in O Universo Ilustrado, 1878
quarta-feira, 4 de outubro de 2023
O que mudou no Tempo português com o 5 de Outubro de 1910
O livro O Relógio da República, aborda essa e outras alterações que ocorreram no Tempo português com a mudança de regime.
Vai-se do Tiro da
Politécnica aos tiros disparados a partir do navio Adamastor. Refere-se a introdução do regime de Hora de
Verão e de Hora de Inverno.
Pelo meio, ficam personagens que ditaram os últimos dias da
Monarquia em termos de tempo colectivo – os relojoeiros Veríssimo Alves Pereira
e Augusto Justiniano de Araújo; ou marcadores de tempo como o Balão do Arsenal
ou o Tiro da Politécnica.
Ou ainda figuras revolucionárias, como um jovem relojoeiro
suíço, Giuseppe Fontana, que trouxe para Portugal o ideário socialista, a visão
cooperativa das comunidades de relojoeiros da sua terra natal. Ou Mendes
Cabeçadas, que comandou a partir do Adamastor, coordenando-se pelo seu
relógio de bolso, os tiros decisivos contra o Palácio das Necessidades, a 4 de
Outubro de 1910.
Do novo regime, saía reforçado o papel do Observatório
Astronómico de Lisboa como emissor único do tempo oficial português ou a
implantação do Relógio da Hora Legal, ao Cais do Sodré.
O Relógio da República, com o Longines de bolso de Mendes Cabeçadas na capa, e que está no Museu da Presidência da República, em Belém, foi editado em 2010 pela Âncora. Com o apoio da Longines, da Tempus Internacional e da Presidência da República.
Para saber mais sobre as mudanças estruturais que ocorreram no Tempo colectivo português na passagem da Monarquia para a República, vá aqui. Em baixo, cerimónia de lançamento de O Relógio da República, no Palácio de Belém.
Os relógios Chanel no Relógios & Canetas online
Meditações - addicted to the idea that the future is where success is
Do you live your life only to get to the end of it? Most people answer this question with a ‘no’, but not everyone lives like they mean it. In the manic society that most of us experience, people exhibit a frantic, neurotic behavior I call ‘Destination Addiction’. This addiction is a major block to success. People who suffer from Destination Addiction believe that success is a destination. They are addicted to the idea that the future is where success is, happiness is, and heaven is. Each passing moment is merely a ticket to get to the future. They live in the ‘not now’, they are psychologically absent, and they disregard everything they have. Destination Addiction is a preoccupation with the idea that happiness is somewhere else. We suffer, literally, from the pursuit of happiness. We are always on the run, on the move, and on the go. Our goal is not to enjoy the day, it is to get through the day. We have always to get to somewhere else first before we can relax and before we can savor the moment. But we never get there. There is no point of arrival. We are permanently dissatisfied. The feeling of success is continually deferred. We live in hot pursuit of some extraordinary bliss we have no idea how to find.
Robert Holden, Success Intelligence
terça-feira, 3 de outubro de 2023
Meditações - Is there anything more plausible than a second hand?
We live in time - it holds us and molds us - but I never felt I understood it very well. And I'm not referring to theories about how it bends and doubles back, or may exist elsewhere in parallel versions. No, I mean ordinary, everyday time, which clocks and watches assure us passes regularly: tick-tock, click-clock. Is there anything more plausible than a second hand? And yet it takes only the smallest pleasure or pain to teach us time's malleability. Some emotions speed it up, others slow it down; occasionally, it seems to go missing - until the eventual point when it really does go missing, never to return.
Julian Barnes, The Sense of an Ending
segunda-feira, 2 de outubro de 2023
Relógio Zeppelin automático com data e GMT para leitor do Anuário Relógios & Canetas
Manuel Moura, com esta composição fotográfica, ganhou o passatempo organizado pelo Anuário Relógios & Canetas e pela SRI - Sociedade de Relojoaria Independente, representante em Portugal dos relógios Zeppelin.
Assim, este leitor do Anuário vai poder passar a usar no pulso um exemplar do Zeppelin Atlantic GMT, um relógio automático com data e segundo fuso horário. Parabéns!
