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Too Damn Many... everything decided to be released in the same week 😓 Let the backlog continue...
Teenage Mutant Ninja Turtles: Urban Legends # 6
Cover A
This is it! Fans demanded it and IDW Publishing listened! The entire TMNT Volume 3, reproduced for the first time ever in full four-color glory! With Splinter still missing, the Turtles try to test the limits of Donatello’s new cyborg body. But when a friend makes a mistake, will Donatello be able to take control before it’s too late?
Die Kitty Die: Heaven and Hell # 1
Kitty Ravencraft returns! The last time we saw her, her new comic book series was a huge success and she was once again the talk of the comic shops! Kitty's sleazy publisher managed to get a Hollywood film deal based on her series, but she soon found herself in danger once again! So much so, that she gets shot and killed by a mystery killer! Now, we'll see Kitty go on trial, taking a visit to Heaven and Hell... then going on a mission from God to seek out her killer! And when you see who her killer is, you will be shocked! But where will she end up? And what will happen to her killer? Find out in the wackiest, funniest Kitty story yet!
WWE # 22
Now that AJ Styles has officially joined the WWE Universe, it’s time to face his greatest challenge yet—the man known as John Cena!
Bully Wars # 3
Things get off to a rough start for Rufus as he and the other bullies head to the Bully Wars arena for the start of the games. Aiming to simply guide Rufus to victory, Spencer finds out he may be more directly involved than he originally planned.
Farmhand # 5
The first arc of the series about agriculture gone apocalyptic concludes! As Freetown descends into chaos, Zeke and Jed search the town for Andrea. But she's got problems of her own, as she is faced with the monstrous truth behind the Jedidiah Seed.
Elvira: Mistress Of The Dark # 3
Cover C: Robert Hack + Cover A: Joseph Michael Linsner
Elvira’s time travel odyssey continues as she brings the author of DRACULA face to face with his nightmarish inspiration! Stoker? I hardly know ‘er! Thrills, chills and more horrible puns like that, all in the third chapter of ELVIRA: TIMESCREAM…brought to you by David Avallone (Bettie Page) and Dave Acosta (Twelve Devils Dancing), the double-Dave team who brought you DOC SAVAGE: RING OF FIRE and TWILIGHT ZONE: THE SHADOW.
Marvel Super Hero Adventures: Captain Marvel - Mealtime Mayhem (2018) # 1
It’s Thanksgiving in New York! You know what that means… Feasts! Parades! And…BAD GUYS?! When the villainous VENOM threatens to spoil the city’s fun on Thanksgiving Day, it’s up to Spider-Man and Captain Marvel to set him straight and save the celebration! PLUS! A story from SEANAN MCGUIRE, writer of the all-new Gwen Stacy series SPIDER-GWEN: GHOST-SPIDER, starring a certain hoodie-wearing hero!
True Believers: What If the Silver Surfer Possessed the Infinity Gauntlet? # 1
Reprinting What If? (1989) # 49
Spider-Geddon (2018-) # 3 (of 5)
REVENGE OF THE SPIDER-VERSE! One SUPERIOR SPIDER is willing to do whatever it takes to defeat the Inheritors! Will Miles and his team have to stop him before he goes TOO FAR? Stand together or fall separately – isn’t that how it goes?
Vault Of Spiders (2018) # 1 (of 2)
A SPIDER-GEDDON TIE IN! Only a Spider-Army can stop the end of the Multiverse! Meet Web-Slinger, the Spider-Man from the Wild West, in an unforgettable story by CULLEN BUNN (X-MEN BLUE) and JAVIER PULIDO (SHE-HULK)! He is the Emissary from Hell, he is SUPAIDAMAN! The Spider-Man from the live-action SPIDER-MAN show that aired in Japan in the 1970s is back in comics form in an insane story by JED MACKAY (EDGE OF SPIDER-GEDDON) and SHELDON VELLA (DEADPOOL, SPIDER-VERSE). And that’s just a glimpse into the VAULT OF SPIDERS!
Typhoid Fever: X-Men (2018) # 1
TYPHOID MARY has returned to Hell’s Kitchen and taken over the neighborhood’s psychiatric hospital, overwhelming Manhattan’s most dangerous neighborhood with her unique telekinetic abilities. When mutants and humans alike get caught in the crossfire, the X-Men have no choice but to intervene… only to square off against THE AMAZING SPIDER-MAN?!
Immortal Hulk (2018-) # 8
Bruce Banner is dead. His corpse has been dissected, his organs catalogued, and his inner workings are being studied by the scientists of Shadow Base. Bruce Banner is no longer a threat. That just leaves the IMMORTAL HULK...
Infinity Wars (2018) # 5 (of 6)
Introducing… Loki’s Cosmic Avengers!
Marvel Knights: 20th (2018-) # 1 (of 6)
Cover A by Geoff Shaw + Cover C By Mike Deodato Jr
In celebration of the legendary imprint founded by Marvel’s CCO Joe Quesada, a new crop of talent stands poised to tell a groundbreaking story across the Marvel Universe! In the cemetery, the blind man does not know who he is, or why he has come to this particular grave at this moment. He doesn’t know the burly police officer with the wild story who has approached him. Or the strangely intense man who sits in the rear seat of the patrol car, his eyes flashing green. But all of that is about to change.
X-Men: Black - Magneto (2018) # 1
MAGNETO IS BACK…and so is Chris Claremont! For years, Magneto has done everything he can to achieve his goals for mutant domination. But now Magneto has declared that enough is enough. So what revolutionary plan does Magneto have that will change the face of mutantkind? And will anyone be able to stop him? Will anyone want to? PLUS: Includes Part 1 of X-MEN BLACK: APOCALYPSE the back up story by Zac Thompson, Lonnie Nadler, and Geraldo Borge!
What If? X-Men (2018) # 1
Cover C 2nd Ptg Variant Neil Edwards Cover
From the publisher that gave you OLD MAN LOGAN and HOUSE OF M... The X-Men as you never imagined! Welcome to the EXE/scape, a digital wonderland of business and pleasure accessible to anyone with the social (or monetary) capital for the bio-mods needed to log in... Or you can bypass all of that by being born carrying an .EXE/gene! But circumventing the login regulations is exactly what got the likes of Charles Xavier and his .EXE/men banned and driven underground in the first place... Free-roamers u/Domino and u/Cable have taken every dirty job there is on the ‘scape, but when a simple data scrubbing job turns bad, the life of bio-mod magnate Erik Lehnsherr hangs in the balance, and with it, their very society... It's a whole new world of X-Men by Bryan Edward Hill (Detective Comics), Neil Edwards (Justice League) and Giannis Milonogiannis (Ghost in the Shell: Global Neural Network)!
