Theme” but without the hook It’s fundamentally a traditional 12-bar blues and Johnson plays some Hammond B3 sounds on synth in that surging Gospel-influenced style Garrett is an underrated blues player on alto (some smart Chicago guitarist should book him for a session) “Jailbait” is a major lost opportunity — one of the great blues players in the history of the music was prowling around there on stage And this ended up being one of his last concerts “Amandla,” written for Davis by Marcus Miller is a much better example of a song customized for the strengths of the player and his band It’s an appealing and thoughtful melody with an interesting and complex set of harmonic changes There are subtle syncopations in the rhythm that invite creative solos and we get a fine one from Johnson (but again Davis has pared down “Amandla” to a ballad and transformed it into a fresh new song thanks to Ricky Wellman’s tasteful drumming Davis’s presence is more often felt than heard But there are times when the Black Magus can still perform magic The standout track on the album is Steve Porcaro and John Bettis’s “Human Nature,” famously recorded by Michael Jackson which the Davis band had been playing at almost every gig since 1985 They ditch the overly familiar arrangement on this night and stretch it out to 18 minutes “Human Nature” was traditionally the long Kenny Garrett feature on alto sax You can hear the classic Davis in how he states the melody — his playing is full of flexibility and a fascinating sense of how elements of the melody can be disassembled and stacked up again in new combinations some extended notes to luxuriate in Davis’s muted sound and beautiful cascading runs up and down and back up again His famous silences separating his short phrases can bring the band (which is listening closely) down to a whisper Davis stitches elements from the history of his styles into one long cohesive solo: there is a bit of the flamenco sound from Sketches of Spain and Siesta some of the slightly spooky children’s melodies from “Jean Pierre,” and even a few bebop phrases He takes the mute out at the end of his solo for just two notes Garrett plays to the rafters and screams it out for the crowd during his solo Davis and Garrett don’t just play “Human Nature,” they portray it He’s already begun setting up the next song “Time After Time,” as if to say this is how human nature is Hearing this in Vienne on that July night in 1991 in a Roman amphitheater that has been in constant use since around 50 AD must have been a powerful reminder of all that passes and all that endures Allen Michie works in higher education administration in Austin, TX. He has studied Miles Davis for years, is the moderator of the active Facebook group “Miles Davis Discussion,” and recently reviewed the Rubberband album for the Arts Fuse and I agree that the pared down band and sound are what add to the enjoyment of listening to this album Good call on Deron Johnson — I thought he was a great addition to this band and it’s a shame Miles didn’t live longer to explore the sonic possibilities of this line-up I think he once said that six strings messed up his mind The whole band was superb — Ricky Wellman was right in the pocket; Richard Patterson was fast Foley played great rhythm as well as soloing and Kenny Garrett was the perfect musical companion for Miles I thought Miles played with great feeling on ‘Time After Time.” I love this album and your suggestion of a boxed set of gigs from this tour is a brilliant one Excellent review and foray through latter day Miles Makes me want to burrow into “Human Nature!” […] The two-CD or two-LP set has historic as well as musical value One day it would be great to have this entire short European tour — from June 28 in Hamburg France — released as a compilation or box set “Human Nature” is not a Michael Jackson song It was written by Steve Porcaro and John Bettis Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" The Lady’s Dressing Room (1732) BY JONATHAN SWIFT Five hours (and who can do it less in?) By haughty Celia… but this Littlefield review has convinced me to make the purchase your comments reek of what is wrong in today's society and also if entitlement About Us Advertising/Underwriting Syndication Media Resources Editors and Contributors © 2025 The Arts Fuse. All Rights Reserved. Site by AuthorBytes The transaction also includes terminals in Toulouse and Villette-de-Vienne a consortium comprising commodity trader Trafigura and Entara has entered into an agreement with ExxonMobil’s ESSO SAF to acquire the Fos-sur-Mer refinery in France.  