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Feedback received for TEDxTempe 2010 from @heisenthought on Twitter:
Eine Antwort kommt oft, und unverhofft.
Wenn schon deutsche Kinder keine tolle Leseleistung haben (PISA), was soll man da von einem kleinen Hund erwarten?
Freiburg, Juni 2009.
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"
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.
We got the feedback From AMET University VC and Team about Our AAMP Product…
Visit our official website:-
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/3222586658
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Kids playing near River (Laos)
This is on the road to Kong Lor Cave.
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
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 have a new iPod! This was taken using the FaceTime camera. This was also uploaded to Flickr directly from that iPod. Pretty cool little device!
Verne Harper, fifth-generation grandson of Hereditary Chief Mistawasis (Big Child) removed his hat and bowed his head on this solemn occasion of prayer and purification.
en.m.wikipedia.org/wiki/Vern_Harper
By JOE FIORITO Columnist. Fri., Oct. 25, 2013
Vern Harper is an aboriginal urban elder; for the past ten years or so, he has worked at the Centre for Addiction and Mental Health, helping native people who suffer from alcohol or drug addictions. But Vern hasn’t worked at CAMH for months.
He said, “They told me they were sailing in a different direction.” When I called, a spokesperson for CAMH said Vern is still on staff as a casual employee, and they have taken on two other elders and are offering additional services, based on client feedback.
That may be, but Vern hasn’t worked since April; sounds to me like he’s been dumped and that’s between him and them.
He said, “They told me they were sailing in a different direction.” When I called, a spokesperson for CAMH said Vern is still on staff as a casual employee, and they have taken on two other elders and are offering additional services, based on client feedback.
That may be, but Vern hasn’t worked since April; sounds to me like he’s been dumped and that’s between him and them.
But I was curious to know why Vern was doing that sort of work in the first place. He said, “I was deprived of my culture, growing up. I want to keep our men and women out of prison and to work with our youth so they don’t go into prison.”
In essence, he has been trying to counter the cultural isolation many native people feel. How? In addition to working with people at CAMH he said, “I have a sweat lodge in Guelph. I’m an unusual lodge keeper; there are lodges for women, and lodges for men; mine is for families.”
That’s both modern, and apt; periodically, he would bring people to his lodge as a way of reintroducing them to their culture.
The purpose of the sweat lodge? “You sweat the poison out of your body. You purge spiritually, mentally and physically.” I have never been to a sweat.
He said, “I sit in the eastern door, facing west. My wife is on the left; the women sit on that side. On this side, the men; the boys sit with the men.”
Why do the boys sit with the men? “Because that’s what they’re going to be.” Why sit in a circle? “Because no one’s in front and no one is in back. That’s the beauty of the circle — no one above, no one below. When people step into the circle, they’re all equal.”
And then? “We do smudging, to purify. The most important medicine we have is tobacco, natural tobacco; we also use sage, cedar and sweetgrass.”
Some refer to the experience of the sweat lodge as “Burn With Vern.” It is powerful, by all accounts, especially for those who have problems with substance abuse and who suffer the effects of cultural oppression.
Vern said, “The sweat lodge is on some Jesuit property. I have a relationship with the Jesuits — I leave them alone, they leave me alone. I’ve been down in the bush 30 years, running my lodge.”
You might like to know that the rocks heated for use in the lodge are called grandfathers; the rocks must be carefully chosen so that they don’t split or crack or explode.
Vern said, “The quarries, when they found out we were willing to pay for the grandfathers ...” The going rate for a grandfather is $350.
I can’t quite figure out why CAMH isn’t letting its aboriginal clients burn with Vern any more, but I can tell you that he has more back-story than most people, and it’s easy to see that his life experience has given him a certain credibility.
He was born in Regent Park; according to the records he was born in 1936, but his aunties said he was born in 1932. When he was a boy, he was taken from his family and raised in foster care. He was told his family did not want him; that was a brutal lie.
His experience in foster care was gothic in its horror and the scars are still painful to him; it is a miracle that he remains both wise and gentle.
It was not always so.
When he left foster care, he enlisted and fought in Korea. He also became a professional boxer. He said, “If you could get past me, you could go somewhere. The bell would ring and I’d come out in a hurry. They called me Hurricane Harper. I separated the men from the boys.”
I could see the effects of boxing on his hands, but his nose is perfectly straight. He smiled and said he had good doctors.
All along, he struggled with his demons, and he flirted with radical politics. At one point in his life, Vern considered seeking asylum in another country but, at the last minute, it occurred to him that the real battle was here at home.