Shatterstar (2018-2019) # 2 (of 5)
With a simple act of violence, Shatterstar’s life was turned upside down. Nothing makes sense anymore...except for a pair of doublebladed swords and more bloodshed. So much more BLOODSHED.
X-23 (2018-) # 6
Laura and Gabby go undercover as teacher and student to uncover a deadly secret. Will Gabby be teacher’s pet? Will Jonathan?
The site of the former boiling down works, about 1.5 km to the east of Burketown, comprises the remnant machinery of the works and a ship’s tank, scattered across a site on a silted-up meander of the Albert River. The ship’s tank may be a remnant of William Landsborough’s exploration of the region in search of Burke and Wills in 1861. An earlier boiling down works had stood operated just south of Burketown from 1866 to the early 1870s, producing cured beef and tallow. A new operation was established on this site, east of Burketown, by the Carpentaria Meat Export Company in 1892 and extended in 1893. The works was abandoned around 1904.
The grazing potential of the Gulf of Carpentaria region was identified by John Lort Stokes during his 1841 exploration in the Beagle. At the time, the area was occupied by the Mingginda People. Stokes referred to the country between the Albert and Flinders Rivers as the ‘Plains of Promise’. William Landsborough, leader of an expedition to find lost explorers Robert Burke and William Wills, also found the area promising for pastoralism. On his arrival at the ‘Plains of Promise’ in August 1861 in the brig-turned-hulk Firefly, Landsborough noted sufficient saline herbage he considered suitable for sheep. Landsborough’s party established a depot on the banks of the Albert River, where surplus provisions were buried in a ship’s tank near a marked tree (Site of Landsborough’s Blazed Tree, Albert River Depot) in case the party needed to return to the depot. Returning to Melbourne in 1862, Landsborough promoted the region through the publication of his journals and a series of lectures.
The new pastoral district of Burke was opened for settlement on the 1st of January 1864. The fledgling town of Burke (later Burketown) was established beside a port on the Albert River as squatters, wool agents and storekeepers made for the Gulf. Pastoralists took up substantial landholdings and stocked their runs with sheep, converting to cattle when sheep proved susceptible to disease. However, the isolation of the ‘Plains of Promise’ restricted graziers’ opportunities to market their cattle. Without refrigerated transport, cattle could only be sold to other graziers or driven to southern markets. Failing these options, cattle could be boiled down for tallow.
In the 19th century tallow was a product with a wide range of applications, including use in cooking, soap and candle making, and machinery lubrication. Queensland’s boiling down industry began in 1843 when Mackenzie and Co’s works opened in Kangaroo Point, Brisbane. Similar establishments were opened at Ipswich (1848), Maryborough (1850), Townsville and Toowoomba (both 1866). As cattle holdings spread into the Kennedy and Gulf districts in the 1860s, a number of small-scale boiling down works were established on pastoral properties in the region. Many of these works were private operations which provided remote landholders with access to otherwise unattainable cattle disposal facilities.
Graziers did not favour boiling down their stock, as the process wasted valuable meat and reduced profits, but the process was necessary in times of economic hardship, when graziers struggled to maintain their land and livestock. In 1866, with the colony in the midst of a depression, partners Morehead & Young established a public boiling down operation on the Albert River near the Burketown settlement. Boilers, vats and other equipment were shipped from Sydney to a site south of Burketown. The works, managed by the Edkins brothers, produced tallow, beef, and sheep products between 1867 and the early 1870s. Flood, disease, and a lack of demand appear to have contributed to its closure around 1872. Disease in particular had a dramatic impact: Europeans deserted Burketown after a mystery illness swept the fledgling township in the mid-1860s, and it is believed that this disease contributed to the demise of the Mingginda people. They were succeeded by the Ganggalida people.
Cattle numbers rose in Queensland during the 1870s and 1880s. By 1885 Queensland was the principal cattle producing colony in Australia, but export opportunities remained limited. Experimentation with freezing meat for export occurred over the next decade, but the first freezing works in Queensland, the Ross River Meatworks in Townsville, did not open until 1892. In the interim, a glut of stock, a drought in 1884 - 1886 and another economic depression in the 1890s left graziers with an oversupply of cattle and few outlets for their disposal. The final straw came in 1892 and 1893 when New South Wales introduced, and Victoria increased, taxes on stock crossing the border.
As a result, the early 1890s saw a number of enterprises formed to establish boiling down operations near grazing country in northwest Queensland. One such company was the Carpentaria Meat Export Company (CMEC), registered in June 1891 with the intention of setting up a new meatworks facility at Burketown. The town had begun to repopulate in the 1880s. As a location for a cattle processing plant Burketown had a number of advantages, including its proximity to both the ‘Plains of Promise’ grazing country and coastal shipping via the Albert River. Rather than taking up the site of Burketown’s first boiling down works, the CMEC leased 22 acres (8.9ha) near the former Albert River Depot, approximately two kilometres downstream of the town.
The CMEC engaged ironmongers Burns and Twigg to design and supply equipment for their new Burketown boiling down works. Twigg & Co, later Burns and Twigg, had operated a foundry in Rockhampton from around 1877, and supplied machinery to Lakes Creek, Alligator Creek in Townsville, and the Barcaldine boiling down works. In February 1892 Burns and Twigg shipped 25 tons of machinery to Burketown, comprising ‘a pair of thirty-horse power Cornish boilers’. While installation work was undertaken, Queensland Governor Sir Henry Wylie Norman was shown over the site in April 1892, a highlight of his northern Queensland tour.
With the boilers in place by May 1892, the Burketown boiling down works received 40 bullocks for its inaugural process. The stock reportedly came from Lawn Hill, a station run by former Burketown boiling down works manager ER Edkins. Burketown’s first process coincided with the opening of two other Gulf boiling down works, ‘Dalgonally’ in Normanton and the Torrens Creek works. Despite this competition, Burketown’s works had a successful first season. Cattle numbers were still rising in North Queensland, peaking at 1.3 million in 1894 but with cattle prices still low there was a market for numerous boiling works.
Machinery upgrades were installed at Burketown before the processing season began afresh in March 1893. By April 1893 the works had its own train and wharf facilities. Though the works were closed briefly following an outbreak of tick fever, the works was processing over 100 bullocks per day by 1895, including stock from New South Wales, the Northern Territory, and South Australia. In June 1894 Burketown was the third largest producer of both tallow and hides and skins in Queensland, out-produced only by Townsville and Rockhampton.
