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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.

Arm Definition by Jane Fraser

1

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Copyright Trevor Finn Larsen

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These are some pages from my altered dictionary that I worked in a couple of years ago.

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Interior by Sarah Bernhard

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2 6

Market: I will not be defined! I am my own person!

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21/365 what defines an Artist? one thing is for sure Art doesnt exist without inspiration & creativity. Inspiration is something I am certainly lacking in at the moment, how do you inspire to create?

Does hypnosis really work for binge eating? by Matthew Tweedie

Hypnosis can be used to effectively treat overeating. Let's start with a definition of hypnosis and how it can help you stop overeating. You're completely relaxed and focused on whatever you're doing when you're in a hypnotic trance. When you're hypnotised, you're not sleepy or unconscious. Attending Hypnosis for Binge Eating sessions can undoubtedly assist you in reducing excessive eating in a short period of time.

Definition of Irony! by crousey32

Irony

High definition TV. by Michael mks

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Walking on the street in Mong Kok, you can see many people are looking at the latest HD-TV, pay attention to the details.HD-TV is becoming popular

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high-definition by Jim Mennie

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JP was so smooth he fucking wrecked the dapper dimension.

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01 by Rosa M.

Malaysia - Kuala Lumpur - Petronas Twin Towers - 11kk by Manfred Sommer

The Petronas Towers, also known as the Petronas Twin Towers (Malay: Menara Petronas, or Menara Berkembar Petronas), are twin skyscrapers in Kuala Lumpur, Malaysia. According to the Council on Tall Buildings and Urban Habitat (CTBUH)'s official definition and ranking, they were the tallest buildings in the world from 1998 to 2004 and remain the tallest twin towers in the world. The buildings are a landmark of Kuala Lumpur, along with nearby Kuala Lumpur Tower.

HISTORY

The towers were designed by Argentine - South American architect César Pelli. They chose a distinctive postmodern style to create a 21st-century icon for Kuala Lumpur. Planning on the Petronas Towers started on 1 January 1992 and included rigorous tests and simulations of wind and structural loads on the design. Seven years of construction followed at the former site of the original Selangor Turf Club, beginning on 1 March 1993 with excavation, which involved moving 500 truckloads of earth every night to dig down 30 metres below the surface.

The construction of the superstructure commenced on 1 April 1994. Interiors with furniture were completed on 1 January 1996, the spires of Tower 1 and Tower 2 were completed on 1 March 1996, and the first batch of Petronas personnel moved into the building on 1 January 1997. The building was officially opened by the Prime Minister of Malaysia's Tun Dr. Mahathir bin Mohamad on 1 August 1999. The twin towers were built on the site of Kuala Lumpur's race track. Test boreholes found that the original construction site effectively sat on the edge of a cliff. One half of the site was decayed limestone while the other half was soft rock. The entire site was moved 61 metres to allow the buildings to sit entirely on the soft rock. Because of the depth of the bedrock, the buildings were built on the world's deepest foundations. 104 concrete piles, ranging from 60 to 114 metres deep, were bored into the ground. The concrete raft foundation, comprising 13,200 cubic metres of concrete was continuously poured through a period of 54 hours for each tower. The raft is 4.6 metres thick, weighs 32,500 tonnes and held the world record for the largest concrete pour until 2007. The foundations were completed within 12 months by Bachy Soletanche and required massive amounts of concrete. Its engineering designs on structural framework were contributed by Haitian engineer Domo Obiasse and colleagues Aris Battista and Princess D Battista. The Petronas Towers' structural system is a tube in tube design, invented by Fazlur Rahman Khan. Applying a tube-structure for extreme tall buildings is a common phenomenon.

The 88-floor towers are constructed largely of reinforced concrete, with a steel and glass facade designed to resemble motifs found in Islamic art, a reflection of Malaysia's Muslim religion. Another Islamic influence on the design is that the cross section of the towers is based on a Rub el Hizb, albeit with circular sectors added to meet office space requirements.