Os diamantes (não) são eternos
Editorial Outubro
Os diamantes (não) são eternos
O Grupo dos 7 países mais industrializados do mundo (G7)
deverá anunciar por estes dias o embargo da importação de diamantes russo, em
mais um passo no combate às fontes de financiamento de Moscovo para a sua
guerra contra a Ucrânia.
A medida poderá transformar por completo a cadeia mundial de
fornecimento de diamantes, mas a sua implementação dependerá muito do
comportamento da Índia, cuja indústria de diamantes emprega milhões de pessoas
no corte e polimento de 90% dos diamantes do mundo.
A concretizar-se, o embargo começaria a 1 de Janeiro de
2024. Os G7, que representam 70% do consumo mundial, deixariam de aceitar
diamantes da Rússia, o principal produtor mundial de diamantes em bruto.
Ya'akov Almor, especialista no sector, reflecte sobre o
momento que se vive, e afirma: “A combinação de dois elementos aparentemente
separados – a guerra na Ucrânia e o aumento dos diamantes de laboratório – e
que podem ser enfrentados individualmente, irá provocar um ambiente altamente
tóxico, que ameaça da cabeça aos pés a saúde do comércio e indústria mundiais
de diamantes”.
Falando na Madrid Joya, Almor sublinha que o conflito na
Europa e os LGDs (lab-grown diamonds) são ameaças gigantescas. A Alrosa,
empresa diamantífera russa, é parcialmente estatal e gerida por gente próxima
de Putin, obtendo pelo menos 4 mil milhões de dólares por ano. Que certamente
estão a financiar a guerra. Isso poderá fazer com que os consumidores
ocidentais não queiram comprar jóias, com receio de que elas tenham diamantes
russos.
Isso poderia levar esses consumidores a preferirem peças com
LGDs. O que iria transformar-se numa tempestade perfeita para o sector.
Meditações - I'm just a summertime guy
I'm just a summertime lover
I'm just a summertime guy
Well, I'm a real cool drizzle in January
But a sizzle in the month of July
Oh, won't you know now?
I shine best when the sun's out
I like the temperature high
Well, I'm a cool operator when the heat is on
'Cause I'm just a summertime guy
I can't take a nickel singin' â€~Jingle Bells'
And I'm nothin' under mistletoe, no
But I'm a warm weather wonder on a sandy beach
I like the girls in bikinis all over, let me tell ya
I'm just a summertime lover
Yeah, I'm just a summertime guy
When it snows l keep prayin' that it won't be long
Until the red red robin starts singin' his song
And when he does I'll move right out
And give love a try
Oh yeah, I'm just a summertime guy
Well, don't you know now
I can't take a nickle singin' â€~Jingle Bells'
And I'm nothin' under mistletoe, no
But I'm a warm weather wonder on a sandy beach
I like the girls in bikinis all over, let me tell ya
I'm just a summertime lover
Yeah, I'm just a summertime guy
When it snows l keep prayin' that it won't be long
Until the red red robin starts singin' his song
And when he does I'll move right out
And give love a try
Oh yeah, I'm just a summertime guy
I'm just a summertime guy
Who gets a summertime gal
Who needs a summertime guy
domingo, 1 de outubro de 2023
Janela para o passado - a CP e a "Semana da Uva", 1932
Gazeta dos Caminhos de Ferro de 1 de Outubro de 1932
Os relógios Baume & Mercier no Relógios & Canetas online
Meditações - An October like November
In October 1914 [Antwerp]
I
GLOOM!
An October like November;
August a hundred thousand hours,
And all September,
A hundred thousand, dragging sunlit days,
And half October like a thousand years . . .
And doom!
That then was Antwerp. . .
In the name of God,
How could they do it?
Those souls that usually dived
Into the dirty caverns of mines;
Who usually hived
In whitened hovels; under ragged poplars;
Who dragged muddy shovels, over the grassy mud,
Lumbering to work over the greasy sods. . .
Those men there, with the appearance of clods
Were the bravest men that a usually listless priest of God
Ever shrived. . .
And it is not for us to make them an anthem.
