Familia: Rálidos – Rallidae

 

Aspecto: Es un rálido del tamaño de una paloma, con cola bastante larga, que se encuentra en humedales. De aspecto bastante similar a su pariente la focha común, pero su pico es rojo y amarillo, y las cobertoras caudales son peculiares, con una mancha negra central.

 

Tamaño: Largo 27-31 cm, envergadura alar 50-55 cm, peso 190-490 g. Los machos son levemente más grandes.

 

Nido: Un montículo similar a un canasto, bastante alto, hecho de materia vegetal acuática y ramitas de sauce con una parte cóncava poco profunda. Muchos nidos tienen una estructura similar a una rampa para acceder. Se pueden construir en una orilla seca o flotando en el agua.

 

Reproducción: Pone 3 a 11 huevos a fines de abril, incubados por ambos padres durante 19-22 días. Los polluelos salen del cascarón en momentos bastantes diferentes, y los machos cuidan a los primeros que salen. Las aves jóvenes dejan el nido inmediatamente. Aproximadamente a la semana ya son independientes de sus padres, pero no aprenden a volar hasta alrededor de los 56 días. Los padres defienden agresivamente y con valentía sus nidos y crías contra los intrusos, incluidos aves o animales mucho más grandes.

 

Distribución: Se reproduce poco en torno a humedales y estanques adecuados al sur de Finlandia. Se encuentra en sitios dispersos y en el norte llega hasta Laponia. La población reproductora finlandesa total se estima en solo 50 a 200 parejas. Es mucho más escasa en Finlandia que en Europa central, donde es un ave que se encuentra en parques y a lo largo de canales.

 

Migración: Nocturna. Abandona Finlandia de septiembre a noviembre y regresa de marzo a abril. Pasa el invierno en Europa occidental y del sur, algunas veces también en Finlandia.

 

Alimentación: Plantas acuáticas y costeras, invertebrados.

 

Sonidos: El sonido de apareamiento es un barboteo “bek-bek-bek, bek-bek-bek”, a menudo seguido de un chillido agudo. El sonido más común es un “krrr” vibrante, como un gargarismo.

 

La polla de agua está clasificada como especie vulnerable en Finlandia.

 

Las pollas de agua en general se parecen a las fochas comunes, pero son más pequeñas y menos corpulentas. Su color habitualmente es gris azulado muy oscuro con el dorso y las alas de color marrón oliva oscuro. Tienen la cloaca blanca debajo de su cola, y una franja blanca llamativa a lo largo de los flancos. Tienen una protección de color rojo brillante desde la frente hasta el pico. Los ejemplares jóvenes son de color marrón grisáceo con la garganta blanca, y las mismas manchas blancas en la cloaca y los flancos, pero no tienen la protección roja en la frente.

 

Las patas de la polla de agua son de color amarillento o verdoso con dedos sumamente largos, levemente palmeados. Las aves maduras tienen una banda roja alrededor del muslo, mientras que las aves jóvenes tienen una franja amarilla en cada pata. El pico de las aves maduras es rojo con la punta de color amarillo brillante. El pico de los ejemplares jóvenes es de color marrón verdoso. El iris de la polla de agua puede ser de color rojo (en adultos) o marrón (en aves jóvenes).

 

Copyright © juansaturno_5 , All rights reserved. This artwork can't be used without written consent from its author. Esta obra no puede ser utilizada sin el consentimiento por escrito del autor.

#

Es una de las más espectaculares de Madrid, tanto por su aspecto exterior como por la larga historia que atesora entre sus muros. Su nombre oficial es San Jerónimo el Real.

 

En esta iglesia se han desarrollado algunos acontecimientos importantes en la historia española. Por eso es tan especial. Aquí tuvo lugar la jura de Felipe II como Príncipe de Asturias en 1528, la boda de Alfonso XIII con Victoria Eugenia de Battenberg en 1906 o la proclamación de Juan Carlos I como rey de España en 1975.