As a result of the Malaysian government specifying that the buildings be completed in six years, two construction consortiums were hired to meet the deadline, one for each tower. Tower 1, the west tower (right in the top-right photograph) was built by a Japanese consortium led by the Hazama Corporation (JA Jones Construction Co., MMC Engineering Services Sdn Bhd, Ho Hup Construction Co. Bhd and Mitsubishi Corp) while Tower 2, the east tower (left in the top-right photograph) was built by a South Korean consortium led by the Samsung C&T Corporation (Kukdong Engineering & Construction and Syarikat Jasatera Sdn Bhd). Early into construction a batch of concrete failed a routine strength test causing construction to come to a complete halt. All the completed floors were tested but it was found that only one had used a bad batch and it was demolished. As a result of the concrete failure, each new batch was tested before being poured. The halt in construction had cost US$700,000 per day and led to three separate concrete plants being set up on the site to ensure that if one produced a bad batch, the other two could continue to supply concrete. The sky bridge contract was completed by Kukdong Engineering & Construction. Tower 2 became the first to reach the world's tallest building at the time. When the structure reached about 72nd floor, tower 2 ran into problems. They discovered the structure was leaning 25 millimetres off from vertical. To correct the lean, the next 16 floors were slanted back 20 millimetres with specialist surveyors hired to check verticality twice a day until the building's completion.

Due to the huge cost of importing steel, the towers were constructed on a cheaper radical design of super high-strength reinforced concrete. High-strength concrete is a material familiar to Asian contractors and twice as effective as steel in sway reduction; however, it makes the building twice as heavy on its foundation as a comparable steel building. Supported by 23-by-23 metre concrete cores and an outer ring of widely spaced super columns, the towers use a sophisticated structural system that accommodates its slender profile and provides 560,000 square metres of column-free office space. Below the twin towers is Suria KLCC, a shopping mall, and Dewan Filharmonik Petronas, the home of the Malaysian Philharmonic Orchestra.

NOTABLE EVENTS

On 15 April 1999, Felix Baumgartner set the world record for BASE jumping (since broken) by jumping off a window cleaning crane on the Petronas Towers.

Thousands of people were evacuated on 12 September 2001 after a bomb threat was phoned the day after the September 11 attacks destroyed the World Trade Center towers in New York City. Bomb Disposal squads found no bomb in the Petronas towers but they evacuated everyone. Workers and shoppers were allowed to return three hours later, around noon. No one was hurt during the evacuation.

On the evening of 4 November 2005, a fire broke out in the cinema complex of the Suria KLCC shopping centre below the Petronas Towers, triggering panic among patrons. There were no reports of injuries. The buildings were largely empty, except the shopping mall, Suria KLCC, because of the late hour; the only people involved were moviegoers and some diners in restaurants.

On the morning of 1 September 2009, French urban climber Alain "Spiderman" Robert, using only his bare hands and feet and with no safety devices, scaled to the top of Tower Two in just under 2 hours after two previous efforts had ended in arrest. On 20 March 1997, police arrested him at the 60th floor, 28 floors away from the "summit". He made a second attempt on 20 March 2007, exactly 10 years later, and was stopped once again on the same floor, though on the other tower.

COMPARISON WITH OTHER TOWERS

The Petronas Towers were the tallest buildings in the world for six years, until Taipei 101 was completed in 2004. The height of the towers is measured to the top of their structural components such as spires, but do not include antennas. Spires are considered actual integral parts of the architectural design of buildings, to which changes would substantially change the appearance and design of the building, whereas antennas may be added or removed without such consequences. The Petronas Towers still remain the tallest twin buildings in the world. Willis Tower (formerly Sears Tower) and the World Trade Center towers were each constructed with 110 occupied floors – 22 more than the 88 floors of the Petronas Towers. Willis Tower's tallest antenna is 75.41 m taller than those of the Petronas Towers, however, in accordance with CTBUH regulations and guidelines, the antennas of Willis Tower were not counted as part of its architectural features. The spires on the Petronas Towers are included in the height since they are not antenna masts. Therefore, the Petronas Towers exceed the official height of Willis Tower by 10 m even though the roof of Petronas Towers at 378.6 metres is 63.4 m lower than the roof of Willis Tower at 442 metres.The Petronas Towers feature a diamond-faceted facade consisting of 83,500 square metres of stainless steel extrusions. In addition, a 33,000-panel curtain wall cladding system resides within the towers. While the stainless steel element of the towers entices the illustrious sun, highlighting the magnificent towers, they are composed of 55,000 square metres of 20.38-millimetre laminated glass to reduce heat by reflecting harmful UV rays.

On the top of each tower is a pinnacle standing 73.5 metres tall. The pinnacles were more than just the finishing touches to the height of the towers, each taking over 19 weeks to construct and both being assembled outside the country. One was constructed in Japan and the other in Korea. Each pinnacle is composed of 50 unique parts making up the main components: the spire, mast ball and ring ball. Together these parts weigh 176 tons. While the pinnacles may seem to be an aesthetic feature of the towers to enhance their presence and height, they also play function to aircraft warning lights and are an essential element to the overall Islamic minaret design that the towers embody.