If we found words there would come no wind that would fan
them
To a tune that the trumpets might blow it,
Shrill through the heaven that's ours or yet Allah's,
Or the wide halls of any Valhallas.
We can make no such anthem. So that all that is ours
For inditing in sonnets, pantoums, elegiacs, or lays
Is this:
“In the name of God, how could they do it?”
II
For there is no new thing under the sun,
Only this uncomely man with a smoking gun
In the gloom. . .
What the devil will he gain by it?
Digging a hole in the mud and standing all day in the rain
by it
Waiting his doom;
The sharp blow, the swift outpouring of the blood,
Till the trench of gray mud
Is turned to a brown purple drain by it.
Well, there have been scars
Won in many wars . . .
Punic,
Lacedæmonian, wars of Napoleon, wars for faith, wars for
honour, for love, for possession,
But this Belgian man in his ugly tunic,
His ugly round cap, shooting on, in a sort of obsession,
Overspreading his miserable land,
Standing with his wet gun in his hand . . .
Doom!
He finds that in a sudden scrimmage,
And lies, an unsightly lump on the sodden grass . . .
An image that shall take long to pass!
III
For the white-limbed heroes of Hellas ride by upon their
horses
Forever through our brains.
The heroes of Cressy ride by upon their stallions;
And battalions and battalions and battalions—
The Old Guard, the Young Guard, the men of Minden and of
Waterloo,
Pass, for ever staunch,
Stand, for ever true;
And the small man with the large paunch,
And the gray coat, and the large hat, and the hands behind the
back,
Watches them pass
In our minds for ever . . .
But that clutter of sodden corses
On the sodden Belgian grass—
That is a strange new beauty.
IV
With no especial legends of marchings or triumphs or duty,
Assuredly that is the way of it,
The way of beauty . . .
And that is the highest word you can find to say of it.
For you cannot praise it with words
Compounded of lyres and swords,
But the thought of the gloom and the rain
And the ugly coated figure, standing beside a drain,
Shall eat itself into your brain:
And you will say of all heroes, “They fought like the
Belgians!”
And you will say: “He wrought like a Belgian his fate out of
gloom.”
And you will say: “He bought like a Belgian his doom.”
And that shall be an honourable name;
“Belgian” shall be an honourable word;
As honourable as the fame of the sword,
As honourable as the mention of the many-chorded lyre,
And his old coat shall seem as beautiful as the fabrics
woven in Tyre.
V
And what in the world did they bear it for?
I don't know.
And what in the world did they dare it for?
Perhaps that is not for the likes of me to understand.
They could very well have watched a hundred legions go
Over their fields and between their cities
Down into more southerly regions.
They could very well have let the legions pass through their
woods,
And have kept their lives and their wives and their children
and cattle and goods.
I don't understand.
Was it just love of their land?
Oh, poor dears!
Can any man so love his land?
Give them a thousand thousand pities
And rivers and rivers of tears
To wash off the blood from the cities of Flanders.
VI
This is Charing Cross;
It is midnight;
There is a great crowd
And no light.
A great crowd, all black that hardly whispers aloud.
Surely, that is a dead woman—a dead mother!
She has a dead face;
She is dressed all in black;
She wanders to the bookstall and back,
At the back of the crowd;
And back again and again back,
She sways and wanders.
This is Charing Cross;
It is one o'clock.
There is still a great cloud, and very little light;
Immense shafts of shadows over the black crowd
That hardly whispers aloud. . .
And now! . . That is
another dead mother,
And there is another and another and another. . .
And little children, all in black,
All with dead faces, waiting in all the waiting-places,
Wandering from the doors of the waiting-room
In the dim gloom.
These are the women of Flanders.
They await the lost.
They await the lost that shall never leave the dock;
They await the lost that shall never again come by the train
To the embraces of all these women with dead faces;
They await the lost who lie dead in trench and barrier and
foss,
In the dark of the night.
This is Charing Cross; it is past one of the clock;
There is very little light.
There is so much pain.
L’Envoi
And it was for this that they endured this gloom;
This October like November,
That August like a hundred thousand hours,
And that September,
A hundred thousand dragging sunlit days,
And half October like a thousand years. . .
