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For clarification: the competition was ONLY for the memorial, not for the replacement of the towers. The 'pink' crystaline structures around the edge were part of Daniel Liebeskinds original design. He dictated that the open pit was the area for the memorial.
My contribution is only the cable-veil with the names and everything below it.
(I still lost)
If you have the time, give me some feedback--we never found out at which point we were weeded out, so this could have been 10th place or 5500th place.
W O R L D T R A D E C E N T E R M E M O R I A L
One of the most precious commodities which New York City has, and which is being offered by the builders of the World Trade Center for this memorial, is open space. Could this space remain just that?-- space that cannot be occupied by buildings or pedestrians, free from the pressure and pace of everyday life in New York City, an oasis of stillness and peace? I would like to give the victims of the February 26, 1993 and September 11, 2001 terrorist attacks their own plaza, at street level, which would always be empty and could never be trod upon by another person, symbolizing both the vacancy caused by the victims’ suddenly ended lives and the immediate and lasting precariousness the attacks created for America and the world.
The new Plaza is formed by closely spaced thin cables that span the entire memorial site--with the exception of the two World Trade Center tower footprints--starting at the edge of and continuing the plane of the sidewalk which surrounds it. Together with sunken areas on the lower level, the towers’ earlier envelopes are recalled in three-dimensional forms created by defined voids, and free from any built vertical elements.
The names of all of the victims are formed by individual 6-inch letters of aluminum or carbon, threaded between the cables and grouped together alphabetically, according to the year and place of their deaths. The letters are hung horizontally, facing down, so that they can only be read from below.
Approaching the memorial, the viewer will see only a large, empty, unoccupied plaza at street level, the cables and the names forming a relatively closed plane when viewed from a distance. As the viewer moves closer to the site and around it, the plane becomes more transparent as the angle of view becomes more vertical, and the lower level becomes more visible. For the viewer who remains at plaza level, the groups of names are purely a simple graphic symbol, emphasizing the total loss of life from the attacks. As the viewer walks down a ramp, however, the single names begin to become visible, now emerging out of the groups, emphasizing the individual loss of life.
The individual names can only be viewed by looking up --an act that was common here especially before and during the attacks, and the city can now only be seen through this veil of names. They are omnipresent. Each section of building, cloud, and tree is embossed with names. The way one sees the world has changed because these people died.
This diaphanous veil of names also allows visitors to the lower memorial area to be alone with their thoughts, offering as it does a protective screen, subtly separating the viewers at street-level from those below.
The impact which the memorial exerts on the viewer thus deepens, moving from a sense of corporate loss to include individual human grief as well, as the viewer physically descends into the space once occupied by the lower levels of the World Trade Center towers, now laid open to the sky.
On the lower level is a large bas-relief map of the world, our common home. This map speaks of our essential oneness, and of the sense of responsibility to the entire world which must underlie our daily actions. It is also a teaching tool, both showing visitors the 92 countries from which the victims came, and documenting the political boundaries existing at the time of the attacks. The map is bronze, and these 92 countries are distinguished by a different surface treatment. Visitors can walk over the map and place flowers, pictures and other mementoes on the places of the world where the victims originated. Over time, these places will become polished and worn, a change testifying to their uniqueness. As the boundaries of the map are slightly raised, visitors can sit along the edges. The orientation of the map corresponds to the true compass points. The names are also on this true east-west axis, so that while reading the names one looks due north, and not into the sun.
The relationship between the world map and the names overhead is complex. The tension under which the attacks put the world, as well as the shadow which was cast over the life which we knew, are literally translated by the tensioned cables above and the names that cast a shadow on the world below. The cables themselves are anchored into the sidewalk level upon which the viewers at street level stand, stressing the role of the city in upholding the memory and honor of those who died and helped. The living city thus forms the foundation for the memorial.
The lower memorial area is variously raised approximately 3-6 feet above the concrete pad to allow for plantings and different surface treatments. The footprints of the two towers are outlined by linear pools of water, an element symbolizing life and renewal. One crosses the pools into the interior space of the footprints via flat bridges or by walking over the areas of the map which extend into the southern footprint. These points can be utilized for a controlled access, when deemed necessary. Located in the northern footprint is a mausoleum within a sunken area which one reaches via a series of descending stepped levels, or along a pair of ramps bordered by 7 winter-hardy almond trees (Prunus dulcis). Almond trees are the first trees to bloom after winter, symbolizing vigilance and giving hope. The mausoleum opens on to a larger, secluded area where ceremonies can be held. The elliptical form of the mausoleum is a universal symbol of fall and renewal. Visitors can go here to be alone, protected from the weather by the building above, and shielded by wall planes from other visitors as well as pedestrians on the sidewalk above or underground passageway adjourning.
The Liberty Wall is covered by a variety of climbing plants which bloom at various times in the year (clematis, honeysuckle, roses, wisteria) and whose color changes brilliantly in the fall (Virginia Creeper). During the winter, the vines will be bare, showing the cycle of life, and encouraging one to look towards the future.
The primary floor in the lower memorial area is made of parallel rows of locally quarried cut slate, a beautiful, noble, sedimentary material that was once plant life, whereas the floors of the footprints consist of crushed slate.