The interiors of the towers highlight the Malaysian cultural inspiration to the design through traditional aspects such as fabric and carvings typical of the culture, specifically evident in the foyer of the entrance halls in the towers.

The construction of the Petronas Towers turned out to be a multinational effort. The structural design engineers worked out of New York City, while the wind-tunnel consultants and elevator design engineers were from Canada. To meet local safety construction codes, the towers had to be able to withstand 105 km/h winds. To assure this requirement would be fulfilled, the engineers tested the towers twice within a wind tunnel, first by computer simulation and second by building an actual model of the towers.

ANCHOR TENANTS

Tower One is fully occupied by Petronas and a number of its subsidiaries and associate companies, while the office spaces in Tower Two are mostly available for lease to other companies. A number of companies have offices in Tower Two, including Huawei Technologies, AVEVA, Al Jazeera English, Carigali Hess, Bloomberg, Boeing, IBM, Khazanah Nasional Berhad, McKinsey & Co, WIPRO Limited, TCS, HCL Technologies, Krawler, Microsoft, The Agency (a modelling company) and Reuters.

FEATURES

SURIA KLCC

Suria KLCC is a 140,000 m2 upmarket retail center at the feet of the Petronas Towers. It features mostly foreign luxury goods and high-street labels. Its attractions include an art gallery, a philharmonic theatre, an underwater aquarium and also a Science center. Suria KLCC is one of the largest shopping malls in Malaysia.

KLCC PARK

Spanning 6.9 ha below the building is the KLCC Park with jogging and walking paths, a fountain with incorporated light show, wading pools, and a children's playground.

SKYBRIDGE

The towers feature a double decker skybridge connecting the two towers on the 41st and 42nd floors, which is the highest 2-story bridge in the world. It is not attached to the main structure, but is instead designed to slide in and out of the towers to prevent it from breaking, as the towers sway several feet in towards and away from each other during high winds. It also provides some structural support to the towers in these occasions. The bridge is 170 m above the ground and 58 m long, weighing 750 tons. The same floor is also known as the podium, since visitors going to higher levels have to change elevators here. The skybridge is open to all visitors, but tickets are limited to about 1000 people per day, and must be obtained on a first-come, first-served basis. Initially, the visit was free but in 2010, the tickets started being sold by Petronas. Visitors can choose to opt for package one which is just a visit to the skybridge or go for package two to go to the skybridge and all the way to level 86. Visitors are only allowed on the 41st floor as the 42nd floor can only be used by the tenants of the building.

The skybridge also acts as a safety device, so that in the event of a fire or other emergency in one tower, tenants can evacuate by crossing the skybridge to the other tower. The total evacuation triggered by a bomb hoax on 12 September 2001 (the day after the September 11 attacks destroyed the twin towers of the World Trade Center in New York City) showed that the bridge would not be useful if both towers need to be emptied simultaneously, as the capacity of the staircases was insufficient for such an event. Plans thus call for the lifts to be used if both towers need to be evacuated, and a successful drill following the revised plan was conducted in 2005.

There is a two hinged arch that supports the skybridge with arch legs, each 51 metres long, that are bolted to level 29 of each of the towers. After being constructed on the ground, the skybridge was lifted into place on the towers over a period of three days in July 1995 but instead of being directly connected to the towers, the skybridge can shift or slide in and out of them to counterbalance any effect from the wind. Residing on the 41st and 42nd floors, the skybridge connects a conference room, an executive dining room and a prayer room.

LIFT SYSTEM

The main bank of Otis Lifts is located in the centre of each tower. All main lifts are double-decker with the lower deck of the lift taking passengers to even-numbered floors and upper deck to odd-numbered floors. To reach an odd-numbered floor from ground level, passengers must take an escalator to the upper deck of the lift.

There are 29 double-deck passenger elevators, but there are different sets that service certain floors of the towers, specifically two sets of six of these double-deck passenger elevators to floors 1–23 and 1–37 respectively. Another set of 5 passenger lifts transport passengers to the 41st and 42nd floors where they can switch lifts to reach the upper zones of the buildings, each double-deck passenger lift with the capacity of 52 passengers or, 26 passengers per deck. There are also 6 heavy-duty elevators for utility.

From the ground floor, there are three groups of lifts. The "short haul" group of 6 lifts take passengers to floors between level 2/3 and level 16/17. The "mid haul" group of six lifts take passengers to floors between level 18/19 and level 37/38. There is also a set of shuttle lifts that take passengers directly to levels 41/42. To get to levels above 41/42, passengers must take the shuttle lifts, then change to lifts to the upper floors. These connecting lifts are directly above the lifts that serve levels 2 to 38. The pattern now repeats with the upper levels, one set serving levels 43/44 to 57/58 and one set serving levels 59/60 to levels 73/74.