In 1898, the CMEC was replaced by the Burketown Meat Export Company. The works was leased to the Endeavour Meat Export and Agency Company, which commenced operations on the 7th of June 1898. Three days later, a steaming vat of tallow sparked a fire, and the boiling down works burnt down. Within a day, Burketown residents had raised £400 for rebuilding, and meatworks employees offered a month’s labour for rations only. The company also sought assistance from the Queensland Government under the Meat and Dairy Produce Encouragement Act (1893) to rebuild. Engineer WH Swales, a partner in the Burketown Meat Export Company, was engaged to install new machinery, while the construction work was contracted to William Brown of Townsville.
Rebuilding was completed for the 1899 meatworking season, and the North Queensland Register described the redesigned Burketown boiling down works in detail in February 1899. A new ‘imposing, substantial building’ housed the works. Equipment which had survived the fire, including the boilers, digesters and refiners, had been repaired and refitted, while new machines including an extract plant, mincing or shredding machine and a filter press and pump were added to the works. A 12 horsepower horizontal engine made by British company Tangye powered the mincing machine, dynamo and bone lift. The works also featured slaughtering pens and drying space for the hides, an engine and repair room next to the boilers, electric plant (powered by a small one horsepower engine), a manure grinding mill and a coopers’ shed where tallow barrels could be made.
By the turn of the 20th century, the boiling down works was Burketown’s major employer. The town’s population boomed from 164 to 300 during the six month meatworking season, with meatworkers, firewood getters and drovers flocking to the works. The works also provided a market for a local salt industry, as salt was used to tan hides and preserve meat. However, the Endeavour Meat Export and Agency Company succumbed to financial difficulties and wound up in March 1901.
The Burketown works was taken over by the Queensland Meat Export and Agency Company (QMEA), which was expanding its operations into the Gulf. Considerable improvements, including canning and preserving facilities, allowed for the treatment of 10, 000 cattle in 1901 and 1902. QMEA’s November 1901 export report indicated that Burketown was the second largest supplier to the London market, exporting 1, 588 cases of canned meat and 212 casks of tallow compared to Townsville’s 7, 275 cases of canned meat and 707 casks of tallow. Dalgonally, also operated by QMEA and formerly the larger of the Gulf meatworks, exported 801 cases of canned meat and 82 casks of tallow.
Despite this apparent success, there were hints of the Burketown works’ uncertain future. Cattle numbers in North Queensland dropped to a record low in the wake of a significant drought, and large numbers of graziers walked off their runs rather than restocking. In November 1903, a QMEA director suggested that the meatworks would only operate in 1904 ‘if cattle became plentiful’, and noted that unlike freezing works, Burketown’s limited operations did not use every part of the processed animals. Operations at Burketown were discontinued around 1904. A 1912 enquiry into the meat industry blamed transport difficulties, high wages, and lack of stock for the closure. Despite its eight year hiatus, the inquiry confirmed that the Burketown machinery was still in ‘good order’, though the meatworks buildings were reportedly being ‘eaten away by termites’.
QMEA retained the Burketown property until 1914. Rumours circulated that the buildings would be restored or removed, but the new proprietors appear to have had little interaction with the site. The buildings were removed in the late 1910s or early 1920s, possibly for reuse at another meatworks. A range of machinery was left on site, including the Burns and Twigg Cornish boilers, a Colonial Boiler and a set of vertical boilers, three engines, and other miscellany. No reference was made to the ship’s tank, though it was likely on the site at the time. Ships’ tanks were used all over Australia to store food and water. They were particularly useful in remote areas which lacked a guaranteed water supply. The tank on the site may have been left from Landsborough’s expedition: the Firefly sank in the river near the meatworks site, and an attempt to salvage two of her tanks was made some time in the 19th century. The tank has no other identification, such as a maker’s mark; these marks were usually on the tank lid, which has not survived.
From June 1917 the Burketown lease (Special Lease 472) was divided in two and leased to local residents, although they seem to have undertaken little activity on the site. Both tenants forfeited their leases and left Burketown by the early 1920s. The land was resurveyed as Portion 78 and gazetted as a Pound Reserve in July 1926. The old meatworks equipment, machinery, bricks, and other remnants remained on site, attracting sightseers who came to visit the nearby Landsborough tree.
In 2015 the Federal Court recognised the non-exclusive native title of the Gangalidda people over the site. The site remains in the trusteeship of the Burke Shire Council.
Source: Queensland Heritage Register.
En ce début de septembre, nous sommes allés à Londres. Et pendant la visite déjà magique des Studios d'Harry Potter, alors que je venais d'entrer dans le bureau d'Albus Dumbledore, mon chéri s'agenouille et me fait tout ému sa demande.
Voilààààà !
Elle est belle hein ?! *.* Je suis sous le charme !
Continuing on from the success of Foreverland 2017 and due to popular demand, Foreverland is back!! Foreverland originated in 2017 when Uri Jefferson built a Tomorrow-Land type of venue within Secondlife, and with the support of Renni, Brea and CoNoR of HyDrA the team added to the venue and put on a festival to remember.
Although extremely time consuming and exhausting to do, it was decided to try and do a Foreverland event every 8-10 months. So this year Foreverland will be on the 9th & 10th of June, brought to you by a new team mixed with some of the old team, in a new, more futuristic venue.
Foreverland Future 2018 will take place at the beginning of June on the Troietta Sim in Secondlife. Promising 2 days of non stop trance, This time known as "Foreverland Future" or short "FutureLand"!.
Right off the back of the Sci-Fi Expo, so no excuse not to dress accordingly :).
"Foreverland Future" is definitely a party you don't want to miss! Spanning Saturday and Sunday, Foreverland will host 18 different live-mix Trance DJs from around the globe bringing you the hottest trance live from one of the most insane venues you could imagine. This venue will blow your mind, and the hint is in the name "Future Land" or "Foreverland Future!"
Le cycle des mois qui décore un salon du Palazzo Schifanoia à Ferrare, est exécuté à la demande de Borso d'Este par les meilleurs peintres de l'École de Ferrare actifs vers 1470, et constitue, pour sa qualité artistique et ses références à la culture néoplatonicienne et astrologique de l'époque, l'un des lieux le plus significatifs de l'art de la Renaissance lié à l'histoire des Este.
Les fresques du salon de réception du Palazzo Schifanoia sont réalisées par la volonté de Borso d'Este dans les années 1468-1470. L'extraordinaire rapidité d'exécution, obtenue grâce à l'utilisation d'un groupe important de peintres représentants du mouvement que Roberto Longhi appelle « l'École de Ferrare », s'explique par le fait que les fresques doivent célébrer l'investiture de Borso comme duc de Ferrare par le pape Paul II prévue début 1471.
Les figures des dieux provienne des dessins de Come Tura et les saisons et les figures du zodiac de Francesco del Cossa et Ercole Ferrarese.