The individual cables, running parallel to each other over a length of maximum 350’, are pre-stressed to a very high degree such that the sag due to their dead-weight and the weight of the letters is minimized to less than 15’’. The letters are supported by the two neighboring cables.
The cables are preferably stressed from one end, either by a turnbuckle or hydraulic jack, which guarantees that forces and geometry of the cables can be exactly installed. The cables should be designed so that they will be nearly maintenance-free; therefore the cross-section will be built of stainless steel, alternatively of carbon, aramid or any other high-strength synthetic fibers. The technically required minimum cable diameter will be only in the order of 3/8’’ to 7/16’’.
Along the edges of the footprints, the cable forces are collected by filigree steel trusses in order to keep the interior area ‘open’. Only a few thicker cables, arranged in a rectangular grid of 20’ by 20’ inside the trusses, balance the collected forces between the outlying footprint edges.
This memorial remembers all of the victims of the terrorist attacks equally. At the same time, it recognizes the varying perspectives of those who will visit the memorial, and seeks to respond to their different needs. The remembrance of those who died, and of these tragic events, becomes an impetus, as visitors move freely across the map’s national boundaries, to embrace our one humanity, to draw comfort and strength from widely shared symbols of renewal, and, again and again, to look up, in a universal act of longing and hope.
From Aaron:
We greatly value all of your suggestions, feedback and insights. You represent the most energized group of Hero Arts customers. For this reason, we would love to hear your feedback and input as we go into development for our 2011 Catalog. If you're game, we want to share a development set with you and hear what you think! We plan to ask on the Hero Arts Blog every Friday in October (starting next Friday) about a different set that is under development and get general feedback. We wanted to first preview a set to you, our most engaged fans, customers and artists, here today.
Just tell us YES or NO on whether you like it and then add any other comments you may have. The more honest feedback the better! The design team is greatly appreciative of any feedback you would like to offer. Thanks TONS and TONS in advance!
Please leave any feedback on this set at: www.flickr.com/groups/heroarts/discuss/72157625023944128/ Thanks!
Cadet Jasmine Wells, from Savannah State University, aims her weapon while in prone unsupported position during weapons training at George Blair Range at Fort Knox, June 16, 2019. | Photo by Jodi Moffett, CST Public Affairs Office
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/2449019658
Share this photo on: facebook • twitter • more...
Zoey's eye (better viewed in large size)
Her other eye is here.
Zoey has some of the most beautiful eyes that i've ever seen.
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
Single exposure, 3 SB-80s:
Ceiling bounce CR
Two bounced into cove of ceiling in living room, left of doorway
Wish I'd have put some CTO gel on the living room flashes, and gone with a little more light in there. When looking at this on my camera back, I didn't pick up on how cool that room was turning out. The irony is that I got a CamRanger recently...just haven't gotten it set up yet (I know...) Also not liking the upshadows on the LR ceiling from the table lamp. Or the hot backside of the green pillow (and what is going on with the edge where it meets the foliage? looks really strange).
As always, feedback is much appreciated. Thanks!
D200 - Nikon 55-200vr - Handheld.
Testing out Sharpness and VR on
My New Used $125 zoom.
Any Feedback on Sharpness or Noise issues?
Greatly Appreciated!
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During my keynote presentation at the Durham Blackboard Users conference (7th January 2014) I asked the audience to draw the 'architecture of participation' for their organisation.
More about architectures of participation here.
I came across this in my archive recently: in the eighties I had the original pinned up in my office in the UK. It still makes me smile.
Anyone know who the artist is, or where it came from? Possibly "Punch".
It turns out it was "The UTNE Reader"
Yeah, I guess I am (stuck up).
Lost an in-class debate yesterday. We randomly picked opponents, and it so happened that the two strongest groups were pitted against each other. My team came close, but we lost by 1/2 pt. Individually though, I beat the other guy by 6 points.
Slightly sore about the outcome because we had the popular vote (people's final stances), but in essence lost the electoral vote (debate quality). I need to figure out a way to clone myself for these bloody group projects.
What hurts the most, though, is losing to some unoriginal management major douchebag.
Test of a questionnaire Anroid application, to be used for observational feedback in a research case study.
During my keynote presentation at the Durham Blackboard Users conference (7th January 2014) I asked the audience to draw the 'architecture of participation' for their organisation.
More about architectures of participation here.
i wanted to do something that is completely contrasting to the photojournalistic style that I normally do for my printing and color management final at ais... this is an abstract landscape set that concentrates on form and depth in an extreme shallow depth of field and a two-thirds by one-third compositional frame to depict the natural elements of earth's land and water.
[i stole this idea directly from a set by colerise. the idea/concept is not my own.]
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one favor to ask of commenters: please avoid bulky group icons or awards if you are not going to leave a real comment. the feedback is the only reason i have pictures up on flickr, and mass-generated "love your picture" group badges are not what i'm looking for. thank you for understanding!
to real commenters: i appreciate you. you are the reason i am here. thank you :)
During my keynote presentation at the Durham Blackboard Users conference (7th January 2014) I asked the audience to draw the 'architecture of participation' for their organisation.
