Evening stroll

Evening stroll

Image by Ed Yourdon
This, too, is a relatively new building; it wasn't here when I was an undergraduate.

It's common to see all of the lights turned on, in MIT buildings, even when the offices/labs are empty, and nothing appears to be going on. Given the emphasis on "green" and energy conservation, it's strange to see something like this at a university like MIT. But there it is...

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It was a lifetime ago that I stumbled off a Greyhound bus in downtown Boston, a clueless 17 year old kid with two suitcases that held all my worldly possessions. I dragged them out to the street (no roll-aboard suitcases in those ancient times), and asked a taxi driver to take me to an address in Cambridge that I had scribbled on a scrap of paper: 77 Massachusetts Ave.

"Aye," the driver muttered, in a dialect that never did become familiar during the next several years. "SebendySebenMassAve."

When he dropped me off, I noticed two things. First, enormous stone steps leading up to the entrance to an imposing granite building. And second, a long line of scraggly, sloppily-dressed young men stretching from the building's entrance down toward the street where the taxi had dropped me. Aha, I thought: I'm not the only one who forgot to fill out the official form requesting a dorm room.

Welcome to MIT.

I waited in line for two hours before being assigned temporarily, with two other equally absent-minded, newly-arrived MIT students, to sleep on mattresses in an East Campus dorm room that had initially been assigned as a "single" room to an understandably annoyed fellow from Cincinnati. One of the other temporary misfits, whom we immediately nicknamed "Filthy Pierre," had just arrived from Paris with nothing but one large, heavy duffel bag that he dragged into the room. Its contents consisted of miscellaneous telephone parts, which he dumped on the floor and kicked under the bed before wandering out of the room to explore Boston. (He had not showered in weeks, and he was eventually expelled for burning a cross on MIT's Great Lawn on Easter morning. But that's another story.)

Thus began my four-year experience at what many still consider America's premiere scientific/engineering university. That I survived and graduated is a minor miracle; and while I'll hint at the adventures along the way, in this Flickr set, you'll have to look elsewhere for the details...

I continued to live in Cambridge for a couple of years after I graduated; took a couple of graduate courses in AI and computer science, taught a couple summer MIT classes to innocent high school students (one of whom challenged me to write the value of pi on the blackboard, to 100 places, from memory - which I did), took full advantage of MIT's athletic facilities, and 25-cent Saturday-nite movies at Kresge auditorium, which always featured the enormously popular RoadRunner cartoons, and occasionally walked through the same halls and pathways that I had first explored as an overwhelmed undergraduate student. But then I got a new job, moved to New York City, got married, settled down, and began raising family. After that, I typically travelled to Boston two or three times a year on business trips, but never seemed to have time to come back to MIT for a casual visit.

But one of the advantages of a near-fanatical devotion to the hobby of photography is that you begin to appreciate that all of the experiences you internalized and took for granted need to be photographed -- for posterity, if nothing else. Some of my most vivid memories of MIT, which we took for granted - like the huge,red, neon, flashing/pulsating "Heinz 57" sign out on the northern edge of the (Briggs) athletic fields -- are gone. Some of the legendary professors and deans have died and commemorative plaques have been erected in their honor. And there's a whole lot of new stuff - mostly new buildings and laboratories, whose specific purpose is a mystery to me - that I just have to shrug and accept.

But the basic campus is still there. And the memories are just as vivid as they were, so many years ago. I can't say that I captured them all in this Flickr set; the photos were taken at sunset one evening, and dawn the following morning. But they'll give you an idea of what it was like, a long long time ago, in a galaxy far, far away ... and what it's still like today.

lion's den 2 colorized

Image by gurana
Surprisingly good, IMHO, On Black.

Tried a "painterly" effect. Kind of similar to what I did a while back with my 'cartoon' effect, though that never worked out how I expected. This didn't exactly turn out how I wanted either, but I kind of like it.

For the B&W sketched layer, I tried to use the G'MIC artistic>Pencil sketch... It's got two settings: pencil type (size, I think) and amplitude (not sure...). I had to run it a few times because the end result had such fine detail, at normal viewing size it looked like a regular B&W shot. I ran it two or three times with increased amplitude, and still didn't get the dramatic results that the preview suggested. I tried also to run through the anistropy filter in an attempt to increase the "pencil stroke" appearance. It's alright, but the effect isn't as dramatic as I would've liked.

For an example of what I had in mind, but not exactly what I was going for, check out a couple of examples from skyshaper

cc 18

Image by creativecommons_southafrica
Guests at the event could add to this giant cartoon, by adding their twists and turns to the story of 'Little Red Riding in the Hood'. Photo by James Oatway.

Boston - Freedom Trail: Old City Hall - Donkey statue

Image by wallyg
This statue of a donkey, signifying the Democratic Party, is located in the courtyard of Boston's Old City Hall, an ornate 1862 French Second Empire style structure. In front of the donkey are two bronze footprints "stand in opposition" and a plaque explaining its origin as the party's symbol.