“They say I’m an activist. No. I’m a dissident. The thing with dissidents is to build.”
What will he do, now that he is no longer serving at CAMH? He said, “One door closes and another opens. I just got one day a week at NaMeRes.”
Beyond this, he is unsure.
I burn for Vern.
Joe Fiorito appears Monday, Wednesday and Friday. jfiorito@thestar.ca
Story and photos by Danny Beaton | www.dannybeaton.ca
VernHarper
A sweat lodge ceremony was the reason for my very first visit to Guelph around 1988. The skins in Toronto suggested that I contact Vern Harper, a Cree ceremonial elder way back, when I was looking for my culture and healing. When I look back in my mind, someone said, “Catch a Greyhound to Woolwich and Woodlawn. There is a Canadian Tire store near the corner—you cant miss it—then walk up the hill, then down, and you will see a house with a barn with horses; that is where elder Vern Harpers camp is.”
Twenty years have gone by or more since we gathered at Vern’s camp. I remember his wife Geraldine, his daughter Cody, and Lionel Whitebird who I ran into at a protest in Toronto when our people occupied Revenue Canada. Lionel had aids; he was wrapped in a colorful Indian blanket; he had lost over 100 pounds, but he came to support our struggle and show solidarity for our Native rights and culture. Lionel died not long after, but I can say he worked with Vern for many years in the prison system to help our Native brothers who were incarcerated, as many of our people are. Lionel’s wife Wanda still continues the work for our people and culture, healing and helping. Wanda was a great person, and they had a son, as far as I remember.
Thinking back to our first sweat lodge ceremony. I remember I was told by someone to bring a pouch of tobacco as an offering to Vern for his role in leading our ceremony. Bring a towel, shorts, a bottle of water, and the bag of tobacco.
My memory of Vern’s camp and sweat lodge are strong, and what happened before the ceremony was sacred, and everything before and after the sweat was sacred. Vern had several helpers who sometimes would ask us to help to gather wood or stones or to go to the stream to bring back water. At times, someone would show up with a truckload of wood or stones, which Vern taught us were grandfathers. The grandfathers had to be heated up in a sacred fire to be brought into the lodge later, and this would take hours and prayers. We would stand around the sacred fire burning on the rocks, and we were taught to honor the fire and grandfathers by putting tobacco sage or cedar into the fire with our prayers. This part of the ceremony become very important for me, as I grew up with this teaching and today I have the highest respect and love for the stones, the grandfathers, and the sacred fire. Vern taught us all that the fire and grandfathers had to be respected and honored in the Indian way of life, and that this is how he was taught by his elders—one whom I remember was Crow Dog, an elder from South Dakota.
Vern was like a grandfather, too. We were in our thirties (some of us were older, some of our group were mothers and fathers) being brought back to our culture with the help of our Native Cultural Center in Toronto or by word of mouth about this sacred place we were all at. We were like a healing family now, all of us talking about our past before arriving, our past abuse and the abuse to ourselves through alcohol, drugs, and violence. There was domestic violence growing up and the pain that never went away. We all were healing just being on the land, being out of Toronto, being near like-minded people—as many say now, we were attracted to each other in a healing way, a healing way of life.
Our first visit to Vern’s camp became a healing journey which none of us can ever forget. I kept going for several years and learned so much from Vern. There are not enough words of gratitude, thanks, and blessings I and anyone who has attended “Grandfather Vern Harper’s Purification Ceremony” as Vern sometimes called it. Vern said we were coming out clean; sometimes he would say we were reborn after the purification, and the sweat was for honoring our ancestors and the spirit world and Creation. But most of all, the sweat was a purification ceremony. We were taught how to see in a sacred way, how to walk in a sacred way. We learned to give thanks to the forces that gave us life. The ones who attended Vern’s camp were healing big, and we all were happy on the land with Mother Earth and learning to humble ourselves with thanks. Many of us became life long friends.
I remember Fernando Hernandez. He had come from Southern Mexico or El Salvador, and he had a wife Monique Mohicia. They had joined the ceremony to heal and give thanks with us. Sometimes as we all gathered up and we were waiting for late arrivals, we would sit and talk, or we would stand by the fire and make offerings until it was time to go inside the lodge. This process was a powerful healing in itself: just waiting. Vern said we were entering Mother Earth’s Womb. We all shared stories of intense discovery and pain while healing with the heat coming from the fire heating the stones. We talked about being clean for the first time because for many of us this was our first sweat lodge. We were learning to live a clean life, learning to think clean, we were cleaning our minds bodies, and spirits. Later I heard Fernando had become a famous actor and he starred in Mel Gibson’s film Apocalypto.
Many years have gone by since our first sweat. We have recovered as we all learned after the healing; we were all very wounded people at one time, maybe when we were younger. Vern always said our sweats were “four direction sweats” or “four colored” because all races of people were allowed in his lodge. Here in Toronto, these days Vern has become a great leader. As far as I know, he is the Spiritual Leader of Toronto simply because he will pray for all people, his own people, and helps anyone who needs healing or to purify themselves. Vern is recognized for his relentless work in the prison system, giving his good energy wherever he can for his people and all people. Vern’s camp is still in Guelph, and he maintains the Sacred Sweat Lodge Ceremony. Vern said he has lived 83 winters now.
I have learned over the years that all the cities and reservations across Ontario have camps like Vern’s, and all the provinces across Canada and all across North America. We have spiritual camps and elders in the prison system, public schools and universities, and suburbs where urban and traditional Native elders share our sacred culture and teachings to people who want to heal, learn, and purify. Our healing and the healing of Mother Earth must work together because Mother Earth gives us so much—in fact, Mother Earth gives us everything we as humans need to survive.
Many of our group have become urban elders ourselves because we continue the way of life our elders have taught us; this way of life was passed onto our elders by their elders, so it is now many winters, and we continue to give thanks to the natural world, the universe, the cosmos the way we were instructed. Thank you all for listening.
Vern speaks out from the Book of Elders
Courtesy of Sandy Johnson
A hundred years before the Europeans came, a Cree prophecy said a time would come when Rainbow People and the People of Color would appear and be like children. The prophecy talked about how the people would be very innocent and childlike, and that would be one of the signs for the great changes to come. This would be known as the Seventh Fire, I’ve talked to many of my uncles and aunts, and we believe the hippie movement was part of the prophecy. Maybe that’s why a lot of Indians identified with the hippie movement in the sixties.
Everyone has a responsibility to find out what they’re here for. There’s only one way you can do that: with a sober mind, through mediation and ceremony. There’s no other way that I’ve found, and it’s taken me four decades to find this out. Traditionally, Cree men were not allowed to do community work or speak on behalf of anyone until we were over fifty because up until that point our teachings instructed us to learn and listen. And when we reached fifty years of age, we would be able to say something for the people. But things have changed because of the need to teach others, and the world is out of balance. When I crawl into the lodge, I do it unselfishly. I crawl in there and think about my brothers and sisters. I think about Mother Earth, and I suffer and give thanks in the lodge. Our life here is part of a journey to the sprit world and preparation means everything. That’s why I keep my teachings simple. When I teach the children, I tell them to make life a good journey and then work to prepare your self. We must all prepare ourselves, so when our time comes, our spirit journey is a good one.
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.
Cadet Nick Fisher, from the University of Colorado- Colorado Springs, aims his weapon while in prone supported position during weapons training at George Blair Range at Fort Knox, June 16, 2019. | Photo by Jodi Moffett, CST Public Affairs Office
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.
Hey guy's just got PaintShop Pro X4 this weekend, first image editing with it and looking for some feedback please, let me know what you think, mixed feelings about it, definitely not photoshop. LOL.
This photo is copyright by Brandon Farris.
If interested in using it please email me at- brandon.farris12@gmail.com or seahawks7757@yahoo.com
Thanks!
Here is an example of feedback on a thematic diagram. Thematic diagrams are like workflows, but the emphasis is on the bigger picture. Some elements are presented larger to capture the importance of the idea in the ecosystem.
This example is 3-4 iterations into the design process- the final one going through a total of 10 iterations. The visual design is still rather rough.
ZURB is a close-knit team of interaction designers and strategists that help companies design better (www.zurb.com).
