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was blown up, manipulated, and subdivided into sections that included artifacts such as parking tickets and stamps in order to illustrate its interaction with her own life.
    Jarvis cites among her influences Italian and Russian futurists, for the way they attempted to capture speed and power: the best-known images of this kind include Umberto Boccioni’s Dynamism of a Cyclist (1913) and Au Velodrome by the cubist Jean Metzinger, which includes cut-outs of words from newspapers glued onto the walls of the track.
    The British artist Frank Patterson (1871–1952) has a devoted following for his pen-and-ink drawings of cyclists and the British landscape that appeared in the pages of Cycling magazine and the CTC journal The Gazette from 1893. Patterson was hugely prolific, working for other magazines owned by Temple Press, which published Cycling ; his total number of drawings was estimated at about 26,000 in his 59-year career.
    Pattersons are beautifully and precisely drawn, with an element of the draftsman to them. They are bucolic, romantic, occasionally humorous, and now look distinctly old-fashioned and even mannered, with their clubmen smoking pipes and wearing plus fours, bicycles leaning against a convenient tree while they admire the view. There is a timeless and very British charm about them.

    ASO See AMOURY SPORT ORGANISATION.

    AUDAX The term is used to denote long group rides covered in a set time in a single day and dates back to a group of Italian cyclists who rode from Rome to Naples—230 km—in June 1897.
The newspapers referred to those who completed the distance as audace —audacious—and when Neapolitan cyclists made the return trip they formed a club for riders who could do over 200 km in a day; the newspaper term was translated into Latin, audax , and the group called itself Audax Italiano. The rides are called Randonnées—a French term meaning an outing using any means of transport—and the riders randonneurs .
    The notion of group rides within a certain time, halfway between leisure and pure competition, gained pace internationally when the TOUR DE FRANCE’s father, HENRI DESGRANGE, founded a French body in 1904. Desgrange’s paper L’Auto —organizer of the Tour—ran the first Audax event in which medals and certificates were awarded to finishers; yellow, the color of L’Auto ’s pages and the leader’s jersey in the Tour, remains the color of 200 km medals.
    Audax rides differ from the more recently invented CYCLOSPORTIVES such as L’ÉTAPE DU TOUR in that in theory their events have to be ridden at a predetermined average speed—this was 18 kph until 1945—and there may be a “ride leader” who cannot be overtaken. The idea is to discourage racing. In practice there has been a rift in the movement and this is not universally followed. PARIS–BREST–PARIS, the largest and oldest Audax Randonnée, is not run on this basis; unlike cyclosportives, however, riders are set a minimum time, which means that superfast cyclists may have to wait for controls to open. Additionally, while some ’sportives have assistance cars and are fully signposted, Audaxes emphasise self-sufficiency.
    Today, Audaxes are run over the set distances of 200, 400, and 600 km; qualification for major events such as Paris–Brest–Paris depends on completion of a certain number of distance rides, which is checked by reference to the rider’s brevet book, which is stamped by the organizers. Events are thus sometimes also known as brevets.

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    AUSTRALIA The bicycle has a long history here, beginning with its use in the 1880s by gold prospectors in the bush. Cycles were also used for early postal services and by groups of itinerant sheep-shearers. Track racing began early in Australia with the Austral run in 1887 by the Melbourne Bicycle Club at the MCG over two miles; the discipline would remain important for the next 120