Apart from this main bank of lifts, there are a series of "connecting" lifts to take people between the groups. Unlike the main lifts, these are not the double-decker type. Two lifts are provided to take people from levels 37/38 to levels 41/42 (levels 39 and 40 are not accessible as office space). This spares someone in the lower half of the building from having to go back to the ground floor to go to the upper half of the building.

The lifts contain a number of safety features. It is possible to evacuate people from a lift stuck between floors by manually driving one of the adjacent lifts next to it and opening a panel in the wall. It is then possible for people in the stuck lift to walk between lift cars. During an evacuation of the buildings, only the shuttle lift is allowed to be used, as there are only doors at levels G/1 and levels 41/42; therefore should there be a fire in the lower half of the building, this enclosed shaft would remain unaffected. Firefighter lifts are also provided in case of emergency.

The lift operating chart of the Petronas Towers

PL7A-PL7C (Tower 1) & PL8A-PL8C (Tower 2)(Parking & Podium Passenger Lift): P5-P1, C, G, 1, 2, 2M, 3-5 (PL7A & PL8A non-stop at level 2M)

SL6 (Tower 1) & SL7 (Tower 2) (Parking & Podium Service Lift): P5-P1, 1, 2, 2M, 3-5 (SL7 non-stop at level 2M)

PL14 (Tower 1) & PL15 (Tower 2) (Concert Passenger Lift): G, 2, 2M, 3, 4

A1-A6 (Tower 1) & A7-A12 (Tower 2) (Bank A Passenger Lift): G/1, 8/9-22/23

B1-B6 (Tower 1) & B7-B12 (Tower 2) (Bank B Passenger Lift): G/1, 24/25-36/37

CF1-CF2 (Tower 1) & CF3-CF4 (Tower 2) (Conference Shuttle Lift): 36, 37, 40-42

C1-C6 (Tower 1) & C7-C12 (Tower 2) (Bank C Passenger Lift): 41/42, 43/44-57/58

D1-D3 (Tower 1) & D4-D6 (Tower 2) (Bank D Passenger Lift): 41/42, 59/60-73/74

E1-E3 (Tower 1) & E4-E6 (Tower 2) (Bank E Passenger Lift): 41/42, 75-83

TE1-TE2 (Tower 1) & TE3-TE4 (Tower 2) (Upper Level Passenger Lift): 83, 85-88

S1-S2 (Tower 1) & S4-S5 (Tower 2) (Service Lift): P1, C, G, 2-6, 8-38, 40-84

S3 (Tower 1) & S6(Tower 2) (Lower Level Service Lift): P1, C, G, 2-6, 8-36

F1-F2 (Tower 1) & F3-F4 (Tower 2) (Fireman Service Lift): P1, C, G, 1-6, 8-38, 40-88 (F1 & F3 non-stop at Level 1)

SERVICE BUILDING

The service building is to the east of the Petronas Towers and contains the chiller plant system and the cooling towers to keep the Petronas Towers cool and comfortable.

TICKETING SYSTEM

In order to visit Petronas towers, visitors must first purchase the tickets. Tickets of adults and children can be purchased via online web portal or at the counter. Discounted tickets for seniors are available for those 55 years of age and above. Queues for tickets can get quite long sometimes. The complete Ticketing System or Automated Fare Collection system is provided by a Malaysian-based solution company called Longbow Technologies Sdn Bhd.

IN POPULAR CULTURE

- The towers are prominently featured and mentioned by name in the 1999 film Entrapment, with numerous scenes filmed at the towers, with the climax set on the skybridge.

- The Towers appear in the first episode of the US TV series 24.

- Several scenes of the Bollywood film Don: The Chase Begins Again were also filmed in the Petronas Towers and its skybridge.

- In the Phineas and Ferb episode "Phineas and Ferb Save Summer!", the towers are visible during the musical number "Summer All Over the World".

- Eidos Interactive has twice used the towers for inspiration in their video games. In the 2002 Hitman 2: Silent Assassin, the Malaysia-based levels Basement Killing, The Graveyard Shift, and The Jacuzzi Job all take place in the Petronas Towers. In 2010's Just Cause 2, the fictional Panau Falls Casino is based on the Petronas Towers.

- A 2002 episode of the animated series Jackie Chan Adventures titled "When Pigs Fly" (Season 3, Episode 6), features the towers.

- The towers made its appearance, in the animated series Totally Spies episode titled "Man or Machine".

WIKIPEDIA