Oh, poor dears!
sábado, 30 de setembro de 2023
Janela para o passado, a GOAT Suzanne Lenglen
Suzanne Lenglen na capa da Ilustração Portuguesa de 7 de Outubro de 1922. Faria depois uma visita a Portugal, para competir, em Cascais.
Meditações - Before time can draw the line
[Chorus]
Beat the clock
Try to make it stop
Before time can draw the line
And cut you down to her size
Beat the clock
Try to make it stop
Tell me how long will it take
Before you finally realize
[Verse 1]
That the carnival is over
And you've seen much better days
You have wasted too much time
In to many different plays
You deny the possibility
Of growin' old
You are filled with false humility
You're much too bold
[Chorus]
Beat the clock
Try to make it stop
Before time can draw the line
And cut you down to her size
Beat the clock
Try to make it stop
Tell me how long will it take
Before you finally realize
sexta-feira, 29 de setembro de 2023
Coisas do Ephemera - agenda da Mundet para 1982, totalmente de cortiça
Coisas do Ephemera. O Núcleo do Tempo do maior arquivo privado do país tem no seu espólio mais de duas centenas de agendas, desde os anos 10 do século XX até à actualidade. Acaba de entrar um exemplar carregado de história – trata-se de uma agenda da Mundet, totalmente feita em cortiça, e para o ano de 1982. Seis anos depois, desapareceria uma das maiores empresas do país no sector corticeiro, sendo reconhecida pela sua política social inovadora.
O surgimento de novos materiais, como o plástico, fez com
que entrasse num processo de decadência até ao seu encerramento em 1988, depois
de um conturbado período de lutas sociais e de tentativas de viabilizar a sua
manutenção. Pelo seu longo historial, a corticeira está intimamente ligada à
vida de muitas gerações de seixalenses. Lido em https://www.cm-seixal.pt/ecomuseu-municipal/nucleo-da-mundet
Há 650 anos - relógio de bater horas em Tulln, Áustria, 29 de Setembro de 1373
On December 28, 1372, in the small Lower Austrian town of Tulln on the Danube, about 30 miles west of Vienna, a man named Niclas Swaelbl, burgher of Breslau (Wrocław) in today’s Poland, swore an expiatory oath in front of the judge and the members of Tulln’s town council.1 He came before the court, because he had killed Konrad, the local town clerk. The judge and the council decided that, for the “improvement of his soul” (ze pezzrung seiner sel), he should construct an arloy, that is, a clock, for St. Stephen’s parish church in Tulln, das sich selber slach an welher glokken man im zaigt (a clock with striking mechanism). Moreover, Niclas was ordered to make a pilgrimage to Rome. All this was to be done between then (December 28, 1372) and Saint Michael’s day of the following year (September 29, 1373), that is, during the next nine months. Then he would again be granted freedom of movement in Tulln and Austria. He should be liable with all his goods in Breslau and anywhere else. Niclas Swaelbl was a clockmaker, one of these specialist artisans who, particularly in the second half of the fourteenth century and first half of the fifteenth century, were internationally acknowledged and needed. He apparently did the job imposed in Tulln, although there are no more surviving sources about this particular novelty of a striking clock in the small Lower Austrian town at a time when even the nearby capital of Vienna did not yet possess one.2 This is not the only case that shows the attempts of small communities to outdo larger and wealthier cities by possessing a mechanical clock.3 We should add that the local court’s decision to “improve” Swaelbl’s “soul” may also be compared with the well-known late medieval donations for the support, building, and repair of other common and public necessities of communities,
1 St. Pölten (Lower Austria), Niederösterreichisches Landesarchiv, charter Tulln n. 36; Anton Kerschbaumer, Geschichte der Stadt Tulln (Krems, 1874), pp. 374–375. See also Ernst Englisch and Gerhard Jaritz, Das Leben im spätmittelalterlichen Niederösterreich (St. Pölten / Vienna, 1976), p. 13; Gerhard Dohrn-van Rossum, History of the Hour: Clocks and Modern Temporal Orders, trans. Thomas Dunlap (Chicago / London, 1996), p. 158.
