My actual excuse is that I am testing the new Google BARD AI app and I need to have something to ask it about. However, I told him that the boss told me to photograph trams for some unknown reason.
Input: “Tell me about the LUAS red line in Dublin” Answer: The Luas Red Line is one of the two lines of Dublin’s Luas light rail system. It runs in an east–west direction through the city centre, north of the River Liffey, before travelling southwest to Tallaght, with a fork to Citywest and Saggart. The Red Line opened on 26 September 2004.
The Red Line has 32 stops, and a journey from Tallaght to Connolly Station takes approximately 45 minutes. The line is served by a fleet of 44 trams, which operate every 5–10 minutes during peak times, and every 10–15 minutes off-peak.
The Red Line is a popular mode of transport for commuters and tourists alike. It is a convenient and efficient way to travel around Dublin, and it connects with many other bus and train services.
Here are some of the key features of the Luas Red Line:
It is a light rail system, which means that it is powered by electricity and has a lower environmental impact than other forms of transport. It is a high-frequency system, with trams running every 5–10 minutes during peak times. It is a well-connected system, with links to many other bus and train services. It is a safe and reliable system, with a good track record of safety. The Luas Red Line is a valuable asset to Dublin, and it is a convenient and efficient way to travel around the city. It is a popular mode of transport for commuters and tourists alike, and it is sure to continue to be a popular choice for many years to come.
Here are some additional facts about the Luas Red Line:
The line is 18.5 kilometers long. The line has a fleet of 44 trams. The line carries an average of 150,000 passengers per day. The line was extended to Saggart in 2011. The line is currently being extended to Broombridge.
Note: The extension to Broombridge is operational and it was the Green Line that was extended.
Input: “Why would anyone photograph a tram coming up a hill” Answer: There are many reasons why someone might photograph a tram coming up a hill. Here are a few:
To capture the power and strength of the tram. A tram coming up a hill is a powerful sight, and it can be awe-inspiring to see the amount of force it takes to move the tram up the incline. To capture the beauty of the hill. A hill can be a beautiful sight, and the contrast between the steep hill and the tram can make for a striking image. To capture the everyday life of a city. A tram coming up a hill is a common sight in many cities, and it can be a way to capture the everyday life of a city. To create a sense of perspective. A tram coming up a hill can help to create a sense of perspective, and it can make the viewer feel small in comparison to the power of the tram. To create a sense of motion. The movement of the tram can create a sense of motion in the image, and it can be a way to capture the energy of a city. Ultimately, the reason why someone might photograph a tram coming up a hill is up to the individual photographer. There are many possible reasons, and the best reason is the one that speaks to the photographer’s own individual vision.
Here are some additional thoughts on why someone might photograph a tram coming up a hill:
To document a historical sight. In some cases, a tram coming up a hill may be a historical sight, and photographing it can be a way to document that history. To create a work of art. A photograph of a tram coming up a hill can be a work of art, and it can be a way to express the photographer’s own unique vision. To simply capture a moment in time. Sometimes, the best reason to photograph something is simply because you want to capture a moment in time. A tram coming up a hill can be a fleeting moment, and photographing it can be a way to preserve that moment for posterity.
Quote from Ulysses by James Joyce: “Quick warm sunlight came running from Berkeley road, swiftly, in slim sandals, along the brightening footpath. Runs, she runs to meet me, a girl with gold hair on the wind.”
The Four Masters’ Park is a small green park on Berkeley Road in the heart of the North inner-city; one of the very few. The space was given by the Sisters of Mercy for the benefit of the local community. I have never managed to gain access to the park, also known as the Mater Plot, which features a Celtic Cross and the Healing Hands sculpture by Tony O’Malley.
Berkeley Road and Berkeley Street are two short, connected streets at the west end of Eccles Street. The former runs south for a couple of blocks from the North Circular Road, going past the Mater hospital and Eccles. Angling left, it then becomes Berkeley Street, which runs southeast for half a dozen blocks until, crossing Blessington Street, it becomes Mountjoy Street.