the financial terms of which were not disclosed also includes terminals in Toulouse and Villette-de-Vienne has direct access to a major port and the capability to handle a diverse range of crude oil feedstocks Rhône Energies aims to leverage the refinery’s workforce and manufacturing performance to enhance margin capture Rhône Energies plans to retain approximately 310 staff members.  As part of the acquisition terms set out in April Trafigura will enter a minimum ten-year exclusive agreement for crude oil supply and product offtake with Rhône Energies.   Don’t let policy changes catch you off guard Stay proactive with real-time data and expert analysis This arrangement includes ownership of crude oil and product stocks guaranteeing the refinery a secure and cost-effective feedstock supply as well as a reliable outlet for its refined products in the domestic market.  In addition to the supply chain agreements Rhône Energies has pledged to continue providing Esso SAF with products in the region.   The company also plans investments in the refinery to reduce its carbon footprint and to support the co-processing of biogenic feedstocks thereby increasing the production of renewable fuels.  part of the Rhône Energies consortium and established by former Crossbridge Energy executives will manage the Fos-sur-Mer asset.   asset integrity and performance in commercial Entara CEO Nicholas Myerson said: “We are delighted to have finalised the sales agreement for the Fos-sur-Mer refinery and the Toulouse and Villette-de-Vienne terminals.   “We look forward to continuing our engagement with the operational management and the transition team to ensure a smooth transition of operations Discussions with national and local stakeholders have been particularly constructive and we remain committed to collaborating with all parties on operations and our future plans.”   The sale agreement follows a consultation process with employee representatives.   Discussions with relevant authorities are in progress with the necessary approvals expected by the end of October 2024 Give your business an edge with our leading industry insights View all newsletters from across the GlobalData Media network Salmon Arm's Vienne Bredick is on a high after being one of 15 athletes aged 16 and under chosen to represent B.C at the upcoming Legion National Youth Track and Field Championships Jackson Secondary student earned the honour to compete in the Aug 9-11 event for U16 and U18 athletes with a personal best in high jump 167 centimetres (5.5 feet) at the U16-SR 2024 BC Athletics Provincial Track & Field Jamboree "I was very happy and I placed second at Jamboree to qualify for Team B.C.," said Vienne explaining that to be considered for the team she had to at least meet the standard of 161 cm (5.3 ft).  Days after completing her nationals-qualifying high jump Vienne was in Maple Ridge for the BC Summer Games (July 17-21) where she won a silver medal for coming in second place in the girls high jump She also came in fifth for girls long jump.  so I had to drive all the way back to Salmon Arm from that and then leave the next day for BC Summer Games in Maple Ridge "I only jumped 160 cm but I placed second overall so I was pretty happy with that." Vienne first set foot in track and field in Grade 4 at Bastion Elementary Vienne said one of the teachers there would help her with her long jump over lunch hours I discovered I was actually pretty good at it and I like to be good at stuff who also takes part in other sports including mountain biking and swimming.  because she was in Grade 8 Vienne was able to participate in high school meets (for students Grade 8-12) earned Vienne a spot at provincials where she became nervous competing in the company of many skilled athletes.  "I was really nervous because I’d never been to meet where there was such good jumpers…," said Vienne who still managed to medal in third place in her cross-country running shoes (as opposed to track spikes). "I was struck when I saw all these people in their spikes and their speedy outfits and stuff like that." and I knew I needed more training so I could handle those bigger meets," said Vienne who reached out to Vernon Triple A Track and Field coach Ian Cameron.  "We did a session together – it was so fun just flying through the air … the whole world kind of goes quiet when you’re in the air and it’s beautiful," said Vienne who trains three times a week in Vernon while still swimming in Salmon Arm.  Despite this being Vienne's first year of training with the club Cameron called her a "standout," and said he wouldn't be surprised if she medals at the national event.  honestly," said Cameron of Vienne being selected for the U16 B.C they’re only allowed to take 40 members on the BC Team So she was one of 15 chosen throughout the province and when you think about it that’s males and females combined and all events combined." if not more proud was Vienne's mother Luvena who has been driving Vienne to the various meets.  "Shes’ always been pretty athletic and has always done quite well," said Luvena noting Vienne was Athlete of the Year at Jackson this year "I think the success here has been really fast considering she really just started training in April for this She's really enjoying track and she's hoping continue on and maybe go down to a university team in a few years when she graduates." Vienne is grateful for all the support she's received from her mother whose guidance has been helped build her confidence for bigger competitions.  "I feel like actually having someone to coach me and really support me helped with my confidence in the sport," said Vienne.  Dialogue and debate are integral to a free society and we welcome and encourage you to share your views on the issues of the day. We ask that you be respectful of others and their points of view, refrain from personal attacks and stay on topic. To learn about our commenting policies and how our community-based moderation works, please read our Community Guidelines. Please enable JS and disable any ad blocker Global Lead Partner EN • EnglishDE • DeutschES • EspañolFR • FrançaisZH • 繁Welcome which she began learning at the age of six sculpture and painting (a family affair for a girl whose mother was a visual artist) All were embraced with the same exacting standards my mother and I would make it,’ she recalls a decisive encounter with literature and philosophy: Georges Bataille but I continued all these other practices on the side.’ This woman who looks like she was once a well-behaved child now stands before us as one of the most influential artists shaking up the contemporary scene Vienne is celebrated for her uncompromising vision that wrenches the guts and twists certainties She encapsulates her aim and her quest in a single phrase: to ‘displace perceptual frameworks’ – those we have inherited and internalized to the point of considering them normal the artist prompts us to ask questions: What do we see first we begin to realize that nothing can be taken for granted and that almost everything reflects a shared communion in the perceptible because everything could just as easily be otherwise: Change is a question of aesthetics before all else We are in a café in the 10th arrondissement of Paris a stone’s throw from the theaters on the Faubourg Saint-Antoine discussing Vienne’s first artistic experiences We could just as well have met in Grenoble or Geneva which premiered in mid-August last year at the Ruhrtriennale in Germany the Franco-Austrian artist subtly submerges us in troubled waters We find ourselves in a kind of apnea where certainties disappear in a hallucinatory haze pierced by lasers and where space-time dissolves in the sweaty The story at the heart of this production must be stated clearly and from the start It is one of the oldest stories in the world yet relegated to invisibility and the unspeakable A brother and sister come face to face twenty years after the trauma of incest The show begins with a car in a parking lot and we recognize the artist’s penchant for seedy atmospheres full of possibility: free parties and a process is already underway: they will do everything in their power to conjure up the past and attempt to be reborn together ‘Those who dominate others constantly work to legitimize the existing order The theme of incest is present throughout much of her repertoire from Éternelle Idole (2009) to This Is How You Will Disappear (2010) It is impossible to articulate the subject once and for all – in other words it has to be reworked over and over again: ‘That is also why this cross-disciplinary approach to the arts is necessary to move things forward.’ The little girl who refused to choose is still there but this interdisciplinarity has become a formal commitment for the choreographer EXTRA LIFE will be presented at the Théâtre Vidy-Lausanne, June 12, 13, 15, and 16, 2024. Ingrid Luquet-Gad is an art critic and PhD candidate based in Paris. She teaches art philosophy at the University Paris 1 Panthéon-Sorbonne. Credits of the top image: Crowd (2017). Design: © DACM / Gisèle Vienne. Photograph : © Estelle Hanania Inspired by the Nabis, the painter prepares for her show at the Musée d’Orsay ReadAmazons, Furies, Valkyries: Amy Bravo’s celestial warriorsIn her solo show at Semiose in Paris, the young American artist summons numerous female divinities, exploring mysticism and her Cuban roots ReadHow I became an artist: Wolfgang LaibAhead of his show at the Musée de l'Orangerie in Paris, he tells Art Basel about