2 Concerning the earliest clocks in Vienna, see Ferdinand Opll, Leben im mittelalterlichen Wien (Vienna / Cologne / Weimar, 1998), pp. 12–13.
3 Dohrn-van Rossum, History of the Hour, p. 141, mentions, for example, the small Silesian town of Schweidnitz near Breslau. As early as 1370 the town representatives ordered “a clock equal to the one in Breslau or better.”like roads, paths and bridges. These were also seen as pious contributionsmeant for the salvation of the donors’ souls.
4 Some years ago, the German historian Gerhard Dohrn-van Rossum conducted an extensive study of the development, function and perception of mechanical clocks in the late Middle Ages.
5 My contribution is meant to offer some additional observations concerning the variety of values that were connected with clocks, their function, use, and public presentation. The first European boom of the new invention of the mechanical clock was between 1370 and 1380, as the story about Niclas Swaelbl indicates.
6 The earliest evidence of public clocks originates from northern Italy in the first half of the fourteenth century. Around the mid-fourteenth century, an “internationalization” can already be demonstrated, with clocks in urban centres and residences of England, Sweden, France, and Germany.
7 Some of the clockmaker specialists traveled through all of Europe, even to today’s Ukraine and further (for instance, Moscow, 14048), constructing clocks in a large number of mainly urban communities that had enough funds to afford the new mechanical devices to measure time, prestigious objects to be seen and heard in public. With regard to surviving late medieval specimens, one of the most famous examples is the mechanical clock and astronomical dial on the southern wall of the Old Town City Hall in Prague (Fig. 9.1), dating back to 1410 and constructed by a local clockmaker and a professor of mathematics and astronomy at Charles University.
9 This Prague orloj was one of the most prestigious pieces among the complex mechanical and astronomical clocks designed and constructed during the fourteenth and fifteenth centuries.
4 Concerning pious donations for building bridges, see Franz Falk, “Die Kirche und der Brückenbau im Mittelalter,” Historisch-politische Blätter für das katholische Deutschland 87 (1881), pp. 87–110, 184–194, 245–259; Erich Maschke, “Die Brücke im Mittelalter,” Historische Zeitschrift 224 (1977), pp. 265–292. Regarding indulgences for building bridges and roads, see also Nikolaus Paulus, Geschichte des Ablasses am Ausgang des Mittelalters (Paderborn, 1923; rpt. Darmstadt, 2000), pp. 370–374.
5 Dohrn-van Rossum, History of the Hour.
6 Concerning this boom, see ibid., pp. 157–159; with regard to the invention of the mechanical clock and its dissemination during the Middle Ages and the early modern period, generally, see ibid., pp. 45–215.
7 Ibid., pp. 129–133.
8 Ibid., p. 161.
9 See Jakub Malina, The Prague Horologe—A Guide to the History and Esoteric Concept of the Astronomical Clock in Prague (Prague, 2005).
In: Time: Sense, Space, Structure, Gerhard Jaritz, Chapter 9, Medieval Mechanical Clocks
Meditações - I miss the village green The church, the clock, the steeple
Out in the country
Far from all the soot and noise of the city
There's a village green
It's been a long time
Since I last set eyes on the church with the steeple
Down by the village green
'Twas there I met a girl called Daisy
And kissed her by the old oak tree
Although I loved my Daisy, I saw fame
And so I left the village green
I miss the village green
And all the simple people
I miss the village green
The church, the clock, the steeple
I miss the morning dew, fresh air and Sunday school
And now all the houses
Are rare antiquities
American tourists flock to see the village green
They snap their photographs and say: Gawd darn it
Isn't it a pretty scene?
And Daisy's married Tom the grocer boy
And now he owns a grocery
I miss the village green
And all the simple people
I miss the village green
The church, the clock, the steeple
I miss the morning dew, fresh air and Sunday school
And I will return there
And I'll and Daisy
And we'll sip tea, laugh
And talk about the village green
We will laugh and talk about the village green
quinta-feira, 28 de setembro de 2023
Watches and Wonders Geneva 2024 de 9 a 15 de Abril
O salão de Alta Relojoaria Watches and Wonders de Genebra terá a sua ppróxima edição de 9 a 15 de Abriol de 2024-
Serão 55 expositores, com 3 dias abertos ao público.