M6, Houghton

Gretna

Avefría europea

Vanellus vanellus

•Familia: Carádridos – Charadriidae

•Aspecto: Ave zancuda bastante grande de la familia de los carádridos. Tiene una cresta prominente. Vuelo errático. Las aves en vuelo parecen ser de color blanco y negro.

•Tamaño: Largo 28-31 cm, envergadura alar 67-72 cm, peso 170-230 g.

•Nido: En una depresión superficial raspado en la tierra, generalmente en un campo o cerca de una zanja. Usa muy poco material de nido.

•Reproducción: Pone 4 huevos en abril, incubados por ambos padres durante 20-29 días. Los polluelos abandonan el nido poco después de salir del cascarón, y aprenden rápidamente a buscar alimentos por sí mismos. Aprenden a volar entre los 33 y los 35 días.

•Distribución: Se reproduce en terrenos rurales y en cenagales abiertos en casi en todo el país, aunque existen disparidades en la distribución de la especie en el norte. La población reproductora finlandesa se estima en 70.000 a 120.000 parejas.

•Migración: De día. Las aves vuelan al sur ya en mayo, aunque los puntos máximos de migración son en julio y algunas aves no parten hasta octubre o noviembre. Las avefrías pueden tolerar condiciones de frío, y se encuentran entre las primeras aves migratorias que regresan a Finlandia, en marzo, después de pasar el invierno en Europa occidental y meridional.

•Alimentación: Invertebrados.

•Sonidos: Un sonido similar a un maullido: “pee-wit”.

Las avefrías son carádridos del tamaño de una paloma, que se divisan en terrenos rurales y humedales. A la distancia, parecen de color blanco y negro. Tienen alas anchas, redondeadas y una cresta fina que apunta hacia arriba desde la parte posterior de la corona. Con buena luz sus partes superiores oscuras tienen un hermoso brillo metálico verdoso y violeta. La cabeza es blanca y negra, tiene un peto amplio negro, pecho y abdomen de color blanco y cloaca de color herrumbre claro. Las aves jóvenes tienen crestas más cortas y las plumas de su dorso y las cobertoras alares tienen bordes amarillentos que pueden dar una aspecto escamoso a sus partes superiores. Las patas del avefría son de color rojo pardusco, el pico es negro y el iris de color marrón oscuro.

 

Aspects of the colour and the feel of this resort.

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

Glenton Holidays liveried - GL19 TON - July 18th 2021

Mare CRISIUM é o único mar do lado visível da Lua, que tem suas lavas basálticas totalmente "cercadas" ou circundadas por "terras altas". Mare CRISIUM é isolado de todos os outros "mares" lunares, podendo ser visível mesmo a olho nu.

 

Acredita-se que o Mare CRISIUM tenha sido criado pelo impacto de um meteoro ou cometa com cerca de 25 Km de diâmetro, que atingiu o quadrante nordeste da Lua, ha aproximadamente 3,9 ou 3,85 bilhões de anos atrás.

 

Mare CRISIUM sofreu poucos impactos de grande porte subsequentes, sendo que, em sua enorme área de lava predominantemente profunda, só abriga algumas crateras antigas. As mais importantes são YERKES e LICK que, excepcionalmente, foram formadas num banco raso ou região rasa em lava, que é marcada por um anel de cristas grosseiramente concêntrico, por sobre a lava.

 

A borda do Mare CRISIUM apresenta-se cercada por montanhas conhecidas como maciços.

 

Mare Crisium que tem 176.000 Km2 de área é, na realidade, uma bacia criada por impacto e que foi inundada por lava basáltica, que escaparam pelas fissuras causadas na crosta pelo massivo impacto. Situa-se a nordeste do Mare Tranquillitatis. O piso de sua superfície tem aspecto liso e plano. Suas bordas têm aspecto rugoso através do exterior de suas fronteiras.

vaztolentino.com.br/imagens/6279-Mare-CRISIUM-o-unico-mar...

Fotógrafo Marcelo Seixas

With a CP driving car leading, a train of District line stock enters Ealing Common, on its way to Mansion House. 1974

NS Train D99 is knocking down the Clear signal and some lucky timing on this image shows the top head of the eastbound signal half green/half red.