beauty, nature, and modesty Sigma Delta Pi, the National Collegiate Hispanic Honor Society, named Vienne Park ’23 to its Board of Student Advisers a speech-language pathology and audiology and Spanish double major  began her two-year term in March 2023 and joins a very active and well-established BSA that was founded in 2016 This seven-member board represents SDP members from across the country and provides national leadership opportunities to select student members who offer feedback to the national executive committee on issues related to honor society They identify strategic initiatives to bolster membership provide a student perspective on proposed initiatives of the executive committee identify areas of potential improvement with SDP’s programming and discuss issues of concerns at the national and local levels we helped coordinate Sigma Delta Pi Day on May 1 meeting with SDP chapter leaders from across the country to provide workshops and spaces to network across different chapters,” Park said Park credits TCNJ’s Department of World Languages and Cultures with getting her to this national leadership position “The department has supported my learning of the Spanish language so that I not only learned Spanish but also learned to appreciate every aspect of it,” Park said. “This passion for the Spanish language that this department instilled directly supports and aligns with the mission of the BSA What never ceases to amaze me is that even as I move on to new endeavors TCNJ and the WLC faculty will continue to support my achievements and the BSA’s initiatives.” Sigma Delta Pi is the largest collegiate foreign language honor society in the U.S. and its purpose/mission is multi-faceted: 1) to honor those who excel in the study of the Spanish language and in the study of the literature and culture of the Spanish-speaking world; 2) to foster an understanding cultures and societies of the Spanish-speaking world; 3) to honor those who have promoted and reinforced a better understanding of the contributions of the Spanish-speaking world; and 4) to serve its membership in support of the Society’s goals and ideals With its national office at the College of Charleston in South Carolina, Sigma Delta Pi is a member of the Association of College Honor Societies the nation’s only certifying agency for college and university honor societies              View Full Site TCNJ Today || Parents || Alumni TCNJ Home About Academics Admissions Athletics Campus Life Library A-Z | Directory | Map | Offices Facebook   Twitter   LinkedIn   Instagram   YouTube she had been making films for 17 years and her eyes were hard as a blunt accusation she walked out of the César awards to protest Roman Polanski winning the best director prize pedophilia!” before vanishing from the industry In a letter to the French cultural magazine Télérama she announced she was done with the French film business—finished with its misogyny She said she was starting a new kind of life with the choreographer Gisèle Vienne the pair have come to New York with a new dance called L'Étang When Vienne calls me from a balcony in upstate New York L'Étang is set to open at New York Live Arts in about a week’s time and she occasionally glances over the railing in worry “They sound like they’re crying,” she says I suspect it’s only politeness that keeps her from racing down the stairs to check on them I can tell she is a person who cannot ignore pain She liked them because they made her laugh She saw beauty in Haenel’s humor and also something else—a sense of timing and musicality Vienne told Haenel about a play that she wanted to bring to France It was written in a form of German barely anyone spoke outside of Switzerland Vienne had just found a translation she could read It was about a boy who loves his mother too much and fakes his own suicide to see if she feels the same way Vienne saw emotions that no one in the play dared to articulate and she started to imagine those feelings as movements She wanted the story to seem like a continuous conversation between the boy and his mother so she cast just two dancers—Haenel and Julie Shanahan who spent the first part of her career dancing for Pina Bausch—for 10 parts Haenel had never danced professionally so for three years she trained Vienne has worked as both a puppeteer and a ventriloquist speaking as one character while letting her body respond as another berating her as her body clenched in horror Vienne’s version of L'Étang is the story of a child smashed by the world of adults she saw something of Haenel’s life as well Haenel shot her first film at 12 years old Haenel became the first high-profile actress in France to speak out against a filmmaker “People in France see it