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Los Alamos ranch house,16 October 1945 — Robert Oppenheimer (left), Leslie Groves (center) and Robert Sproul (right) at the ceremony to present the Los Alamos Laboratory with the Army-Navy E Award
Photo Credit: By Los Alamos National Laboratory - Los Alamos National Laboratory, Attribution, https://commons.wikimedia.org/w/index.php?curid=25514526
Los Alamos ranch house,16 October 1945 Robert Oppenheimer (left), Leslie Groves (center) and Robert Sproul (right) at the ceremony to present the Los Alamos Laboratory with the Army-Navy E Award
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Los Alamos National Laboratory (LANL) logo — ade official in 2001 by the Director of LANL, John Browne. Previously there had been no single look or graphic element associated with the institution. The logo was created in an effort to brand the Laboratory to customers and stakeholders. The logo was designed by Jim Cruz, a graphic designer employed by LANL. Initially there was a competition between a team of LANL designers to determine a new logo design. All designs were critiqued and eliminated during a review process for several months. This logo design was actually eliminated halfway through the process. John Browne and his Senior Executive Team rejected all the designs in the final selection process and asked to see what had previously been submitted. The logo designed by Jim Cruz was presented and unanimously chosen as the winner.
Photo Credit: By LANL - Public Domain, https://commons.wikimedia.org/w/index.php?curid=16492367
Los Alamos National Laboratory (LANL) logo ade official in 2001 by the Director of LANL, John Browne. Previously there had been no single look or graphic element associated with the institution. The logo was created in an effort to brand the Laboratory to customers and stakeholders. The logo was designed by Jim Cruz, a graphic designer employed by LANL. Initially there was a competition between a team of LANL designers to determine a new logo design. All designs were critiqued and eliminated during a review process for several months. This logo design was actually eliminated halfway through the process. John Browne and his Senior Executive Team rejected all the designs in the final selection process and asked to see what had previously been submitted. The logo designed by Jim Cruz was presented and unanimously chosen as the winner.
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The entrance to Los Alamos was guarded at the Main Gate during the Manhattan Project
Photo Credit: By United States Army - Los Alamos National Laboratory, Public Domain, https://commons.wikimedia.org/w/index.php?curid=50792377
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Manhattan project — Unofficial emblem of the Manhattan project, circa 194, superimposed on the famous color photograph of the "Trinity" shot, the first nuclear test explosion.
Photo Credit: Public Domain, https://commons.wikimedia.org/w/index.php?curid=15612638
Manhattan project Unofficial emblem of the Manhattan project, circa 194, superimposed on the famous color photograph of the "Trinity" shot, the first nuclear test explosion.
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ENIAC avatar
Photo Credit: Public Domain, https://commons.wikimedia.org/w/index.php?curid=55
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ENIAC's main control panel — Programmers Betty Jean Jennings (left) and Fran Bilas (right) operate ENIAC's main control panel at the Moore School of Electrical Engineering. (U.S. Army photo from the archives of the ARL Technical Library)
Photo Credit: Public Domain, https://commons.wikimedia.org/w/index.php?curid=26253297
ENIAC's main control panel Programmers Betty Jean Jennings (left) and Fran Bilas (right) operate ENIAC's main control panel at the Moore School of Electrical Engineering. (U.S. Army photo from the archives of the ARL Technical Library)
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Cover of the book Design Patterns: Elements of Reusable Object-Oriented Software
Photo Credit: By WorldCat; presumably copyright Addison-Wesley, Fair use, https://en.wikipedia.org/w/index.php?curid=30996761