 

-NS Train D99

-NS (ex-Wabash) St. Louis District, CP S16.9 Robertson

-Missouri Bottom Rd Overpass, Robertson, MO

-April 17, 2108

 

TT1_8309_edited-1

Aspect actuel d'un champ de bataille de la 1ère GM, près d'Abbeville / WW1 battlefield landscape near Abbeville, France.

Aspecto de la fachada de la Casa Lis en la noche

Aspecto de los campos en primavera.

I've been away for the weekend with my students on retreat to Nunraw Abbey. But it's not just talks and prayer during a Dominican retreat. We always make time for a walk to the local pub, which has this playground next to it!

Nikon FE + Ai-s Nikkor 1:2.8 f=28mm + Fuji Natura 1600

© by Wil Wardle. Please do not use this or any of my images without my permission.

 

Please click "L" on your keyboard to view on Black, you know it looks better.

[CAROL G] Kali Male TaTToo

ONI ONI.JEANS EMO

[ Aspect ] Rookie Earrings for Gauged XL Ears

VOLKSTONE Volkstone Zev Face Tattoo / I'm Not The Devil & Volkstone Zev Hairbase / Blonde

 

SC19AND

The doxa thus constitutes a set (a "network", a system) of values, maxims around some (all, but some more than others) aspects and elements of the reality meant. It is situated beyond language, but below the discourse on which it tacitly bases intercomprehension.

 

"Each object of the world can pass from a closed, silent existence to an oral state, open to the appropriation of society. "(Barthes 1957:216)

We can therefore describe a doxic system as an evolving hierarchical field, where different models follow one another in the centre. These models bring together one or more "ideologems" or presuppositions, all of which are defined on one or more axes and in one or more fields, and which are expressed in the discourse by a mythical image or set of images. All these models, by their hierarchical and oppositionary character, contribute to the realization and actualization of the basic ideological meaning that is the perpetuated existence of a hierarchical society, where the terms can change but the structure must remain immutable.

The Idols of the Tribe have their foundation in human nature itself, and in the tribe or race of men. For it is a false assertion that the sense of man is the measure of things. On the contrary, all perceptions as well of the sense as of the mind are according to the measure of the individual and not according to the measure of the universe. And the human understanding is like a false mirror, which, receiving rays irregularly, distorts and discolors the nature of things by mingling its own nature with it.

— Novum Organum, Aphorism XLI

The "ideologems", the units that make up the doxic system, are structured in two (diversified) dimensions. First, there are the axes or axiologies: bipolar lines whose ends are absolutely opposed notions, such as Bien-Mal, Order-Disorder.. The axes can be presented as continua, with "ambivalent" terms (e. g. unhappy love), but the two extremities always remain dominant and determine the final value. Still, one of the two opposing terms is evaluated positively and the other negatively. One axis can flow from another or materialize it.

 

Doxa (ancient Greek δόξα; from verb δοκεῖν dokein, "to appear", "to seem", "to think" and "to accept" is a Greek word meaning common belief or popular opinion. Used by the Greek rhetoricians as a tool for the formation of argument by using common opinions, the doxa was often manipulated by sophists to persuade the people, leading to Plato's condemnation of Athenian democracy.

The word doxa picked up a new meaning between the 3rd and 1st centuries BC when the Septuagint translated the Hebrew word for "glory" (כבוד, kavod) as doxa. This translation of the Hebrew Scriptures was used by the early church and is quoted frequently by the New Testament authors. The effects of this new meaning of doxa as "glory" is made evident by the ubiquitous use of the word throughout the New Testament and in the worship services of the Greek Orthodox Church, where the glorification of God in true worship is also seen as true belief. In that context, doxa reflects behavior or practice in worship, and the belief of the whole church rather than personal opinion. It is the unification of these multiple meanings of doxa that is reflected in the modern terms of orthodoxy and heterodoxy.This semantic merging in the word doxa is also seen in Russian word слава (slava), which means glory, but is used with the meaning of belief, opinion in words like православие (pravoslavie, meaning orthodoxy, or, literally, true belief)..