as too Puritan,” Vienne says She often makes dances about teenagers because she thinks they see things better than other people but not so old they’ve learned to accept it she finds resistance—a brutal struggle against the life laid out for us in advance His mother’s inattention is a true violence; she looks on while his father abuses him the boy becomes so desperate that he begs her to insult him; if she screams we see Haenel’s body arch backwards as if pressed against a wall the sound of choking erupting from her throat while her face registers nothing After the dance premiered in France in 2021 “It’s a form of reclaiming the story of my life.” Haenel introduced Vienne to a novel about an heiress kidnapped by radicals and soon she sees her old life in a new way: She finds that her parents “It’s based on a true story,” Vienne tells me but I have already recognized it as the story of Patty Hearst I first heard it from an actress who left her abusive Hollywood husband at gunpoint which in L’Etang is distilled into just a few lines: After the boy reveals he hasn’t taken his own life he suspects his family would have preferred him dead Vienne thinks about things like social services and laws but they ultimately feel superficial to her What she finds most important is how we see other people; how we reduce them to fit into our narrow vocabularies “It’s the open door to killing,” Vienne says she turned to dance because she believes it can say more one every bit as important as what we say in words When a man claims that a woman “said nothing,” Vienne finds it ridiculous because the body always speaks she plays a game with the limits of our attention: How closely will we watch a story of deep pain The piece moves like a sports game replayed at one tenth the speed The boy and his mother roll onto the stage so slowly you can barely see them move To actually watch takes absolute concentration When Haenel’s disappearance was talked about in tabloids last spring Haenel was performing in L’Étang on stages across the world; people only had to look up her name to know that They were the ones who had decided these forms of expression did not count language outside a big-budget movie did not exist L’Étang is being performed at New York Live Arts from October 21-23. Sign In A review of the all-time jazz legend's previously unreleased 1991 performance in France So many ways to say “thank you.” Especially to someone like Miles Davis who moved the earth to suit his vision for music over and over (and over!) again Here’s one: Gather all the qualifiers that have appeared in reviews of Davis’ late-career Warner Bros including this energetic previously unreleased live album Look for the backhanded compliments about how Davis sounds “strong” given his age how he’s still “got it,” how his playing is a marvel considering that he was sick Bundle those jazz-legend-at-sunset platitudes together Because that’s pretty much what Davis and his band do throughout the relentless performance captured here which was recorded at a festival in the South of France less than three months before he died Working from a set list that includes late-era hits like “Time After Time,” Davis leads an exploration of hip-hop-dusted post-fusion funk that’s more agile and alive—and in some ways more nuanced—than the iterations on his studio records creates a foundational rhythm that’s unshakable and deep—and at the same time flexible and agreeably floppy Davis attends to performance considerations on levels both micro (check the scissoring melody of “Wrinkle,” delivered in exacting unison by Davis and saxophonist Kenny Garrett) and macro (the misty interlude in the middle of “Human Nature”) Where some late Davis performances tended to wander this one is all show-biz discipline; there are even a few moments like the sputtery/torchy Garrett solo on “Penetration,” that feel almost too choreographed “Penetration” and “Jailbait,” are not the only ones that bear his influence specifically in his attention to rhythmic detail shifts abruptly from a frenetic up-tempo pulse with EDM subdivisions to a stunningly minimal half-time groove with Davis and his crew coalescing around the rhythm and then darting off to examine possibilities pulse-quickening approach was what Davis was chasing with his later work What does matter: Whenever he showed up for work Learn more about Merci Miles! Live at Vienne on Amazon! The Ballad of Miles Davis and Prince Tom Moon is a regular contributor to National Public Radio To take on Peggy Lee phrase-for-phrase, squeak-for-perky-squeak, with those soft sexy whispers, would be by far the easier course. Callaway, wise in the ways of … Read More “Ann Hampton Callaway Fever: A Peggy Lee Celebration (Palmetto)” While a partnership between alto saxophonist Jim Snidero and guitarist Kurt Rosenwinkel wasn’t immediately predictable, upon closer analysis, makes perfect sense. Both have been active … Read More “Jim Snidero Feat. Kurt Rosenwinkel Far Far Away (Savant)” Vibraphonist Chris Dingman has always been a thoughtful musician, his unique, kinetic style providing both emotional uplift and meditative escape. With his new album, Journeys … Read More “Chris Dingman Journeys Vol. 2 (Self-Released)” As one who has feverishly collected the Prestige Cookbook albums of the great tenor saxophonist Eddie Lockjaw Davis for years, I was dumbstruck when I … Read More “Eddie “Lockjaw” Davis with Shirley Scott Cookin’ with Jaws and the Queen (Craft)” JazzTimes—“America’s Jazz Magazine”—provides comprehensive and in-depth coverage of the jazz scene JazzTimes is a favorite of musicians and fans alike Taylor Wessing has advised the leading Austrian power generation company WEB Windenergie AG on the sale of the Imst hydropower plant The seller was supported by a team led by Taylor Wessing Vienna partners Peter Solt (Energy/Real Estate) and Claudia Steegmüller (Corporate/M&A) They were supported by partner Allan Hahn (Corporate/M&A) partner Sabine Meister (Public Law) and the associates of the respective teams "This transaction once again emphasises our position as a go-to expert for a wide range of topics in the field of renewable energies," says Peter Solt about the mandate Claudia Steegmüller adds: "The transaction which was implemented in a particularly tight timeframe underlines our expertise and efficiency in the implementation of complex M&A deals." WEB Windenergie AG acquired the Imst hydroelectric power plant in 2006 thoroughly modernised it technically and optimised it ecologically The sale that has now taken place once again reinforces its clear focus on wind and solar power Subscribe to newsletters on topics relevant to you par Peter Solt, LL.M. et Philip Hoflehner, MIM (CEMS) transfixing and strangely resonant.”— The Guardian BAM in association with FIAF’s Crossing The Line Festival PresentsCROWDConception choreography and scenography by Gisèle Vienne Gisèle Vienne stops time in this hypnotic work that’s captivated audiences from Tokyo to Sao Paulo The acclaimed French choreographer transports us to a rave and a night spent losing oneself in the crowd The air throbs with pulsing beats from the radical EDM artists of 90s Detroit capturing a moment of explosive synchronicity or slowing down to illuminate the tiniest movements as 15 individual stories emerge and are subsumed by the group.Showcasing Vienne at the height of her artistic power, CROWD makes its US premiere at BAM in a rush of collective euphoria and creative destruction Sound design by Peter Rehberg and Stephen O'MalleyLighting design by Patrick RiouDramaturgy by Gisèle Vienne and Denis Cooper With leadership support provided by Dance Reflections by Van Cleef & ArpelsCrossing the Line Festival is a program of FIAF (French Institute Alliance Française) Brooklyn Academy of Music, 30 Lafayette Ave, Brooklyn, NY 11217info@BAM.org BAM is a 501(c)(3) | EIN 11-2201344​ © Brooklyn Academy of Music Next Wave® and Teknopolis® are trademarks of Brooklyn Academy of Music for the first time in a century - after the animal suffered from eradication in the 1930s The animal was discovered dead next to a railway link near the commune of Lathus-Saint-Rémy The prefecture in Poitiers announced on Thursday March 18 that the animal had been formally identified as a wolf and was the first appearance of its kind in almost a century The animal was confirmed as a wolf based on a photo that an observer sent into biodiversity agency l'office français de la Biodiversité (OFB) which is tasked by the Environment Ministry to monitor wolf numbers and activity the office said: “[We] very quickly were able to identify this animal as very probably a grey wolf (Canis lupus lupus) The morphology criteria correspond to that of a wolf (size Further analysis is now set to take place on the animal Wolves largely disappeared in France in the 1930s They began to reappear naturally in the 1990s this is the first report of a wolf in this department since the 1930s The prefecture said: “In Nouvelle-Aquitaine the presence of the grey wolf has been confirmed since 2015 and Charente; and confirmed permanently in the Pyrénées-Atlantiques since 2018.” It added: “Although the presence of a wolf in Vienne is a first for almost a century the species is known for its wide capacity to move over wide distances especially when it is seeking its own territory.” Wolves can travel distances of up to 800km before settling down in one area increased reports of