O comunicado:
Taking place from April 9 to 15, 2024, the next Watches and
Wonders Geneva promises to be a thrilling one, with an enhanced program at the
Salon and In The City, specially designed for the general public. The focus
will be on the visitor experience, as well as meaningful connection and
interaction with the exhibiting Maisons. Several spaces have been expanded,
allowing the event to host new brands and welcome the public over 3 full days!
Planning is already well underway for Watches and Wonders
Geneva to ensure a unique week for the world of fine watchmaking, with a record
55 watch brands confirmed to take part in 2024. It’s a chance for industry
professionals, connoisseurs and enthusiasts to come together, experience the
latest products first-hand, engage and build meaningful connections. A new
7-day program has been designed with the Salon opening to the public from
Saturday to Monday. Tickets can be purchased online from early February 2024,
with student and weekend prices available.
The Watches and Wonders Geneva experience has been reimagined for 2024. It will now encompass two floors and feature new spaces for visitors to explore along with enhanced venues for meeting and discussion.
In addition to prestigious names such as Rolex, Cartier, Patek Philippe, IWC Schaffhausen and TAG Heuer, six new brands will be exhibiting for the first time, with Bremont on one side and Eberhard & Co, Gerald Charles, Nomos Glashütte, Norqain and Raymond Weil on the other. H. Moser & Cie. will also be making its return to the Carré des Horlogers.
The LAB, which serves as a window into the future of the industry, will take on a new dimension at the heart of the Salon, symbolically representing the importance of technological innovation within the manufactures. Here, startups, schools and engineers will reveal the secrets of tomorrow's watchmaking. It’s an immersive, tactile and sensory experience for the curious and especially relevant to younger enthusiasts with career aspirations.
The heart of the City will be ticking even louder to the rhythm of watch movements, with a dynamic In The City program. A new Village Horloger will be created to showcase the wonders of fine watchmaking, its crafts, savoir-faire and talents. Major brands will also be joining the festivities with in-store activities featuring presentations and special exhibitions of their finest creations. The evening celebration – with its free concert - will be held on April 11 on the Quai Général-Guisan.
Watches and Wonders Geneva is aimed at all audiences and all ages, with a particular focus on younger generations who have shown a growing interest in the industry. The countdown begins as the whole city is getting ready to once again welcome the watchmaking event of the year!
EXHIBITING MAISONS
A. LANGE & SÖHNE | ALPINA WATCHES | ANGELUS | ARNOLD
& SON | BAUME & MERCIER | BEAUREGARD | BELL & ROSS | BREMONT |
CARTIER | CHANEL | CHARLES ZUBER | CHARRIOL | CHOPARD | CHRONOSWISS | CYRUS
GENÈVE | CZAPEK & CIE | EBERHARD & CO. | FERDINAND BERTHOUD |
FREDERIQUE CONSTANT | GERALD CHARLES | GRAND SEIKO | GRÖNEFELD | H. MOSER &
CIE. | HAUTLENCE | HERMÈS | HUBLOT | HYSEK | IWC SCHAFFHAUSEN |
JAEGER-LECOULTRE | LAURENT FERRIER | LOUIS MOINET | MONTBLANC | NOMOS GLASHÜTTE
| NORQAIN | ORIS | PANERAI | PARMIGIANI FLEURIER | PATEK PHILIPPE | PEQUIGNET |
PIAGET | RAYMOND WEIL | REBELLION TIMEPIECES | RESSENCE | ROGER DUBUIS | ROLEX
| RUDIS SYLVA | SPEAKE-MARIN | TAG HEUER | TRILOBE | TUDOR | U-BOAT | ULYSSE NARDIN
| VACHERON CONSTANTIN | VAN CLEEF & ARPELS | ZENITH
Janela para o passado - há 90 anos, contra o Negus, marchar, marchar
Artigo de Guilherme de Ayalla Monteiro, em 1963, contra o Imperador da Etiópia, o Negus (Rei dos Reis), Hailé Selassié, que tinha visitado Poetugal em 1959. In Gazeta dos Caminhos de Ferro de 1 de Janeiro de 1964.
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