In Plato's Gorgias (dialogue), Plato presents the Sophists, rhetors who taught people how to speak for the promise of commercial success, as wordsmiths that ensnare and use the malleable doxa of the "multitude" to their advantage without shame. In this and other writings, Plato relegated doxa as being a belief, unrelated to reason, that resided in the unreasoning, lower-parts of the soul. This viewpoint extended into the concept of doxasta in Plato's Theory of Forms, which states that physical objects are manifestations of doxa and are thus not in their true form. Plato's framing of doxa as the opponent of knowledge led to the classical opposition of error to truth, which has since become a major concern in Western philosophy. (However, in the Theaetetus and in the Meno, Plato has Socrates suggest that knowledge is orthos doxa for which one can provide a logos, thus initiating the traditional definition of knowledge as "justified true belief".) Thus, error is considered in Occident as pure negativity, which can take various forms, among them the form of illusion. As such, doxa may ironically be defined as the "philosopher's sin". In classical rhetoric, it is contrasted with episteme.

Plato's student Aristotle objected to Plato's theory of doxa. Aristotle perceived that doxa's value was in practicality and common usage, in contrast with Plato's philosophical purity relegating doxa to deception. Further, Aristotle held doxa as the first step in finding knowledge, as doxa had found applications in the physical world and those who held it had great amount of tests done to prove it and thus reason to believe it.[Aristotle clarifies this by categorizing the accepted truths of the physical world that are passed down from generation to generation as endoxa. Endoxa is a more stable belief than doxa, because it has been "tested" in argumentative struggles in the Polis by prior interlocutors. The use of endoxa in the Stagirite's Organon can be found in Aristotle's Topics and Rhetoric.Trying to make a list of universal doxas is therefore considered utopian, and it is a good game to present the fruits of these attempts (let us think of the Declaration of Human Rights) as necessarily illegitimate since, precisely, being the expression of a dated and localized culture. On the other hand, from a descriptive (and not normative moral) eristic perspective, a list of doxas such as one encounters in a course of rhetoric, therefore having no claim to found an ideology, can be tinged with universality, in so far as it purports to account for human argumentative activity, regardless of cultural and social groups. The "universal doxas" (in the course of the Manual of Polemics, Muras devotes 130 pages out of 340) as rhetorical (and not philosophical and even less moral) objects, revived in ever new contexts, make it possible, as preliminary agreements (Perelman), to argue.ideology "cannot be considered as a monolithic system:" the ideological activity of a society presents itself as an ever complete and never successful approximation of a system of thought. "(Grivel 1980: d4)

 

On the other hand, he points out that the "universality rate" of text universals fluctuates (Grivel 1978:39) - meaning that the doxic system has centre-periphery movements and vice versa.

 

In any case, just like the language system as a system of potentialities, ideology continues to exist. Doxic language changes, language remains - or even: language changes so that language can perpetuate its existence. "The rule includes the novelty of its manifestation, which is its rule. "(Grivel 1973:63)

It is clear that the conversion of history into nature serves to prolong the current order of things: The present state is proclaimed nature, i. e. realization of the essence of the human being, thus morally good. History becomes Nature which becomes Moral: thus any attack on societal structures becomes immorality itself. (Cf. Barthes 1957:151.) In the final analysis, doxa, for Barthes, is the image that the bourgeoisie has of the world and imposes on the world. The bourgeois strategy is to fill the whole world with its culture and morality, making it forget its own status as a historical class:"The status of the bourgeoisie is peculiar, historical: the man whom it represents will be universal, eternal; (...) Finally, the first idea of the perfectible, mobile world will produce the overturned image of an immutable humanity, defined by an infinitely renewed identity. "(Barthes 1957:250-251)