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Reconstruction — Print shows a grand allegory of the reconciliation of North and South through the federal program of Reconstruction. Visionary in its breadth and scale, the work is a remarkable combination of religious and patriotic ideology. In "Bateman's National Picture" (as the print is termed in a published key) the government is represented as a colossal pavilion-like structure. It has a broad, flattened dome or canopy, on which is drawn a map of the United States, with a shallow drum with a frieze showing the Senate, House of Representatives, Supreme Court, and cabinet. The drum is supported by two systems of slender columns--the straight, outer ones representing the state governments, and the curved inner ones the people. Atop the dome is an eagle with flag and shield. The structure is literally undergoing "reconstruction." The bases of the columns of the former Confederate states are being replaced with new ones. The old bases are called "Foundations of Slavery." The new ones represent Justice, Liberty, and Education. Under the watchful supervision of the military, civilians carry the new columns and put them into place. The scene is teeming with other symbols and figures. The sky is filled with a multitude of faces--American statesman, public figures, and other historical characters (among others, Joan of Arc and John Milton). Daniel Webster and John Calhoun are prominently featured. The aerial host surrounds the figure of Christ, who says, "Do to other as you would have them do to you." Flanking the group are Justice (left) and Liberty (right). Below, beneath the canopy, representatives of the North are reconciled with their Southern counterparts. Union generals Benjamin Butler and Ulysses S. Grant clasp hands with Confederates P. T. Beauregard and Robert E. Lee, respectively, and Horace Greeley embraces Jefferson Davis. Below in a small vignette two infants--one black and one white--lie sleeping in their baskets. Above them flies an eagle with a streamer reading ""All men are born free and equal."
Photo Credit: eng. by J.L. Giles - Public Domain, https://commons.wikimedia.org/w/index.php?curid=66230437
Reconstruction Print shows a grand allegory of the reconciliation of North and South through the federal program of Reconstruction. Visionary in its breadth and scale, the work is a remarkable combination of religious and patriotic ideology. In "Bateman's National Picture" (as the print is termed in a published key) the government is represented as a colossal pavilion-like structure. It has a broad, flattened dome or canopy, on which is drawn a map of the United States, with a shallow drum with a frieze showing the Senate, House of Representatives, Supreme Court, and cabinet. The drum is supported by two systems of slender columns--the straight, outer ones representing the state governments, and the curved inner ones the people. Atop the dome is an eagle with flag and shield. The structure is literally undergoing "reconstruction." The bases of the columns of the former Confederate states are being replaced with new ones. The old bases are called "Foundations of Slavery." The new ones represent Justice, Liberty, and Education. Under the watchful supervision of the military, civilians carry the new columns and put them into place. The scene is teeming with other symbols and figures. The sky is filled with a multitude of faces--American statesman, public figures, and other historical characters (among others, Joan of Arc and John Milton). Daniel Webster and John Calhoun are prominently featured. The aerial host surrounds the figure of Christ, who says, "Do to other as you would have them do to you." Flanking the group are Justice (left) and Liberty (right). Below, beneath the canopy, representatives of the North are reconciled with their Southern counterparts. Union generals Benjamin Butler and Ulysses S. Grant clasp hands with Confederates P. T. Beauregard and Robert E. Lee, respectively, and Horace Greeley embraces Jefferson Davis. Below in a small vignette two infants--one black and one white--lie sleeping in their baskets. Above them flies an eagle with a streamer reading ""All men are born free and equal."
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Rosa Parks — in Montgomery, AL, 1955
Photo Credit: Public Domain, https://commons.wikimedia.org/w/index.php?curid=4344206
Rosa Parks in Montgomery, AL, 1955
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The Birth of a Nation — Hooded Klansmen catch Gus, portrayed in blackface by white actor Walter Long
Photo Credit: Public Domain, https://commons.wikimedia.org/w/index.php?curid=242134
The Birth of a Nation Hooded Klansmen catch Gus, portrayed in blackface by white actor Walter Long
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Wilson quoted in The Birth of a Nation — A quote from Woodrow Wilson's History of the American People is included in the film's intertitles.
Photo Credit: Public Domain, https://commons.wikimedia.org/w/index.php?curid=242137
Wilson quoted in The Birth of a Nation A quote from Woodrow Wilson's History of the American People is included in the film's intertitles.