The cycle of months decorating a salon in the Palazzo Schifanoia in Ferrara was commissioned by Borso d'Este and executed by the best painters of the Ferrara School active around 1470. Its artistic quality and references to the Neoplatonic and astrological culture of the time make it one of the most significant examples of Renaissance art linked to the history of the Este family.
The frescoes in the reception room of Palazzo Schifanoia were executed at the behest of Borso d'Este between 1468 and 1470. The extraordinary speed of execution, achieved thanks to the use of a large group of painters representing the movement Roberto Longhi calls the "School of Ferrara", can be explained by the fact that the frescoes were to celebrate Borso's investiture as Duke of Ferrara by Pope Paul II, scheduled for early 1471.
The figures of the gods were drawn by Come Tura, and the seasons and zodiac figures by Francesco del Cossa and Ercole Ferrarese.
The villainous Sir Richard, apparently victorious, demands Queen Elizabeth's surrender, part of the Ultimate Joust at the 2013 Pennsylvania Renaissance Faire.
Can't get enough of this view: from the most in-demand suite at Citadines Tour Eiffel. Great view to wake up to, I think!
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Camera: Sony a99 | Lens: Zeiss Vario-Sonnar T* 2.8/16-35
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I had the pleasure of staying at Citadines - Tour Eiffel for 3 nights during my visit to Paris. Located in the former village of Grenelle, Citadines - Tour Eiffel is in a prime location situated across from a major metro hub with tons of cafes, restaurants, and marketplaces all within walking distance. It is also quite close to the Eiffel Tower, the Seine, Invalides, and Champs des Mars. In fact, while staying there, I was able to easily take the metro across the street to Versailles (with a transfer) for the day which made things quite convenient.
The really cool thing about the hotel is that some of the rooms on the upper floors of the hotel feature really beautiful views of the Eiffel Tower. If you follow my Instagram, I posted a video of the Eiffel Tower's light show that I filmed with my phone from the window of my room at Citadines - Tour Eiffel. It's a pretty impressive view!
However, what makes this hotel standout from many others is that it is known as an aparthotel or apartment hotel because it also functions as a place to stay for extended periods of time if you wish. People can stay for a few nights, a few weeks, a month, a few months, even a year if that is what they wish. This makes this a great place for families or individuals looking to relocate who may need a habitable living space centrally located in the city they are trying to relocate to. It also makes it a great place for people who are looking to try to live in a city to get a feel for the city while having the comforts of home.
An intriguing facet of staying at an aparthotel is that not only do you have the comforts that you would associate with an apartment such as a fully functional kitchen and living area but you get the amenities and benefits of hotel living as well. For example, Citadines aparthotels offer various cleaning arrangements for all guests as well as other perks that you would typically associate with staying in a hotel. Only you can enjoy these perks during your extended stay in any of the Citadines locations all over Europe and the Asia Pacific.
I had a great stay during my time in Paris. I had the misfortune of getting quite sick with bronchitis while in Paris and the staff at Citadines Tour Eiffel were really wonderful when it came to getting me the medical help I needed and making my stay pleasant while I recovered. I really enjoyed the fact that there was a Monoprix right across the street. The Monoprix there had a huge grocery section which allowed me to buy reasonably priced groceries that I was able to store in the refrigerator. This was a great relief to my wallet since it let me save on certain meals since I could use the kitchen in my room.
And of course, I loved the views. But that goes without saying, right? :)
--- Read a dedicated post about the hotel with explanations of each photo here:
Citadines - Tour Eiffel - Rooms with a View
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Interested in viewing all of my Paris posts so far? Here they are:
Looking for these (and more) Paris photos to view larger? Here you go (click or tap on each photo to view larger):
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View my New York City photography at my website NY Through The Lens.
Interested in my work and have questions about PR and media? Check out my:
About Page | PR Page | Media Page
To use any of my photos commercially, feel free to contact me via email at photos@nythroughthelens.com
From April 16, 2008:
The Day of the Donut is tomorrow. Flickr will be giving away one donut to each Flickr member who makes their way to Bob's Donuts at 11AM on April 16. Additional meet-ups are scheduled all around the world, from Los Angeles to Vancouver, from Berlin to Paris. Join in or organize your own meeting. No matter what, take some photos of donuts on April 16 and upload them to Flickr as we celebrate The Day of the Donut all around the world!
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Sign the petition.
Shepherd Johnson
Erie, PA. August 2020.
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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com
Je me demande si j'aurai pas été mieux inspiré de la prendre à f:8
Pour voir les précisions sur les droits d'auteur et les conditions d'utilisation, c'est ici : www.flickr.com/people/etienne_valois/
La basilique Saint-Amable de Riom est le plus vaste édifice clérical d’Auvergne après la cathédrale Notre-Dame-de-l'Assomption de Clermont-Ferrand. Située à Riom elle est basilique mineure depuis 1912, date à laquelle l'évêque de Clermont demanda au pape Saint Pie X son élévation à ce titre.
Europäischer Gerichtshof für Menschenrechte
Cour Européenne des Droits de l'Homme
European Court of Human Rights
Demander pour utilisation merci - Ask for use thanks.
© Michel Guérin. Tous droits réservés - All rights reserved ©.
(Woliwon)
Merci beaucoup pour vos visites et commentaires ♥, thank you so much for the visit and kind comments.
So, by popular demand, Bellamy is the first to model my second Incroyables/Rococo Homme jacket made from a silk tie! I'm really pleased with how this one turned out, especially as I managed to tweak the details that left me slightly unsatisfied with the green jacket. I am especially pleased with how it fits into the curve of the back and across the shoulders. I'm very pleased too with how the jacket now curves around the body making use of the bias stretch of the silk as it hits the waist and hip area. One small note to self; I might set the sleeve slightly on the bias next time so they are less tight on the upper arm/biceps. The jacket is VERY fitted so no room for a shirt underneath. I have improvised a sort of shirt front wrapping some silk around the body but I'm aiming to create a sort of 'halter neck' top that my guys can wear with these jackets. I want to keep the figure-hugging silhouette and not compromise that but this leads to the need to find little tricks to dress the underneath layer. All in all I'm very pleased and excited about finding more special tie material!
Have you heard? Film is in HIGH demand! Join Mike, Mat and John!
filmphotographyproject.com/podcast/2019/12/film-photograp...
Tout près de l'Hôtel de ville de Reims, la rue de Tambour a changé de couleur. Mardi 30 avril, à la demande de la Ville et avec les commerçants, une entreprise a peint chaque pavé d'une couleur différente. Une forme de street art qui enchante les passants. Mais pourquoi dans cette rue ?