Pierre Bourdieu, in his Outline of a Theory of Practice, used the term doxa to denote what is taken for granted in any particular society. The doxa, in his view, is the experience by which "the natural and social world appears as self-evident". It encompasses what falls within the limits of the thinkable and the sayable ("the universe of possible discourse"), that which "goes without saying because it comes without saying". The humanist instances of Bourdieu's application of notion of doxa are to be traced in Distinction where doxa sets limits on social mobility within the social space through limits imposed on the characteristic consumption of each social individual: certain cultural artifacts are recognized by doxa as being inappropriate to actual social position, hence doxa helps to petrify social limits, the "sense of one's place", and one's sense of belonging, which is closely connected with the idea that "this is not for us" (ce n'est pas pour nous). Thus individuals become voluntary subjects of those incorporated mental structures that deprive them of more deliberate consumption.

Doxa and opinion denote, respectively, a society's taken-for-granted, unquestioned truths, and the sphere of that which may be openly contested and discussed.

Bourdieu explains the term "doxa" in his interview with theorist Terry Eagleton. To explain the term, he uses an example about the common beliefs in school. He asked students what qualifies as achievement in school. In response, the students on the lower end of the academic spectrum viewed themselves as being inferior or not as smart as the students who excelled. The responses are where doxa comes into play, because that was the common belief and attitude that the students had based on what society pushed them to believe. Bourdieu believes that doxa derived from socialization, because socialization also deals with beliefs deriving from society, and as we grow up in the environment, we tend to believe what society tells us is correct.

It is a socially accepted misconception, that if you do not score as high as someone else then you are obviously not as smart as they are. Scores do not prove that one is smarter, because there are many different factors that play into what you score on a test. People may excel within a certain topic and fail at another. However, even though it is a misconception, people tend to partake in common practices to make themselves feel better. For example, the students who feel inferior due to popular belief that they are not as smart as the students who score higher than them, may experiment with drugs to ease the insecurities they face. Bourdieu believes that doxa is more than common belief. He believes that it also has the potential to give rise to common action.

While doxa is used as a tool for the formation of argument, it should be noted that it is also formed by argument. The former can be understood as told by James A. Herrick in The History and Theory of Rhetoric: An Introduction: "The Sophists in Gorgias hold that rhetoric creates truth that is useful for the moment out of doxa, or the opinions of the people, through the process of argument and counterargument. Socrates will have no part of this sort of 'truth' which, nevertheless, is essential to a democracy." Importantly noted, democracy, which by definition is the manifestation of public opinion, is dependent upon, and therefore also constrained by, the same limits imposed upon the individuals responsible for its establishment. Due to compromised opinions within a society, as well as opinions not counted for due to inaccessibility and apathy, doxa is not homogeneous, nor is it created agreeably. Rather, it is pliable and imperfect—the outcome of an ongoing power struggle between clashing "truths".

To expand upon the quote from his Outline of a Theory of Practice in the above section, "Use in sociology and anthropology", Bourdieu writes, "When there is a quasi-perfect correspondence between the objective order and the subjective principles of organization (as in ancient societies) the natural and social world appears as self-evident. This experience we shall call doxa". Adam Smith of the University of Chicago observes in his article "The limitations of doxa: agency and subjectivity from an archaeological point of view": "Bourdieu consigns the practices of the denizens of ancient societies to the realm of doxa, their lives cast as routines predicated upon the mis-recognition of social orders as natural ways of life, rather than political products."This calls to attention that the notion of social order as naturally occurring is misperceived, disregarding its creation by political argumentation.

Doxa, then, can be understood as created by argument as well as used in the formation of argument, essential for the establishment of democratic policies.

 

en.wikipedia.org/wiki/Doxa

Aspect of Wishaw.

Silversands Hotel, Blackpool, 18th May 2023.

Gretna Green. Ex Murray & Son, Newhouse

UN COPRINUS MUY DELICADO Y EXQUISITO.

 

PROPIEDADES: Estimula del estómago y del bazo-páncreas.

 

Utilizado para mejorar el proceso digestivo en el caso de digestiones pesadas o lentas.

 

También mejora el apetito en casos de senilidad o anorexia nerviosa.

 

Recomendado para combatir las hemorroides.