More about architectures of participation here.
another day of working at home. Didn't step out once. HOWEVER I did get an idea from a documentary I watched the day before about Chaos. and decided to play with my video camera and my PC monitor... creating a feedback of the image I was seeing. the result, cool patterns.
This is another portrait of Sage that I took (I feel like I have so many photos of her! Probably more of her than self-portraits, but she's a fantastic model!). Originally it wasn't quite as... well, harsh. But while I was editing I accidentally saw what the photo looked like if I looked at the screen from below and I loved the colors! Her skin looked blue and it made the photo look incredibly epic! Unfortunately, I couldn't figure out how to replicate the effect I wanted and this was the closest I could get, I'm still incredibly happy with it though. :)
Feedback is wonderful by the way! I want to know how I can improve, so if you could leave any feedback it would be so helpful. :) Thanks!
Operated by: Alexander Dennis North America
Built in: 2014?
Manufacturer: Alexander Dennis
Model: Enviro 500
(Chassis): Integral
Notes:
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Seen on display at Apple Valley Transit Station for MVTA customer feedback.
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Please do not use this photo or any part of this photo without first asking for permission, thank you.
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Cadet Noah Williams, from Wake Forest University (left) and Cadet Graham Webb, from Washington University (right) wait to begin their weapons training at George Blair Range at Fort Knox, June 16, 2019. | Photo by Jodi Moffett, CST Public Affairs Office
I joined eBay over the weekend and purchased an item moments after registering. My order arrived 4 days before the ETA, so I had hoped to leave positive feedback for the seller. However, eBay has a policy that denies users who have been registered with the website for fewer than 5 days the ability to leave feedback. They do this in order to prevent novices from making mistakes and to deter users from making alias usernames to falsely bolster their own seller reputation or falsely damage that of another seller.
Feedback received for TEDxTempe 2010 from @monikawoolsey on Twitter:
Feedback received for TEDxTempe 2010 from @hjmiii on Twitter
This is a photograph from the second annual Duleek & District Athletic Club (D&DAC) "Indaver Duleek 10KM" Road Race and Fun Run which was held in Duleek, Co. Meath, Ireland on Sunday 17th August 2014 at 10:00. The road race event was the first event of the town's annual Duleek Fair Day which is held at this time every August. In 2013 Duleek & District Athletic Club decided to launch an annual road race. In 2013 over 500 runners attended which represented a very impressive achievement for a new club and a new race. The feedback was very positive from all quarters: a good route, professional approach to organisation, excellent goody-bags and post race refreshments and family entertainment. The club surpassed itself in 2014 with a superb race - with every aspect of the race professionally attended to. Just under 500 runners attended this year. Duleek & District Athletic Club (D&DAC) was founded in March 2012 with the principal aim of promoting athletics in the village and environs of Duleek. The Club’s purpose is to facilitate the enjoyment of athletics in a fun and social environment. Overall the conditions were very favourable for road racing - there was a fairly strong headwind for runners to contend with for the first 3KM along with some undulating countryside. However the final 5KM had a tail wind a good deal of downhill to make for a more enjoyable final half of the race. Everyone at Duleek & District Athletic Club and the local community must be congratulated at their work and organisation today. This race is likely to grow quickly over the next few years.
This photograph is part of a larger set of photographs which was taken today at the event - the majority of these photographs are from the finish line: Please see the full set on the Flickr album at Set from today: www.flickr.com/photos/peterm7/sets/72157646478274516/ - This set contains shots of participants up to a finish time of 60 minutes.
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2100 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
What is the race route?
The race starts just beyond Duleek GAA Club on the Navan Duleek road (the R150). The first two KM are on this road until the course makes a right turn and heads northward through Kellystown and Rahill until just after 4KM the course turns right again and due east to begin the return to Duleek. This brings the runners through the large townland of Downstown. Up to the 9KM mark the race has been predominantly ran on scenic rural roads until the race joins the R15O Navan Road again and proceeds directly up the main street of Duleek for the finish.
Some useful Internet links associated with this race event
Google StreetView of the Finish Area on the Duleek Mainstreet: www.google.ie/maps/@53.655152,-6.416647,3a,75y,90t/data=!...
Video Flyover of the Route for the 2014 Race: www.youtube.com/watch?v=PK5SvhOrP3s
Teaser trailer on Youtube for the 2014 Indaver Duleek 10KM: www.youtube.com/watch?v=wq8pn0mjN0E
Video Storyboard of the Indaver Duleek 10KM 2013 www.youtube.com/watch?v=KNlmSa6X63c
Indaver Duleek 10KM 2013 RESULTS: www.precisiontiming.net/result.aspx?v=1452
2013 Photographs: www.facebook.com/media/set/?set=a.670094496334283.1073741... (requires Facebook logon)
Indaver Duleek 10KM Road Race Event Page on Facebook: www.facebook.com/events/679840455404891/694437963945140/ (requires Facebook logon)
Duleek & District Athletic Club (D&DAC) Facebook: www.facebook.com/DuleekAC
Duleek & District Athletic Club (D&DAC) Web Homepage: www.duleekac.ie/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets