Photonique

I LIKE PHOTOGRAPHING THE TREES IN PHOENIX PARK

Making my blog more accessible is important to me. For readers who find the detailed text descriptions challenging, I've begun adding audio descriptions in a conversational format. I hope this offers a richer and more inclusive experience

9 APRIL 2025

Phoenix Park in Dublin is renowned for its expansive green spaces and diverse collection of trees. Here’s a look at the variety you can find, and some of its notable arboreal features:

Variety of Trees:

The park boasts a wide range of tree species, contributing to its rich biodiversity. Common varieties include:
Oak (Quercus robur)
Ash
Lime
Sycamore
Horse Chestnut
Hawthorn
Beech
Evergreens
Key Features:

The park contains various woodland habitats, and also scattered trees within parkland areas.
There has been extensive tree planting over the years, to maintain and replace older trees.
The horse chestnut trees within the park create some very impressive avenue’s. These trees have had problems with horse chestnut bleeding canker, and there has been work done to combat this disease.

It’s important to note the presence of semi-natural oak-ash-hazel woodland, which is a valuable habitat.

The park’s older trees contribute significantly to its historical landscape. Determining the single “oldest” tree can be difficult, but many mature oaks and other species are centuries old.
The park is also home to protected plant species, showing the importance of the parks biodiversity.

LITTLE STRAND STREET IS A STREET OFF CAPEL STREET

PHOTOGRAPHED BY WILLIAM MURPHY

Little Strand Street passes behind a derelict that once was home to the Ormond Hotel and it also features another site that has been derelict for many years.

Little Strand Street and Surrounding Developments:

Little Strand Street, a narrow street in Dublin’s city centre, is a place where historical layers and contemporary development intersect.

The Ormond Hotel:

Located on Ormond Quay Lower, which Little Strand Street backs onto, the Ormond Hotel is renowned for its appearance in James Joyce’s “Ulysses.”

Despite its literary significance, the building has remained derelict for a considerable period.
Redevelopment efforts have been hampered by legal disputes, planning challenges, and economic factors, leading to prolonged stagnation.

The Hotel Development (Capel Street/Little Strand Street Corner):

A new 142-bedroom hotel, being constructed by the Tifco hotel group, is currently underway at the corner of Capel Street and Little Strand Street.

This Hotel development is located on the site of what was previously a Working Mans Club.
The new Hotel will contain a ground floor bar and restaurant.

The planning process for this hotel faced initial objections from Dublin City Council regarding the concentration of hotels in the area, but An Bord Pleanála ultimately granted permission.

Jack Nealon’s Pub (165-166 Capel Street):

Jack Nealon’s is a historically significant and still-operating pub on Capel Street/Little Strand Street.

The pub building itself is of architectural and social importance.

A few years ago, it was announced that Jack Nealon’s pub had been sold to an American company. Due to this news, and the fact that a hotel was to be built at the corner of Little Strand street, some people assumed/claimed that the new owners were planning to replace the pub. It is important to note that Jack Nealon’s pub is a separate building, and business, to the new hotel development.

THE CROPPIES ACRE MEMORIAL PARK AT THE MUSEUM LUAS TRAM STOP ON BENBURB STREET

25 MARCH 2025

A decade or so ago I advised visitors to avoid this park but much has changed since then.

The Croppies’ Acre, officially the Croppies Acre Memorial Park, is a historically significant public space located in Dublin, Ireland, along the banks of the River Liffey, near Collins Barracks. Its primary importance stems from its association with the 1798 Rebellion. Here’s a breakdown of its significance and past issues:

Historical Significance:

1798 Rebellion:
The site is traditionally believed to have been used as a mass burial ground for Irish rebels, known as “Croppies” due to their short-cropped hair, who were casualties of the 1798 Rebellion.

This connection makes it a poignant reminder of a crucial period in Irish history, attracting those interested in Ireland’s struggle for independence.
The memorial park serves as a place of remembrance for those who fought in the rebellion.

Historical Context:
The park’s proximity to Collins Barracks (formerly the Royal Barracks) adds to its historical context, as the barracks played a role in the events of that era.

Past Issues and Redevelopment:

Anti-social Behaviour:
In the past, the park suffered from significant anti-social behaviour, including public drunkenness and drug use, leading to its closure by the Office of Public Works in 2012.

Redesign and Reopening:
Dublin City Council took over the park’s management and implemented a redesign to address these issues.
The park was reopened in 2016, with the aim of creating a safer and more accessible public space.
The redesign of the park, and the work done by the Dublin City Council has greatly helped to reduce anti social behaviour.
The park is now open 24 hours a day, increasing public access.

Why it may be of interest to overseas visitors:

Irish History:
For those interested in Irish history and the struggle for Irish independence, Croppies’ Acre provides a tangible link to a pivotal moment.
Cultural Significance:
It offers insight into Irish cultural memory and how historical events are commemorated.

Dublin’s Heritage:
It is a part of Dublin’s rich historical heritage, located along the scenic River Liffey.

THE KNIFE EDGE SCULPTURE MEMORIAL TO W.B. YEATS BY HENRY MOORE

ST STEPHEN’S GREEN FEBRUARY 2025

The sculpture in St. Stephen’s Green, Dublin, formally titled “Knife Edge,” serves as a powerful, abstract memorial to the Nobel Prize-winning Irish poet, W.B. Yeats. Created by the celebrated British sculptor Henry Moore, it was erected in 1967, many years after Yeats’s death in 1939.

The sculpture is a free-standing, cast bronze monument. Its abstract form, characteristic of Moore’s style, is described as “Knife Edge,” suggesting sharp, angular lines and a dynamic, almost precarious balance. It’s larger than life-size, lending it a monumental presence, despite its location on a relatively low, round-plan metal base. This base, in turn, sits atop a wider, low rubble granite plinth, which is integrated into a cobbled area within a larger paved garden. The setting itself, on the site of former glasshouses, is designed with stepped areas, offering ample seating for visitors to contemplate the artwork.

The text provided described it as, “A notable piece of bronze casting”. This is supported by its abstract form. The fact it is in a public park in the open air it adds a robust quality to the sculpture.

The accompanying plaque clarifies the sculpture’s purpose: “W.B. Yeats 1865-1939. A tribute in bronze by Henry Moore. Erected by admirers of the poet October 1967.” This inscription underscores the collective effort to honour Yeats’s legacy, positioning Moore’s work as a tangible expression of admiration.

The choice of an abstract form to represent Yeats is particularly interesting. It’s described as a “rare example of an abstract depiction of a person” within the context of St. Stephen’s Green’s memorials. This departure from representational portraiture aligns with Moore’s broader artistic philosophy, which prioritised form, space, and material over literal likeness. It also perhaps subtly reflects the multifaceted nature of Yeats’s own work, which blended Irish mythology, symbolism, and modernist experimentation.

W.B. Yeats (1865-1939)

William Butler Yeats was one of the foremost figures of 20th-century literature. An Irish poet and playwright, he was a driving force behind the Irish Literary Revival, a movement that sought to create a distinctly Irish national literature, drawing on Irish folklore, mythology, and history. He was awarded the Nobel Prize in Literature in 1923. His poetry often explored themes of Irish identity, spirituality, love, and the passage of time.

Henry Moore (1898-1986)

Henry Moore was one of the most significant British sculptors of the 20th century. He is best known for his semi-abstract monumental bronze sculptures, which are located around the world as public works of art. 1 His forms are often suggestive of the human figure, frequently featuring reclining figures with hollows and pierced forms. Moore was deeply interested in the relationship between sculpture and landscape, often placing his works in outdoor settings to engage with the surrounding environment. The use of bronze allowed Moore to create very large sculptures.

BARREL 2020 BY FERGUS MARTIN REMINDS ME OF MY TRASHCAN MAC WHICH WAS A BIG DISAPPOINTMENT

THIS SCULPTURE WAS VERY DIFFICULT TO PHOTOGRAPH

Unfortunately when I saw this sculpture it reminded me of the most disappointing computer that I ever had and it was expensive.

The cylindrical Mac Pro, released in 2013, was a radical departure from previous Mac Pro designs.

Its compact size and innovative thermal core were initially praised, but it quickly became a source of controversy and disappointment for many professional users.

What it was:

Radical Design: A small, cylindrical design with a polished aluminium finish.
Unified Thermal Core: Components were mounted around a central core for efficient cooling.
Powerful Specs: Offered with dual Intel Xeon processors and AMD FirePro GPUs.
Focus on External Expansion: Relied heavily on Thunderbolt 2 for external peripherals and expansion.

Why it disappointed:

Limited Internal Expansion: Lack of traditional PCIe slots hindered customisation and upgrades, a crucial aspect for professional workflows.
Thermal Issues: Despite the innovative design, some users reported thermal throttling under heavy loads.
GPU Limitations: The reliance on AMD FirePro GPUs meant limited options and less support compared to NVIDIA GPUs, which were preferred by many professionals.
Price: It was expensive, especially considering the limitations and lack of upgrade options.

Apple’s Lack of Support:

Stagnant Updates: The “trashcan” Mac Pro went for years without meaningful updates, leaving users with outdated hardware.
Admission of Failure: Apple eventually acknowledged the design’s shortcomings and admitted it didn’t meet the needs of many professional users.

The “trashcan” Mac Pro serves as a reminder of the importance of understanding user needs and the limitations of prioritising form over function. It also highlights the challenges of balancing innovation with the need for flexibility and upgradeability in professional computing.

Fergus Martin’s “Barrel 2020” at IMMA is a large, highly reflective, cylindrical sculpture. Its smooth, polished surface creates a mirror-like effect, reflecting the surrounding environment and the viewer themselves. This reflectivity is a key aspect of the work, blurring the lines between the object and its surroundings. The sculpture’s form is simple and geometric, a perfect cylinder that emphasises its industrial origins. It’s this simplicity and starkness that perhaps leads to comparisons with objects like the Mac Pro. The lack of surface detail, beyond the reflections, draws attention to the form itself and the way it interacts with light and space.

Martin’s work often explores the relationship between form and material, and “Barrel 2020” is a clear example of this. The highly polished surface, while seemingly simple, requires considerable technical skill to achieve and maintain. This focus on craftsmanship is an important part of Martin’s practice. The title, “Barrel,” while perhaps misleading in terms of the object’s appearance, might be intended to play with our expectations and preconceptions about what a “barrel” can be. It creates a tension between the name and the reality of the object, prompting us to consider the meaning and associations we attach to both.

The sculpture’s placement at IMMA is also crucial. The outdoor setting allows the reflections to constantly shift and change, depending on the light, weather, and the movement of viewers. This dynamic interaction with the environment adds another layer of complexity to the work.

So, in short, “Barrel 2020” is a minimalist, reflective cylinder that invites contemplation on form, material, and the relationship between the object and its surroundings. My sincere apologies for the earlier, completely inaccurate description.