 

Por su aspecto se le conoce como seta barbuda o matacandil.

 

También se le conoce como chipirón de monte debido a su capacidad de transformarse en tinta negra.

 

FELIZ FIN DE SEMANA.

 

FUERZA Y TODO EL BUEN HUMOR POSIBLE.

 

💪💪💪💪💖💖💖💖😄😄

  

Some beautiful bends in the river.

An aspect of industrial railways often ignored, mainly due to their inaccessability, were the coke ovens locomotives. This rather curious ex-works example was photographed in a siding at the Derwenthaugh Coking Plant near Blaydon on 24th August 1971. It was built by Robert Stephenson and Hawthorn Ltd, works number 7882, in 1957. Although an electric loco with overhead wire collection, it doesn't appear to have the pantograph fitted as yet and may be under test as there appears to be a cable running to it from the office window!

 

© Copyright Gordon Edgar - No unauthorised use

Lovely view out to the Atlantic Ocean with the rocks bordering the beach at Tintagel.

Tarabilla europea

(Saxicola rubicola)

Pajarillo de aspecto rechoncho, con un diseño cromático muy llamativo en los machos. En España resulta una especie común, aunque no abundante,

ampliamente distribuida por la Península y Baleares. Se encuentra ligada a zonas abiertas, incluyendo diversas formaciones de matorral, bordes y

 

claros de bosque, cultivos y pastizales con arbustos dispersos.

Descripción y Clasificación

Orden Passeriformes; familia Turdidae

Longitud 13 cm. Envergadura 18-21 cm.

Identificación

Túrdido de pequeño tamaño y aspecto regordete, con cabeza redondeada, alas y cola cortas y de color oscuro, y manchas blancas en la zona escapular, muy visibles en vuelo. Los machos lucen un diseño muy vistoso (dibujo 1), en el que la cabeza negra contrasta con el pecho anaranjado, y el obispillo blanquecino confronta con la cola oscura en los adultos. Las hembras y los jóvenes muestran un diseño similar al macho, aunque son más pardos (dibujo 2). Esta ave gusta de posarse en lugares prominentes y tiene un vuelo rápido y directo, con fuerte batido de alas (dibujo 3).

Canto

Breve, agudo y repetitivo, se compone de un trino corto y chirriante. Su reclamo resulta característico y consiste en un chasquido corto, repetido insistentemente: chac-chac.

 

Sunrise study of the Minnumurra headland..

Important legal note.

All images are copyright and must not be re posted or water marks removed, anyone found reposting or removing water marks are liaIble to prosecution.

Taken from a boat looking at Varenna, a charming little town on the edge of Lake Como.

**** The pandemic lockdown has given me time to spring clean my archives. A chance to delete a lot and revive a few! ****

An evening procecssion of Tayuu beneath the cherry blossoms in Kyoto.

 

Since medieval times, Japan has always had some form of pleasure quarter offering various forms of entertainment, including, of course, the erotic. It was during the sakoku (1639-1854), when Japan cut off all ties with the outside world, that Japanese culture, as it is known today, flourished.

 

It was in these walled pleasure quarters such as Kyoto’s Shimabara, Tokyo’s Yoshiwara, and Osaka’s Shinmachi that the merchants spent much of their time and money cultivating the arts.

 

"The women in these guarded quarters were "playmates" (yuujo) or prostitutes (shougi). The highest ranked were called oiran or "great court ladies" (tayuu). These women were dubbed "castle-destroyers" (keisei) because their sex appeal, like the mythical beauties of history, could destroy a man as easily as any army. These courtesans wore layers of ornately decorated kimono and a multitude of lacquer and tortoiseshell combs in their hair. Their wide, brocaded obi were tied in front — not, as some suppose, because it was easier to undress that way, but because that was the practice of married women and a yuujo was, in a sense, a wife for an evening. " (Liza Dalby)

 

The courtesans of the pleasure quarters were trained in various arts: music, dance and poetry as well as other forms of court entertainment that, until that time, had been reserved for nobility. As times changed so did the tastes of the customers; the formality and expense involved meant only the elite were able to patronize the Tayu (the top level courtesans).