The sculpture made of bronze was erected on World Day of the Sick, February 11th 2000. The sculpture is located in the Mater Plot Berkeley Road but I have never been able to gain access to the park which also features a large Celtic Cross.
The sculpture represents the Burning Bush. At its centre is a flame which never dies and which reminds us of the everlasting love of God. The Flame symbolises the Light of Christ which brightened our world at the dawn of the first millennium. The Tree symbolises the Tree of the Cross and Christ’s redeeming Mission. The Hands which form the foliage symbolise Christ’s healing ministry which continues through the caring and healing hands of the Sisters and staff of The Mater Misericordiae University Hospital.
Tony O’Malley (25 September 1913 – 20 January 2003) was an Irish artist. He was born in Callan, County Kilkenny.
The Four Masters’ Park is a small green park on Berkeley Road in the heart of the North inner-city; one of the very few. The space was given by the Sisters of Mercy for the benefit of the local community.
I originally assumed that this was a Public Park but as I been unable to gain access for at least five or six years I now believe that it must be private or access is limited. It is of interest because it features the Healing Hands Sculpture and a large “Four Masters” Celtic cross.
The current plan for the new MetroLink in Dublin is to consume this park for the new metro station. Less than 100 metres away from the park is a station already built under the Mater Hospital . This was a part of the old Metro North plan. €20 million was spent on installing a station box beneath the new adult hospital. The Metro North enabling works were completed in 2013 under the Mater Whitty Building by BAM Contractors Ltd on behalf of the Railway Procurement Agency. www.thejournal.ie/mater-metrolink-metro-north-nta-dublin-…
The Healing Hands sculpture is by Tony O’Malley. Tony O’Malley (25 September 1913 – 20 January 2003) was an Irish artist. He was born in Callan, County Kilkenny, Ireland. O’Malley was a self-taught artist, having drawn and painted for pleasure from childhood. He worked as a bank official until contracting tuberculosis in the 1940s. He began painting in earnest while convalescing and, though he did at first return to bank work, he continued to paint and in 1951 he began exhibiting his work.
The Healing Hands is a hollow bronze hand patterned sphere containing an eternal flame and supported on a squat tree-trunk style pedestal. It was erected in 2000 to celebrate the third millennium of the birth of Christ. This sculpture is intended to symbolise the healing ministry of Christ which continues through the care of the staff of the neighbouring Mater Hospital which was founded by the Sisters of Mercy in 1861.
Four Masters Memorial (1876) By James Cahill (d.1890) Commissioned by Sir William Wilde (1815-1876)
This high cross on a large plinth commemorates the Franciscan friars of Donegal town, who between 1632 and 1636 compiled from early sources a history of the ancient kingdom of Ireland which became known as the Annals of the Four Masters.
The Annals are chronicles of the medieval history of Ireland. Sir William Wilde (father of Oscar Wilde) was the chief instigator of the memorial to the four writers who created the Annals. Wilde was an eye and ear surgeon and an antiquarian, who took an active role in sculptural commissions in Dublin. He was passionately interested in the history of Ireland and was a very active member of the Royal Irish Academy, hence the theme of this sculpture.
James Cahill was born in Delvin, Westmeath. On the death of his father, a builder, his mother moved to Dublin, and he became a pupil in the Royal Dublin Society School, where he won prizes in 1851 and 1852. He sent a sculptural group (part of a marble monument executed for the Presentation Convent in Wexford) to be exhibited at the Royal Hibernian Academy in 1852, and then went to Rome where he remained for a few months.
On his return to Dublin in 1853 he entered Hogan’s studio, where he worked as a pupil and assistant until 1858. He executed a number of works for churches and also portrait busts and statues. His most important production was the statue of Daniel O’Connell, erected in Ennis in 1865. His works appeared in the Royal Hibernian Academy at intervals between 1856 and 1886. He died in Dublin on 28th October, 1890, aged about 60, and was buried in Glasnevin Cemetery.