C'est le nouveau spot des instagramers à Reims. Et il fait un tabac. La rue de Tambour, située près de la place de l'Hôtel de Ville, a été décorée mardi 30 avril par une entreprise de peinture. Chaque pavé de cette rue considérée comme la plus ancienne de la Cité des sacres est désormais peint en jaune, bleu, rouge, orange, vert et bleu...Une idée qui a germé dans la tête des élus chargés de l'urbanisme.
"On avait envie de donner un peu de dynamisme à ce secteur, précise Laure Miller, élue à la mairie de Reims, en charge des espaces verts, car nous allons inaugurer le 9 mai la nouvelle place de l'Hôtel de ville, baptisée place Simone Veil. On a eu l'idée en regardant ce qui s'est fait ailleurs. Et c'est au Puy-en-Velay que l'on a repéré le concept de pavés colorés". Une opération similaire a eu lieu en décembre 2018 dans la commune auvergnate.
Séduits, les commerçants de cette rue à Reims ont participé eux aussi à la mise en peinture le 30 avril. Une opération orchestrée par une entreprise locale, spécialisée dans la peinture urbaine, mais pas dans le street art. L'oeuvre a été relayée sur les réseaux sociaux et rencontre un succès croissant. Suscitant des commentaires variés, parfois polémiques. L'opération a coûté quelques milliers d'euros, précise la mairie. Aucune autorisation n'est nécessaire pour ce genre d'oeuvre éphémère. Les pavés vont rester colorés jusqu'à l'hiver. La nature devrait effacer les couleurs de manière naturelle car peu de véhicules l'empruntent. Si l'idée séduit, la Ville de Reims réfléchit à renouveler cette expérience sous une forme ou une autre.
"Hi! I'm Cici!"
Oh, um, hey there!
What is this?
*programs rustling*
"I'm a cyclops!"
Yep. Figured that.
It says, "The Bijou Planks brings you another in-demand superstar, Cici the Cyclops from the blockbuster series, Nella the Princess Knight.
"I can't see you very well. I have poor vision."
I'm... sorry. That must be especially bad for you.
I've never heard of Cici the Cyclops.
This is no in-demand superstar.
I've never even heard of Nella the whatever.
"But Nella took me to the eye doctor. And he's making glasses for me."
I guess with her it's definitely the 'eye' doctor and not the 'eyes' doctor.
Haha!
I doubt he's making glasses, more like a monocle.
"You're all whispering a lot. I wish I could see you better."
It's okay!
So, is this your performance?
You just come out and say hi?
"I also tell you about Nella helping me with my poor vision. She took me to a doctor."
Yep. That's good.
The Bijou Planks is RIPPIN US OFF again!
You would think, at the price of these tickets, we'd have better performers than a minor supporting character on a series no one watches.
"Hello!"
*sigh* Hi Cici!
Okay, thank you!
You're probably finished now.
"Did you enjoy my show?"
Oh, you have made such an impression on us that we're going to really clearly communicate to the Planks management just how we feel!
"Yay!! I have poor vision but Nella is helping me."
•────────────────•°•❀•°•────────────────•
A year of the shows and performers of the Bijou Planks Theater.
Nella the Princess Knight
Cici the Cyclops
Unbranded
Another fine Bijou Planks entry from Grab Bag #15!
BULLETIN DE SANTE A J + 3 :
Bonsoir tout le monde, à la demande générale, je continue donc de vous faire mon bulletin de santé d'Al...
Et aujourd'hui les nouvelles sont meilleures qu'hier !
J'ai passé une heure avec lui ce midi mais il était un brin ensuqué et toujours très fatigué, et il était somnolent, et pas très bavard ;o))))
J'ai vu son chirurgien en sortant qui m'a dit qu'il était passé le voir également, il lui fait faire un scan demain pour voir s'ils obtiennent des infos pouvant expliquer sa fièvre. Et je crois que c'est seulement mardi que nous aurons les résultats de sa prise de sang qui est en culture.
La ce soir je suis retournée lui casser les pieds pendant 2 heures ;o))) il allait mieux. La fièvre baisse encore il n'avait plus que 38, et une tension quasi normale aussi. Et puis surtout il avait l'air mieux ! plus les sueurs froides d'hier soir ou il était brullant. Donc globalement, a va bien mieux, pourvu que ça dure, et que les antibios continuent à faire effet.
Sur une échelle de 1 à 10 il situe sa douleur à 2 (sans morphine s'il vous plait !) donc ça va. La contrepartie des antibios c'est que ça file la diarrhée.... on peut pas tout avoir hein ;o)))) Du coup pour draguer les infirmières c'est pas top, comme dit Valou sa frangine, mieux vaut qu'il utilise le charme, ça fonctionnera mieux que le côté macho ;o))))
Oufffffffffff je vais pouvoir dormir plus sereinement cette nuit ! C'est qu'c'est du soucis de surveiller un Ours ;o))))
Je n'ai pas le courage de vous faire des mails perso, mais vraiment merci à toutes celles et ceux qui nous envoie plein de petits mots par mail ou par texto, c'est super sympa et ça fait du bien !
J'ai dit à Al que je lui préparais une compilation de tous vos messages justement, et sans compter ceux directement sur Flickr je dois déjà être à 14 pages de messages dans un fichier word ! ARhhhhhhhhhhhhh ça va l'occuper quand il sera en état de vous lire ;o))))
Je vous fait plein de gros gros bisous de notre part à tous les deux,
Bonne nuit et à demain pour d'autres news...
Nath et Al
Huge demand from the public sparked a campaign to keep the installation in place longer.
Floodlights are already being used to ensure more people get to see the piece created to mark the centenary of the start of World War One.
Each poppy represents each British and Commonwealth death during WW1.
The Wave is a steel construction made of poppies surrounding the entrance to the Tower of London while the Weeping Window depicts poppies falling from a window on the top floor of the Tower.
Deutschland / Nordrhein-Westfalen - Kraftwerk Neurath
Neurath Power Station is a lignite-fired power station at Neurath in Grevenbroich, North Rhine-Westphalia, Germany. It is located to the south of Grevenbroich, and it borders the municipalities of Rommerskirchen and Bedburg. The power station consists of seven units and it is owned by RWE. It was named as the second biggest single polluter for carbon dioxide emissions in the European Union in 2019 by the EU's Transport and Environment Group.
Description
The Neurath Power Station serves mainly as a base load power station. It consists of seven units (3 x 300 MW, 2 x 600 MW, and 2 x 1,100 MW nominally). Five older units were built between 1972 and 1976, and have a gross generation capacity of 2,200 MW. On 15 August 2012 two new 1,100 MW lignite-fired units – F and G, also known as BoA 2 and 3 – were added. BoA stands for Braunkohlekraftwerk mit optimierter Anlagentechnik (Lignite power station with optimized systems technology). The new units have an efficiency of 43% and the capability to adjust quickly to changes in energy demand. Both of the new units are 170 m (558 ft) tall which makes them amongst the tallest industrial buildings in the world, possibly second only to the powerblock at the Niederaussem Power Station. Its engineering was carried out by Alstom, which was also the supplier of the steam turbines. The consortium that supplied steam generators was led by Babcock-Hitachi Europe GmbH. GEA Group built the cooling towers. Construction costs were €2.6 billion.