wolves have caused worry among sheep and lamb farmers Audrey Tessereau, director of the regional sheep farming economic group GIE (groupement d’intérêt économique) Ovin Centre-Ouest, told news service 20 Minutes: “This will cause extra stress for farmers The sector is the prestigious “IGP Label Rouge Agneau du Poitou-Charentes” the label given to high-quality lamb from the area mayor of neighbouring commune Montmorillon which is not surprising given how far the animal can move We need to get everyone around one table - farmers and nature protection groups - to take this problem seriously.” young wolves born last spring can take their place in the pack This is what causes them to travel long distances before finding somewhere new to settle Most make their journey without being spotted (Map: LoupFrance.fr) which maintains constantly-updating maps on the animals’ sightings and presence across the country The OFB collects annual data on their numbers and has followed the species since it was noted to have returned in 1992 with occasional sightings further west and north (Maps: LoupFrance.fr) Uncleaned mess is highlighted with fluorescent orange paint Disorderly pets can wreak havoc on gardens LondonGisèle Vienne creates a mesmeric night of intrigue at a rave while South African whirlwind Dada Masilo makes a ballet classic her own A good week for female choreographers brought two works that are unlike anything before even though both have something to do with a name familiar from the origins of Romantic ballet Crowd, choreographed by the French dance-maker Gisèle Vienne, opened Dance Umbrella 2019 (which will feature many more female creators With its roots in Vienne’s experiences in 1990s Berlin clubland and a pounding techno score from artists such as Jeff Mills Global Communication and Underground Resistance it feels both like a particularly wild party and a triptych on the theme of heaven and hell by a painter such as Bosch The setting also makes it bear a resemblance to Pina Bausch’s Rite of Spring very slo-mo across an empty landscape of compacted mud scattered with the detritus of a good night out They look like the average reveller in their hoodies and sparkly shoes but also like explorers on an alien planet The movement is mesmeric but normal; these are natural gestures slowed down to the point where each pulse of each muscle is highlighted The effect is both transfixing and slightly disorienting Under Patrick Riou’s sharply sculptural lighting the scene most resembles those slowed-down Bill Viola videos that turn human beings into medieval portraits of saints But the people we are watching are undoubtedly sinners small narratives emerge all over the stage – fights You identify people who maintain their characters throughout: there’s a Christ-like loner There’s a sense of story slightly beyond your grasp Sometimes the movement becomes marginally faster their raised jerky arms creating shapes that float across the space like the opening petals of a flower or the fierce breaking of a wave the music stops and they lie on the floor like the fallen Watch a trailer for Crowd.Dada Masilo’s Giselle also makes its mark This is yet another interpretation of the archetypal Romantic ballet about class war (an aristocrat tricks a peasant girl) betrayal (he steals her heart and then abandons her) and forgiveness (which is what she does at the end) the South African choreographer vividly creates a picture of villagers and landowners Giselle and Albrecht dance tenderly sensual duets; when he leaves after seducing her led by Llewellyn Mnguni’s utterly terrifying Myrtha these warrior women (and men) reappear to take her side with relentless and unforgiving force Masilo’s choreography mixes traditional African folk dance with contemporary and ballet to vigorous and emotional effect Her use of colour is striking: Giselle doesn’t live and die in pastel shades but in vivid Technicolor with the red-clad Wilis tracking their victims against a bright green sky turns her Giselle into an after-death whirlwind relentless in her pursuit of nasty Albrecht (beautifully danced by Lwando Dutyulwa) This is the archive of The Observer up until 21/04/2025 The Observer is now owned and operated by Tortoise Media This performance of The Ventriloquists Convention is American Sign Language (ASL) Interpreted Performances MCA Stage is pleased to offer ASL interpreted performances for the deaf Group picture from Vent Haven Convention 2014 “She takes us on a journey into an emotional maze blurring the boundaries between reality and fiction.” nine delegates and their dummies share their passions and expose their private challenges A casual conversation quickly becomes an alarming psychological