Feedback received for TEDxTempe 2010 from @AustinFrogge on Twitter:
One of my happy customers, James, showing off his muscles and sending off a coded message there! - - KEYWORDS: TIBETALIA, TIBETAN LANGUAGE TATTOO, Translator Mike Karma, Tibetan Tattoo, Uchen Tattoos, Tibetan Tattoo Translation, Tibetan Translation for Tattoo, Tibetan Script Tattoo, Tibetan Script Tattoos, Tibetan Translator, English to Tibetan Tattoo Translation, Tibetan to English Translation, Tattoo Design, SANSKRIT TATTOO, sanskrit translation, JAPANESE TATTOO, japanese translation. - horizontal Tattoo Design, vertical Tibetan Script Tattoo Designs, circular Text Tattoo, Tibetalia's Spiral Tibetan Text Tattoo Ink Art Ideas. - Keywords in Latinised Sanskrit, Romanised Japanese, Spanish, German, French, Dutch, Greek; Bod Yig, Bod sKad Yig sGyur mKhan, sKad gNyis sMra Ba, dBu Can, Khab gTsags Ri Mo, rMe Ris, devanagari, irezumi; tatouage tibetaine, tatouage tibetain, lettrage tibétain, prenoms français, prenoms française, prenoms françaises, noms françaises, noms française, noms français, nom, prenom, FRANCAIS, FRANCAISe, FRANCAISes, tibetische tätowierung, deutsche namen, tatuaje tibetano, nombres espanoles, nederlands, tibetaanse tatoeages, nederlandse naam, tattoo tibetaans, tibetskii tatu, (japanese) chibetto go de tatou, тибетский тату, チベット語でタトゥー, Καλλιτέχνης Θιβετιανής καλλιγραφίας. - Tibetan-Ink, Inked-Tibetan, Actual-Skin-Tattoo, Skin-Ink, Tattooed-Lettering, Inked- Skin, Script-Ink-Tattoo, Real Tatt Ink Work, Tat-Pic; Poster, Advertising, Promotion, Tatt Ink Studios, Tattoo Artists, Tatoo Parlours; Tibetalia's Happy Clients, Customer Satisfaction Feedback, Photoes of Tattooes, Tattoo Photo, Photographs of Inked Skins, Skin Ink Pix, TATTOO INKED GIRLS, TATTOO INKED BOYS, TRENDY FEMALE INK, MALE TATTOO DESIGNS. Tibetan Tattoos, Tibetan Tattoo Designs, Uchen Tibetan Script, Tibetan Script Tattoos, Tattoo Design Images by Tibetalia, Tibetalia Imaging, Tibetan Tattoo Designs by Mike Karma, Tibetan Name Tattoos, Tibetan Script Name Tattoo Designs, Tibetan Name Translation.
We got the feedback From AMET University VC and Team about Our AAMP Product…
Visit our official website:-
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.
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.
Fonte official FB page:
Over the course of Devin Townsend’s storied career, a single constant has persevered: change. As far back as Steve Vai’s Sex & Religion, which Townsend fronted, to 2001’s landmark full-length Terria to the multi-instrumentalist’s country rock outfit Casualties of Cool to his stunning new album Transcendence, the Canadian isn’t too interested in keeping an even musical keel. To stay the proverbial course is, well, anathema. For certain, he’s far too impatient to write the same Strapping Young Lad song over and over—which is why he folded the band in 2007—and it’s likely there will never be a fourth or fifth Ziltoid album (a third if we’re lucky) because by that point he’ll be in a totally different frame of mind for galactic puppets gone awry.
“The Devin Townsend Project is still essentially a solo project,” he reminds. “One of several, but the difference is that I've had a dedicated team of talented folks here that really had great ideas. of the ways I consciously stepped out of my comfort zone was to the solicit feedback from not only the band, but also to production and engineering. Opinions from people I trust at the management and label, and all with a sense of building a kind of archetype of the DTP sound that would not ostracize people who enjoy the style, but keeping it fresh for me as well. One of the things I did was present my vision—which I’ve always done—and within that framework, I’d massage it with the team. For this record, in those sections, I’d bring it to the band and say, ‘Look guys, here’s what it’s supposed to do. This is how it’s supposed to make me feel. And how the audience is supposed to feel. This is how it interacts with the parts prior and after. That’s why it exists. It’s not complicated because we’re trying to jerk off here. It’s complicated because, in my mind, the emotional component of the section is complicated. But in lieu of how quickly I tend to purge music I’m thinking: how can we make it cooler while I can still move quickly? 'Here’s the basic chord structure guys, this is what I think it should basically do, be it angular or in thirds or whatnot... Dave [Young; guitars] and Mike [St-Jean; keyboards] Ryan (VanPoederooyen: drums) and Brian (Waddell: bass) , can you think of something cooler there? I’ll be back tomorrow.’”