The lignite is delivered by rail from open pits in Rhenish lignite district, in particular from the Garzweiler and Hambach mines.
In the 1980s, a complete flue gas cleaning facility was installed for all blocks. The exhaust gases are derived since then over the cooling towers. The facility also has two bypass flue gas stacks from which one belongs to units A, B and C and the other to the units D and E. The first one is 194 metres (636 ft), the latter 196 metres (643 ft) high. They allow operating the facility in case of defunct flue gas cleaning facility, however, as this rarely occurs, such chimneys do not exist at most other power stations.
Criticism
The new power station is criticized in the climate change discussion by environmental associations and physical custodians, because electricity generation from lignite as fuel, in spite of advanced technology, is considerably less efficient than other generation sources and makes the plant the second biggest source of carbon dioxide among plants in EU. The facility, with a planned lifespan of 40 years, is seen as inconsistent with Germany's and Europe's plans to counter climate warming, particularly after COP21.
It is criticized furthermore that the investment efficiency is not maximized by additional measures like using of waste heat. One of the suggested projects is the establishment of a wide greenhouse park to use the attacking rejected heat and to create other jobs. However, the area planned for it was planned for industries with large electricity demand.
Accidents
In the evening of 25 October 2007, a major accident occurred on the construction site. A section of the scaffolding broke off, and buried several workers. Three construction workers were killed by the remains of the scaffold. Six others, who were seriously injured, were taken to surrounding hospitals.
Nearly 300 application forces from fire brigade, police, ambulances and technical charitable organization were used for the rescue operation. In December 2008, the initiated preliminary proceedings were put because of careless homicide by the public prosecutor's office of Mönchengladbach. According to certificate the knot connections of the scaffold were laid out too weakly. Because there has been no knowledge about them, in this size for the first time to used components and their stability problems, the accident has not foreseen for the experts, according to the public prosecutor's office. Rather interpretation and construction have occurred under the rules of the technology.
On 13 January 2008, a further deadly accident occurred in which an employee of a steel construction company was killed. After the above-mentioned accident in October 2007 and another accident in September 2007, this became the third deadly incident on the construction site.
(Wikipedia)
Das Kraftwerk Neurath liegt im Süden von Grevenbroich und grenzt an das Gebiet der Gemeinde Rommerskirchen und der Stadt Bedburg an. Der Betreiber ist RWE in Grevenbroich-Neurath (Rhein-Kreis Neuss). Es ist, gemessen an der installierten elektrischen Bruttoleistung von 4.400 Megawatt, das größte Kraftwerk in Deutschland und das zweitgrößte Braunkohlekraftwerk Europas nach dem Kraftwerk Bełchatów in Polen.
Das Kraftwerk dient der Erzeugung von Grundlaststrom und besitzt eine elektrische Nettoleistung von über 4.211 Megawatt. Die Kohle wird über Gleisanschluss an die Nord-Süd-Bahn aus den Tagebauen des Rheinischen Braunkohlereviers, insbesondere dem Tagebau Garzweiler bezogen. Mit einem CO2-Ausstoß von 32,1 Mio. Tonnen verursachte das Kraftwerk im Jahr 2015 die zweithöchsten Treibhausgasemissionen aller europäischen Kraftwerke.
Die Gleisanlage der Nord-Süd-Bahn, die zur Versorgung des Kraftwerks Neurath genutzt wird, wurde im Juni 2019 für mehr als 40 Stunden von Aktivisten blockiert, um auf den großen CO2-Ausstoß des Kraftwerks aufmerksam zu machen.
Kraftwerksblöcke
Das Kraftwerk besteht aus sieben Blöcken (3 × 300 MW, 2 × 600 MW und 2 × 1100 MW nominal), die zwischen 1972 und 1976 sowie 2012 errichtet wurden, und besitzt eine Bruttoleistung von ca. 4400 MW.
Blöcke A bis E
In den 1980er-Jahren wurde für die Blöcke A bis E eine Rauchgasreinigungsanlage nachgerüstet. Die Abgase werden seitdem über die Kühltürme abgeleitet.
Die Anlage verfügt auch über zwei sogenannte Bypasskamine, von denen einer den Blöcken A–C und der andere den Blöcken D bis E zugeordnet ist. Ersterer ist 194 Meter[8], letzterer 196 Meter[9] hoch. Die Bypasskamine ermöglichen den Betrieb der Anlage im Fall einer defekten Rauchgasreinigungsanlage, was aber selten vorkommt und weshalb die meisten Kraftwerke auf Bypasskamine verzichten (Quelle: Pressestelle RWE).
Alle Blöcke speisen in das Übertragungsnetz des Netzbetreibers Amprion ein: Der Block A ist über die Umspannanlage Osterath auf der 220-kV-Ebene, die Blöcke B bis D über die Schaltanlage Opladen auf der 380-kV-Ebene und der Block E über die Schaltanlage Rommerskirchen, ebenfalls auf der 380-kV-Ebene, an das Höchstspannungsnetz angeschlossen.
Block C soll nach einer Vereinbarung zwischen dem Bundesministerium für Wirtschaft und Energie und den Braunkohlekraftwerksbetreibern RWE, Vattenfall und Mibrag am 1. Oktober 2019 in die Reserve überführt und vier Jahre später endgültig stillgelegt werden.
Die Blöcke A bis E sollen in den Jahren 2021 bis 2022 vom Netz genommen werden.
Blöcke F und G („BoA 2 und 3“)
Geschichte
Im September 2005 beschloss RWE, am Kraftwerk zwei neue Blöcke (F und G) vom Typ „Braunkohlekraftwerk mit optimierter Anlagentechnik (BoA)“ zu bauen. Als Weiterentwicklung des BoA-Blockes im Kraftwerk Niederaußem (BoA 1) tragen die neuen Blöcke auch die Bezeichnung „BoA 2 und 3“. Im Januar 2006 begannen die Bauarbeiten. Die BoA-Blöcke sollen bei einem Wirkungsgrad von 43 Prozent eine Leistung von je 1100 MW haben. RWE gab 2008 an, der Bau, bei dem es sich um eine der größten Baustellen Europas handele, umfasse eine Investitionssumme von 2,2 Milliarden Euro. Im Dezember 2011 räumte RWE ein, dass das Projekt mit 2,6 Mrd. Euro „deutlich teurer“ geworden sei. Die Kesselhäuser von BoA 2 und BoA 3 sind mit einer Höhe von 173 Metern die höchsten Kesselhäuser der Welt. Die Kühltürme sind 172 Meter hoch.
Die ursprünglich geplante Inbetriebnahme Ende 2009 verzögerte sich wegen des unten genannten Unfalls, bei dem ein erheblicher Teil des Neubaus zerstört wurde. Am 29. November 2011 erreichten erstmals beide Blöcke gemeinsam Volllast und produzierten während der Inbetriebsetzungsphase bis dahin mehr als 1,5 Milliarden Kilowattstunden Strom. Beide Blöcke befanden sich seit Mai bzw. Oktober 2011 im Testbetrieb, die endgültige Inbetriebnahme mit der Meldung der Blöcke an die Strombörse EEX erfolgte am 8. Juli 2012 (Block G) bzw. am 3. August (Block F). Seither speisen beide Blöcke ebenfalls in das Übertragungsnetz von Amprion in die 380-kV-Ebene ein und sind über die Schaltanlage Rommerskirchen angeschlossen.
Am 15. August 2012 erfolgte dann die offizielle Feier zur Inbetriebnahme der neuen Blöcke in Anwesenheit von Nordrhein-Westfalens Ministerpräsidentin Hannelore Kraft, Bundesumweltminister Peter Altmaier und weiteren Gästen. Fälschlich wurde es in mehreren Medien als weltgrößtes Braunkohlekraftwerk bezeichnet, tatsächlich ist es (hinter dem Kraftwerk Bełchatów, Polen) nur das zweitgrößte in Europa. Richtig ist jedoch, dass die beiden neuen BoA-Blöcke F und G mit jeweils 1.100 MW brutto die zu diesem Zeitpunkt leistungsstärksten Braunkohlekraftwerksblöcke der Welt waren. Die Baukosten wurden mit 2,6 Milliarden Euro angegeben.
RWE nahm Ende 2011 und im Frühjahr 2012 sechs der zwölf alten 150-MW-Blöcke im Kraftwerk Frimmersdorf vom Netz.
Probleme
Am 30. August 2012 fielen am frühen Nachmittag binnen sieben Minuten beide BoA-Blöcke aufgrund eines Fehlers im Leitsystem aus, weshalb eine Leistung von ca. 2.100 MW ersetzt werden musste. Dabei kam es zu Frequenzschwankungen im Stromnetz; durch Einsatz von Regelenergie wurde ein Stromausfall verhindert. Laut Amprion ist das europäische Stromnetz in der Lage, einen unvorhergesehenen Ausfall von bis zu 3.000 MW an Kraftwerksleistung zu tolerieren; daher sei keine kritische Situation entstanden. In den frühen Morgenstunden des Folgetags wurden die beiden Blöcke wieder hochgefahren.
Unfall
Am Abend des 25. Oktober 2007 kam es auf dem Baustellengelände zu einem schweren Unfall. Eine über 100 Tonnen schwere Seitenwandbandage, ein Teilstück des Großgerüstes, riss ab und begrub mehrere Monteure unter sich. Drei Bauarbeiter konnten nur noch tot aus den Trümmern des Baugerüsts geborgen werden, sechs weitere wurden zum Teil schwer verletzt in umliegende Krankenhäuser eingeliefert. Fast 300 Einsatzkräfte von Feuerwehr, Polizei, Sanitätsorganisationen und Technischem Hilfswerk waren im Einsatz. Im Dezember 2008 wurde das eingeleitete Ermittlungsverfahren wegen fahrlässiger Tötung von der Staatsanwaltschaft Mönchengladbach eingestellt. Laut Gutachten waren die Knotenverbindungen der Bandagenunterkonstruktion zu schwach ausgelegt. Da es keinerlei Kenntnisse über die – in dieser Größe erstmals eingesetzten – Bauteile und deren Stabilitätsprobleme gegeben habe, sei der Unfall für die Fachleute nicht vorhersehbar gewesen, so die Staatsanwaltschaft. Vielmehr seien Auslegung und Konstruktion nach den Regeln der Technik erfolgt.
Emissionsgrenzwerte
Im Genehmigungsbescheid vom 20. Juni 2005 legte die Bezirksregierung Düsseldorf Emissionsgrenzwerte für die neuen Blöcke F und G fest, die zur Antragszeit für Schwefeldioxid, Kohlenmonoxid und Quecksilber unterhalb der geltenden Mindestanforderungen der 13. BImSchV lagen. Obwohl der Tages-Emissionsgrenzwert mit 0,0135 mg/m3N für die neuen Blöcke vergleichsweise niedrig festgesetzt wurde (die Mindestvorgabe der 13. BImSchV sieht 0,03 mg/m3N vor), erfordert dieser Grenzwert noch keine spezielle Quecksilberminderungstechnik. Dies zeigt sich daran, dass die Quecksilberemissionen nach Inbetriebnahme der neuen Blöcke 2012 auf mehr als das Doppelte angestiegen sind[31] (zum Vergleich: in den USA gelten für Braunkohlekraftwerke in Abhängigkeit ihres Wirkungsgrades Grenzwerte von 0,005 bis 0,0054 mg/m3N).
Schadstoffe mit Grenzwerten im Tagesmittel werden durch kontinuierlich arbeitende Messgeräte überwacht, die übrigen Werte durch Einzelmessungen. Zum Vergleich mit den Grenzwerten der neuen Blöcke sind die zur Antragszeit gültigen Grenzwerte der 13. BImSchV (2004) aufgeführt sowie die Grenzwerte der aktuellen 13. BImSchV (2013) und die im Normalbetrieb mit besten verfügbaren Techniken erreichbaren Emissionswerte, wie sie im Merkblatt der Europäischen Kommission für entsprechend große Neuanlagen mit Braunkohle-Staubfeuerung auf der Basis der Datensammlung in den Jahren 2001–2002 festgelegt wurden.
Eine neue Datensammlung zu aktualisierten besten verfügbaren Techniken (BVT) organisiert die Europäische Kommission seit Oktober 2011 und veröffentlicht voraussichtlich im Jahr 2014 neue BVT-Schlussfolgerungen für Großfeuerungsanlagen. Die darin für bestehende Anlagen festgelegten, mit BVT erreichbaren Emissionswerte müssen gemäß der europaweit geltenden Industrieemissionsrichtlinie spätestens vier Jahre nach der Veröffentlichung der BVT-Schlussfolgerungen im Kraftwerk Neurath eingehalten werden.