 

The first male-geisha appeared in the early 1700's, but it wasn'tt long before some entrepreneurial females followed suit and the first women geisha made their debut.

 

Today only 4 or 5 women continue to study the arts of the tayuu (minus the sexual aspect) in the Shimabara district of Kyoto.

 

mboogiedown-japan.blogspot.com/2008/06/evening-tayuu-proc...

 

I have tickets to a Charles Lloyd Concert at the Musical Instrument Museum. I am a member. I wanted to familiarize myself with the Museum before the concert so I toured it. It is an incredible treasure in my backyard. A target rich environment for photographers.

 

The sign reads:

Khong mon (gong chime)

Thailand, mid-20th c.

Bronze, wood, glass, cowskin

Typically played at Thai funerals,

these tuned gongs are mounted on a

frame decorated with the figure of a

thep kinnaree, a woman-swan hybrid

from Thai mythology.

 

mim.org/our-story/

MIM began with a vision to create a musical instrument museum that would be truly global. Realizing most musical museums featured historic, primarily Western classical instruments, MIM’s founder Bob Ulrich (then CEO of Target Corporation) was inspired to develop a new kind of museum that would focus on the kind of instruments played every day by people worldwide. A focus on the guest experience shaped every aspect of the museum’s development. From the beginning, our goal has been to deliver a musical experience that is enriching, inspiring, interesting, and fun.

Today, MIM has a collection of more than 7,500 instruments from more than 200 world countries and territories. The galleries reflect the rich diversity and history of many world cultures. But music and instruments also show us what we have in common—a thought powerfully expressed in our motto, music is the language of the soul.

MIM’s immersive exhibits foster an appreciation of diverse cultures and the craftsmanship and traditions of instrument makers from the past to the present. A visit to MIM is also about experiencing the sensory nature of music and how it affects our emotions. Through state-of-the-art, interactive media, guests can see the instruments, hear their sounds, and observe them being played in their original contexts.

en.wikipedia.org/wiki/Musical_Instrument_Museum_(Phoenix)

 

Musical Instrument Museum

MIM

My model said that besides the bondage aspect, not being able to straighten her legs, the cuffs were comfortable and did not pinch her skin. I can CUSTOM MAKE these for ANY sized legs. Additional devices can be made to attach to these for restraining other parts of the body as well. These are for sale as well as other CUSTOM MADE leather or leather and metal bondage devices. Contact me at my1970junk@msn.com if you are interested

_________________________________________________________________________________

 

|| Blog: SchamanenTraum || Set: Schamanism and Dream ||

________________________________________________________________________________

 

The weight of dreams

 

An essential aspect of our rootlessness is the alienation of our unconscious and the instincts that contains it. We measure our dreams at any weight. Dreams are foams, we believe nightmares we wipe off by saying to us that it was indeed just a dream.

 

We do not open as it were the post that sends us the unconscious. That we should bring us to the way to deal with his powers.

 

To understand the basics of shamanism, we need to immerse ourselves in a very different world. Peoples in shamanic cultures maintain a significant other dealing with dreams than us, they live entirely associated with their events. that we will see a few examples.

 

Canadian Dene Tha Indians have a different concept of knowledge than we do. For them, true knowledge can only be acquired in his own experience. This not only direct observations in this world are meant but also the beholding of the other world in dreams and visions (Watson / Goulter, 215).

 

Translated into our language, the phrase on the true knowledge could be: marriage can not hear its messages of his dreams, and understands it has no actual knowledge about yourself, because then you know just the tip of the iceberg.

 

The negative definition of a shaman got hear Rasmussen from a Netsilik-Eskimo:

 

I am an ordinary person and have no knowledge of my own I have never been sick and almost dream it, so I have no connection with the spirits (Rinne, 28)

_________________________________________________________________________________

 

Das Gewicht der Träume

 

Ein wesentlicher Aspekt unserer Entwurzelung besteht in der Entfremdung von unserem unbewussten und den Instinkten, die es enthält. Wir messen unseren Träumen kein Gewicht bei. Träume seien Schäume, glauben wir, Albträume schütteln wir ab, indem wir uns sagen, es sei ja nur ein Traum gewesen.