maze where madness and familiarity coexist and their dummies each maintain distinct voices and identities making for a dizzying and uncanny world that exerts a strange pull on us Director/choreographer Gisèle Vienne and author Dennis Cooper track the complex relationship between body and voice their dark experiments in embodied and disembodied states open us up to examining our multilayered psyche They are joined for this project by one of the premiere German puppet-theater companies The piece draws from the annual convention at Kentucky’s Vent Haven Museum the world’s only museum of ventriloquists’ dummies where puppets that are no longer employed—often due to the death of their owner—are kept and displayed The Ventriloquists Convention with Niels Dreschke “Every book by Cooper is seemingly a matter of life and death a tightrope act performed without a safety net.” —The Guardian The Puppentheater Halle is a group of eight puppeteers based in Halle a city in the former East Germany known for its puppet theater Trained at the theater school “Ernst Busch” in Berlin and in 1995 Christoph Werner brought a new dynamic by developing a new style that foregrounds a permanent relation between theater and puppet Starting from a piece of literature or an idea The Puppentheater Halle works on four to six shows per season Each of them is focused on a specific theme and is often a coproduction with other theaters or festivals Staatstheater-Stuttgart or Volksbühne-Berlin The Puppentheater Halle is interdisciplinary and has been inspired in part by collaborations with other artists including Joël Pommerat and Nico & the Navigator KTL is the musical duo of Stephen O'Malley (Sunn O)))) and Peter Rehberg (Pita) originally formed to create the music for the theater production titled Kindertotenlieder by Gisèle Vienne and Dennis Cooper KTL is an experimental dark ambient music project that bridges the sonic gap between the black metal music and extreme computer music the two are respectively known for Stephen and Peter each have active careers; Stephen is best known for his work in the Seattle band Sunn O))))—which merges diverse genres of drone and extreme metal—as well as for numerous collaborations with other musicians Peter is known for his electronic audio works and for heading up the Vienna-based label experimental music label Editions Mego Stephen O'Malley was born in the United States and lives in Paris; Peter Rehberg was born in the United Kingdom and lives in Vienna The Ventriloquists Convention is supported by the French-American Fund for Contemporary Theater {bio: (FACE) an initiative of the Cultural Services of the French Embassy in the US and the Institut Français funded by the Florence Gould Foundation and the Catherine Popesco Foundation for the Arts with the special support of Institut Français and the Cultural Services of the French Embassy in the United States Additional generous support is provided by the Goethe-Institut and the Foreign Office of the Federal Republic of Germany The company Gisèle Vienne is supported by Ministère de la culture et de la communication—DRAC Alsace This website is made possible in part by the Kovler Web Fund. 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Terms of Use The Knickerbocker Hotel the New York City landmark hotel located at the edge of Times Square and near Bryant Park announces the appointment of Vincent Vienne to Managing Director Vienne manages and oversees the property's 330 luxury guestrooms signature restaurant and bar Charlie Palmer at The Knick ground level café Jake's and 2,200-square-foot event space Vienne's career spans more than 20 years in the hospitality industry with superlative experience in leading luxury properties in the United States and Europe Immediately prior to his appointment at The Knickerbocker Vienne served as Managing Director of fellow Highgate property Vienne oversaw a two-year period of exceptional growth he held multiple management positions with Accor Hotels Group working at their properties in New York City and Philadelphia over the course of several years "To have earned the opportunity to lead a property so important to the fabric of New York is a distinct honor I am delighted to join the team and oversee a prestigious hotel that continues to reinvent and build upon its rich history and legacy." The Knickerbocker Hotel is managed by Highgate a premier hospitality investment and management company whose growing portfolio includes more than 100 properties in gateway cities worldwide …encompassed the western départements of Vienne In 2016 the Poitou-Charentes région was joined with the régions of Aquitaine and Limousin to form the new administrative entity of Nouvelle Aquitaine.