In 1828, Andrew Jackson established the Democratic party and ran for president using the populist slogan, "Let the people rule." His opponents thought him silly and labeled him a "jackass". Jackson, however, picked up on their name calling and turned it to his own advantage by using the donkey on his campaign posters. Over the years this donkey had become the accepted symbol of the Democratic party.

The first time the donkey was used in a political cartoon to represent the Democratic party, it was again in conjunction with Jackson. Although in 1837 Jackson was retired, he still thought of himself as the Party's leader and was shown trying to get the donkey to go where he wanted it to go. The cartoon was titled A Modern Baalim and his Ass.

Interestingly enough, the person credited with getting the donkey widely accepted as the Democratic party's symbol probably had no knowledge of the prior associations. Thomas Nast, a famous political cartoonist, came to the United States with his parents in 1840 when he was six. He first used the donkey in an 1870 Harper's Weekly cartoon to represent the "Copperhead Press" kicking a dead lion, symbolizing Lincoln's Secretary of War Edwin M. Stanton, who had recently died. Nast intended the donkey to represent an anti-war faction with whom he disagreed, but the symbol caught the public's fancy and the cartoonist continued using it to indicate some Democratic editors and newspapers.

Later, Nast used the donkey to portray what he called "Caesarism" showing the alleged Democratic uneasiness over a possible third term for Ulysses S. Grant. In conjunction with this issue, Nast helped associate the elephant with the Republican party. Although the elephant had been connected with the Republican party in cartoons that appeared in 1860 and 1872, it was Nast's cartoon in 1874 published by Harper's Weekly that made the pachyderm stick as the Republican's symbol. A cartoon titled "The Third Term Panic," showed animals representing various issues running away from a donkey wearing a lion's skin tagged "Caesarism." The elephant labeled "The Republican Vote," was about to run into a pit containing inflation, chaos, repudiation, etc.

By 1880 the donkey was well established as a mascot for the Democratic party. A cartoon about the Garfield-Hancock campaign in the New York Daily Graphic showed the Democratic candidate mounted on a donkey, leading a procession of crusaders.

Over the years, the donkey and the elephant have become the accepted symbols of the Democratic and Republican parties. Although the Democrats have never officially adopted the donkey as a party symbol, all twenty of Boston's Democrat mayors did. The Republicans adopted the elephant in 1974, but only five of the ten Republican mayors utilized it.

National Historic Register #70000687

Boston - Freedom Trail: Old City Hall - Donkey statue

Image by wallyg
This statue of a donkey, signifying the Democratic Party, is located in the courtyard of Boston's Old City Hall, an ornate 1862 French Second Empire style structure. In front of the donkey are two bronze footprints "stand in opposition" and a plaque explaining its origin as the party's symbol.

In 1828, Andrew Jackson established the Democratic party and ran for president using the populist slogan, "Let the people rule." His opponents thought him silly and labeled him a "jackass". Jackson, however, picked up on their name calling and turned it to his own advantage by using the donkey on his campaign posters. Over the years this donkey had become the accepted symbol of the Democratic party.

The first time the donkey was used in a political cartoon to represent the Democratic party, it was again in conjunction with Jackson. Although in 1837 Jackson was retired, he still thought of himself as the Party's leader and was shown trying to get the donkey to go where he wanted it to go. The cartoon was titled A Modern Baalim and his Ass.

Interestingly enough, the person credited with getting the donkey widely accepted as the Democratic party's symbol probably had no knowledge of the prior associations. Thomas Nast, a famous political cartoonist, came to the United States with his parents in 1840 when he was six. He first used the donkey in an 1870 Harper's Weekly cartoon to represent the "Copperhead Press" kicking a dead lion, symbolizing Lincoln's Secretary of War Edwin M. Stanton, who had recently died. Nast intended the donkey to represent an anti-war faction with whom he disagreed, but the symbol caught the public's fancy and the cartoonist continued using it to indicate some Democratic editors and newspapers.

Later, Nast used the donkey to portray what he called "Caesarism" showing the alleged Democratic uneasiness over a possible third term for Ulysses S. Grant. In conjunction with this issue, Nast helped associate the elephant with the Republican party. Although the elephant had been connected with the Republican party in cartoons that appeared in 1860 and 1872, it was Nast's cartoon in 1874 published by Harper's Weekly that made the pachyderm stick as the Republican's symbol. A cartoon titled "The Third Term Panic," showed animals representing various issues running away from a donkey wearing a lion's skin tagged "Caesarism." The elephant labeled "The Republican Vote," was about to run into a pit containing inflation, chaos, repudiation, etc.

By 1880 the donkey was well established as a mascot for the Democratic party. A cartoon about the Garfield-Hancock campaign in the New York Daily Graphic showed the Democratic candidate mounted on a donkey, leading a procession of crusaders.

Over the years, the donkey and the elephant have become the accepted symbols of the Democratic and Republican parties. Although the Democrats have never officially adopted the donkey as a party symbol, all twenty of Boston's Democrat mayors did. The Republicans adopted the elephant in 1974, but only five of the ten Republican mayors utilized it.

National Historic Register #70000687