“It took a year to try and figure out a template for what DTP should be and still be of interest to me,” remembers Townsend, “And as much as I’ve been a control freak for so long, I’m also at an age where I recognize those elements—like friends—in my life are ultimately more important than music, and the need to control something like the DTP at this point is more rooted in insecurity now that necessity. I do enjoy being part of a team. I like to think after so many records with these guys that I don't really have to be at the center of everything. I can trust a team of people—the right people—to help where I need help. I need an engineer who has better ears than me. My ears are getting tired after all these years. If you put together a team whose strengths are better than yours, and then you put in your strengths, then what comes out of it, for no other reason than for an experiment, is really cool. And in line with my need for a project to have a theme to draw me into it, That’s what this records theme became. It’s an experiment put to music. If anything really kick started the inspiration for the record, it was that. The desire to get the DTP 'right' for what it is.”
Recorded at The Armoury Studios in Vancouver, Canada with Townsend and Adam ‘Nolly’ Getgood (Periphery, Animals as Leaders), Transcendence sounds absolutely massive. From the moment ‘Truth’—a re-work from the Infinity album—monstrously blends into the soul-stirring ‘Stormbending’ to the undulating cool of mid-point jam ‘Secret Sciences’ and Ween cover ‘Transdermal Celebration’, Townsend and crew have engineered a modern-day classic. The sheer scale of tracks like ‘Failure’, ‘Higher’, and the majestic title track is at once daunting and inviting. Transcendence pulls the listener in like a movie score. It has the emotional heft of Rosenman’s Star Trek IV: The Voyage Home and the mega-riff power of Black-era Metallica.
Even if Transcendence had its 'bikini wax' moments—(Townsend metaphorically refers to his process as 'professionally hitting myself in the face with a hammer')—the final product is fantastic. In many ways, it’s typical The Devin Townsend Project, however there is now an inviting sense of depth and relative breathing room in the sound. Always professional and sonically awash in darks, lights, and colors between, it turned out not only to be an acceptable new DTP record, but arguably one of the best. What also added to the overall quality was the addition of five guest musicians—including but not limited to ex-The Gathering vocalist Anneke Van Giersbergen, vocalists Ché Aimee Dorval and Katrina Natale—and a five-person choir called Tigers In A Tank. Their contribution to Transcendence’s overall ambiance is noteworthy and necessary.
“Well, I love working with female vocalists because I’m not particularly fond of singing and I really react emotionally to female voices,” posits the frontman. “I kind of fell into singing. I could never find someone who would sing like I wanted, so I begrudgingly took the job. Anneke’s obviously worked with me for a while now. Ché was on this record because she was with me in Casualties of Cool. And Katrina sang one song on the Ghost album. Also, I wanted the three of them on this record if this was to be the last DTP record. They bring it all together. So, sticking with the same people is the same reason I’ve been married for so long. Once I find great people, I have no need to look elsewhere for the similar things. It’s kind of great as it eliminates option paralysis in that area, though as different needs arise, often things evolve as well. As for the choir, it’s typically been inefficient. For the last record, I went to Amsterdam and it was crazy. I went to Sweden and it was cool but super-expensive. On Epicloud, I had a gospel choir, but had to over-dub a lot. For this one, I asked my buddy Eric [Severinson] to find three capable women and two men. I was able to create the choir by doing over-dubs and recording on-the-fly. It turned out great and it was very efficient.”
With over 60 songs in the bag for Transcendence, (not all, he is quick to point out, of the same quality) Townsend obviously had to pare down. The songs that made it, however, are breathtaking in their scope, beautiful in their presentation, and heavy—noticeably—enough to out-bombast the sum of The Devin Townsend Project’s previous full-lengths. Certainly, Townsend knows how he feels about the songs on Transcendence (and its accompanying second disc). Each song, from ‘Truth’ and ‘Secret Sciences’ to ‘Stars’ and ‘Offer Your Heart’, provoked a reaction from the man.
“My litmus test for whether or not a song or a record is working is really about my visceral reaction to it,” Townsend says. “If I react to it, then it’s correct, for me. That reaction could be repulsion, it could make me cry, it could irritate me, I could be loving it, it’s pretty much all the same. As long as I’m affected by the song, then I know I have something accurate.”
As for the Townsend’s loyal fans? The very fans who’ve been waiting with bated breath for Transcendence?
“If it gives me a reaction, then I hope it’ll contribute something to their world. Ultimately, I'm happy to contribute my observations to the massive sea of music. If there's anything that became clear to me throughout this all is the value of being part of something as opposed to being too concerned about 'being' the thing'
Feedback received for TEDxTempe 2010 from @monikawoolsey on Twitter:
We got the feedback From AMET University VC and Team about Our AAMP Product…
Visit our official website:-
The door lock on the left is an example of good feedback because when you lock the door the inside machanism makes a clicking sound that tells you the door is locked. While the one on the right has a bad feedback because when you turn the little knob at the center to lock the door, it does not look or sound like anything happened so you cannot be sure whether or not the door is locked.