 

Wir öffnen gleichsam die Post nicht, die uns das Unbewusste sendet. Damit bringen wir uns um die Möglichkeit, mit seinen Mächten umzugehen.

 

Um die Grundlagen des Schamanismus zu verstehen, müssen wir uns in eine ganz andere Welt eintauchen. Völker in schamanischen Kulturen pflegen einen deutlichen anderen Umgang mit Träumen als wir, sie leben ganz verbunden mit deren Geschehen. Das werden wir gleich an einigen Beispielen sehen.

 

Kanadische Dene Tha-Indianer haben einen anderen Begriff von Wissen als wir. Für sie kann wahre Wissen nur in eigener Erfahrung erworben werden. Damit sind nicht nur direkte Beobachtungen in dieser Welt gemeint, sondern ebenso das Erschauen der anderen Welt in Träumen und Visionen (Watson/Goulter, 215).

 

In unserer Sprache übersetzt, könnte der Satz über das wahre Wissen heißen: Ehe man Botschaften seiner Träume nicht wahr nimmt und versteht, hat man kein eigentliches Wissen über sich selbst, denn dann kennst man nur die Spitze des Eisberges.

 

Die Negativ-Definition eines Schamanen bekam Rasmussen von einem Netsilik-Eskimo zu hören:

 

Ich bin ein ganz gewöhnlicher Mensch und habe kein Wissen aus mir selbst. Ich bin nie krank gewesen und träume beinahe nie, darum habe ich auch keine Verbindung mit den Geistern (Rinne,28)

_________________________________________________________________________________

 

Source: Schamanismus und Traum, Susanne Elsensohn, Diederichs Gelbe Reihe

Kapitel: 1. DER TRAUM IM KULTURELLEN UMFELD DES SCHAMANENTUMS

Das Gewicht der Träume

Aspecto interior del Palacio de Monserrate (Sintra, Portugal).

A sculpture from 1972 by Thomas Ronald Irvine situated between Main Street and Harbour Road entitled, Aspect One.

  

Kit: X-Pro1, XF 14mm lens, faux-colour infrared.

Exif: 14 seconds @ F16, ISO 400

Description: Chandra's image of SNR 0540-69.3 reveals two aspects of the enormous power released when a massive star explodes. An implosion crushed material into an extremely dense (10 miles in diameter) neutron star, triggering an explosion that sent a shock wave rumbling through space at speeds in excess of 5 million miles per hour. The central intense white blaze of high-energy particles about 3 light years across was created by a rapidly rotating neutron star, or pulsar. Surrounding the white blaze is a shell of hot gas 40 light years in diameter that marks the location of the supernova shock wave. The colors red, green and blue in the image correspond to low, medium and high-energy X-rays, respectively.

 

Creator/Photographer: Chandra X-ray Observatory

 

NASA's Chandra X-ray Observatory, which was launched and deployed by Space Shuttle Columbia on July 23, 1999, is the most sophisticated X-ray observatory built to date. The mirrors on Chandra are the largest, most precisely shaped and aligned, and smoothest mirrors ever constructed. Chandra is helping scientists better understand the hot, turbulent regions of space and answer fundamental questions about origin, evolution, and destiny of the Universe. The images Chandra makes are twenty-five times sharper than the best previous X-ray telescope. NASA's Marshall Space Flight Center in Huntsville, Ala., manages the Chandra program for NASA's Science Mission Directorate in Washington. The Smithsonian Astrophysical Observatory controls Chandra science and flight operations from the Chandra X-ray Center in Cambridge, Massachusetts.

 

Medium: Chandra telescope x-ray

 

Date: 2004

 

Persistent URL: chandra.harvard.edu/photo/2004/snr0540/

 

Repository: Smithsonian Astrophysical Observatory

 

Gift line: NASA/CXC/SAO

 

Accession number: snr0540_xray