This is a photograph from the Longwood GAA 10KM and 5KM Road Races and Fun Runs 2014 which were held in Longwood Village, Co. Meath, Ireland on Sunday 19th October 2014 at 11:00. This is the fifth year which Longwood GAA have hosted race events. This year's event was an outstanding success with the number of participants doubling over last year's final numbers. There were almost 400 participants in both events with 224 in the 10KM and 166 in the 5KM. In the first three previous years the club had organised a 5KM road race. The events were organised as fundraisers for both the adult and juvenille teams at Longwood GAA club. The event also provided a fundraising opportunity for the local St. Vincent de Paul charity. Overall the whole day was a great success with the hard work put in by the organising committee ensuring that participants enjoyed their race experience. Both routes were accurately measured, kilometer points clearly marked, junctions well stewarded, and electronic timing provided. The event provided many local runners, joggers, fun runners and walkers with a local event to support whilst at the same time providing runners preparing for events such as the Dublin marathon with an opportunity to race a short, fast, distance in the lead up to marathon day. The GAA club provided excellent stewarding and traffic management all around the course. The race had a professional feel to it and it is sure to grow next year given the very positive feedback from many of the participants today.
This is a photograph which is part of a larger set of photographs taken at the event. There were photographs taken at the start of the races and the finishes of both races in Longwood GAA. The full set is available at this link www.flickr.com/photos/peterm7/sets/72157648845224981/
Longwood is a small village in South East Co. Meath and is close to the town of Enfield with access to the M4 Motorway.
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
Overall Race Summary
Participants: There were about 400 participants over the two events.
Weather: The weather was very breezy but dry. The temperatures around 10C.
5KM Course: The 5KM started in Longwood village. Runners then took a left turn in the Village down St. Oliver's Road. This straight section of road brings runners to a left turn onto a very well maintained boreen road for less than one kilometer. The race then emerges and joins with the 10KM at Stoneyford where the runners take a left and then another left before arriving back at the finish line in Longwood GAA club. Overall this is a very fast and flat 5KM with no hills to speak of.
10KM Course: The 10KM event begins in Longwood Village outside Stoney's Pub (goo.gl/maps/Of4fW) and proceeds westward out of the village. There are some interesting points along this part of the course. At the 2KM point the runners will run under the double bridges - an aquaduct for the Royal Canal and a bridge carrying the Dublin Sligo Railway line. The race then enters county Kildare just before the 3km and after taking a right turn at the four-cross roads known locally as Lally's Cross it returns to County Meath on top of the River Boyne Bridge (Ashfield Bridge) which forms the county boundary. The race follows a straight road for the next 2KM until runners encounter Blackshade bridge which is the toughest climb on the route. As a point of interest Blackshade bridge brings runners back over the Royal Canal and the Railway line. The race then crosses the River Boyne again at Stoneyford before taking a right which will bring runners on a testing two kilometer stretch with some short hills. The 10KM course then joins with the 5Km course for the final 1.5KM back to Longwood GAA club for the finish.
Location Map: Longwood GAA club (Race Finish and Race Head Quarters - goo.gl/maps/4a8iQ Google StreetView)
Joining point of the two courses (Google Streetview goo.gl/maps/ICUvs)
Some Useful Links
RESULTS 2014: www.precisiontiming.net/result.aspx?v=2253
www.facebook.com/longwoodroadrace?fref=ts (may require Facebook logon)
Longwood GAA Facebook: www.facebook.com/longwoodgaa (may require Facebook logon)
Our photographs from Longwood 5KM 2013: www.flickr.com/photos/peterm7/sets/72157636477484093/
Our photographs from Longwood 5KM 2012: www.flickr.com/photos/peterm7/sets/72157631820426332/
Our photographs from Longwood 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627782257481/
Our photographs from Longwood 5KM 2010: www.flickr.com/photos/peterm7/sets/72157625058772687/
Garmin GPS Trace for the 5KM Event in 2013: connect.garmin.com/player/238527691
Garmin GPS Trace for the 10KM Event in 2013: connect.garmin.com/activity/387453099
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
Feedback from a proof-reader of an early copy of my first book "How to Enjoy Your Job". He read the 7th version of the manuscript, and the comments were helpful in rejigging the whole design
Feedback received for TEDxTempe 2010 from @erictorres on Twitter:
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