Emissionen von Schadstoffen und Treibhausgasen
Kraftwerkskritiker bemängeln am Kraftwerk Neurath die hohen Emissionen an Stickstoffoxiden, Schwefeloxiden, Quecksilber und Feinstaub, an dem Krebs erzeugende Substanzen (Blei, Cadmium, Nickel, PAK, Dioxine und Furane) anhaften können. Eine von Greenpeace bei der Universität Stuttgart in Auftrag gegebene Studie kam 2013 zu dem Ergebnis, dass die vom Kohlekraftwerk Neurath (vor Inbetriebnahme der Blöcke F und G) ausgestoßenen Feinstäube und die aus Schwefeldioxid-, Stickoxid- und NMVOC-Emissionen gebildeten sekundären Feinstäube statistisch zu 1.712 verlorenen Lebensjahren führen.[38] Das Kraftwerk rangierte (Stand März 2013) auf der Liste der „gesundheitsschädlichsten Kohlekraftwerke Deutschlands“ auf Platz 7.
Alle Kohlekraftwerke stehen mit Verweis auf die globale Erwärmung in der Kritik bei Umweltverbänden und Naturschützern. Die Stromerzeugung aus Braunkohle gehört trotz optimierter Anlagentechnik (BoA) weiterhin zu den Technologien, die pro erzeugter Kilowattstunde Strom das meiste CO2 emittieren. Der Verbrauch an Braunkohle pro BoA-Block beträgt 820 Tonnen pro Stunde, zusammen also 1640 Tonnen.
Der Wirkungsgrad liegt zwar bei ca. 43 % – Weltrekord für Braunkohleverstromung – womit die beiden Neubaublöcke laut RWE gegenüber alten Kraftwerken auf Braunkohlebasis etwa 1/4 weniger CO2 emittieren, 2016 wurden aber ca. 31 Mio. Tonnen CO2 emittiert. Pro Kilowattstunde Strom werden ca. 950 g Kohlendioxid emittiert – fast doppelt so viel wie beim durchschnittlichen deutschen Strommix (494 g CO2/kWh).[40] Zum Vergleich: Moderne Gas-und-Dampf-Kombikraftwerke wie der 2011 in Betrieb genommene Block 4 des Kraftwerkes Irsching emittieren bei einem Wirkungsgrad von 60,4 % etwas über 330 g CO2 pro kWh.
Auf der im Jahr 2007 vom WWF herausgegebenen Liste der 30 klimaschädlichsten Kraftwerke in der EU rangierte das Kraftwerk Neurath im Jahr 2006 auf Rang 7 in Europa und auf Rang 5 in Deutschland (1150 g CO2 pro Kilowattstunde), nach den Kraftwerken Niederaußem, Jänschwalde, Frimmersdorf und Weisweiler.
Es wurde kritisiert, dass der Anlagenwirkungsgrad nicht durch zusätzliche Maßnahmen wie Kraft-Wärme-Kopplung maximiert wird. Einen Teil der anfallenden Abwärme nutzt seit Sommer 2011 ein Gewächshauspark. Auf 11 Hektar werden z. B. Tomaten angebaut.
Die Europäische Umweltagentur hat die jährlichen Kosten der Umwelt- und Gesundheitsschäden der 28.000 größten Industrieanlagen in der Europa anhand der im PRTR gemeldeten Emissionsdaten mit den wissenschaftlichen Methoden der Europäischen Kommission abgeschätzt. Danach verursacht das Kraftwerk Neurath die achthöchsten Schadenskosten aller europäischen Industrieanlagen.
(Wikipedia)
This photo was taken 2 years back when i visited a good friend of mine.. I am posting this just because one of my dearest friend, Monisha, asked me to put it cos she like this picture very much..
I went to a 40 ft Tesla coil demonstration put on by a former work colleague. It was superb. Here a poor tree (well, a wooden poll) gets ignited producing smoke and flames. Even before being struck, it was incandescent just by being in the electrical field.
Read about the science goals here:
www.lod.org/research/research.html
Lightning On Demand are seeking the funding necessary to take this to the next step.
Mohandas Karamchand Gandhi (ISO: Mōhanadāsa Karamacaṁda Gāṁdhī;[pron 1] 2 October 1869 – 30 January 1948) was an Indian lawyer, anti-colonial nationalist and political ethicist who employed nonviolent resistance to lead the successful campaign for India's independence from British rule. He inspired movements for civil rights and freedom across the world. The honorific Mahātmā (from Sanskrit 'great-souled, venerable'), first applied to him in South Africa in 1914, is now used throughout the world.
Born and raised in a Hindu family in coastal Gujarat, Gandhi trained in the law at the Inner Temple in London, and was called to the bar in June 1891, at the age of 22. After two uncertain years in India, where he was unable to start a successful law practice, he moved to South Africa in 1893 to represent an Indian merchant in a lawsuit. He went on to live in South Africa for 21 years. There, Gandhi raised a family and first employed nonviolent resistance in a campaign for civil rights. In 1915, aged 45, he returned to India and soon set about organising peasants, farmers, and urban labourers to protest against discrimination and excessive land-tax.
Assuming leadership of the Indian National Congress in 1921, Gandhi led nationwide campaigns for easing poverty, expanding women's rights, building religious and ethnic amity, ending untouchability, and, above all, achieving swaraj or self-rule. Gandhi adopted the short dhoti woven with hand-spun yarn as a mark of identification with India's rural poor. He began to live in a self-sufficient residential community, to eat simple food, and undertake long fasts as a means of both introspection and political protest. Bringing anti-colonial nationalism to the common Indians, Gandhi led them in challenging the British-imposed salt tax with the 400 km (250 mi) Dandi Salt March in 1930 and in calling for the British to quit India in 1942. He was imprisoned many times and for many years in both South Africa and India.
Gandhi's vision of an independent India based on religious pluralism was challenged in the early 1940s by a Muslim nationalism which demanded a separate homeland for Muslims within British India. In August 1947, Britain granted independence, but the British Indian Empire was partitioned into two dominions, a Hindu-majority India and a Muslim-majority Pakistan. As many displaced Hindus, Muslims, and Sikhs made their way to their new lands, religious violence broke out, especially in the Punjab and Bengal. Abstaining from the official celebration of independence, Gandhi visited the affected areas, attempting to alleviate distress. In the months following, he undertook several hunger strikes to stop the religious violence. The last of these was begun in Delhi on 12 January 1948, when he was 78. The belief that Gandhi had been too resolute in his defense of both Pakistan and Indian Muslims spread among some Hindus in India. Among these was Nathuram Godse, a militant Hindu nationalist from Pune, western India, who assassinated Gandhi by firing three bullets into his chest at an interfaith prayer meeting in Delhi on 30 January 1948.
Gandhi's birthday, 2 October, is commemorated in India as Gandhi Jayanti, a national holiday, and worldwide as the International Day of Nonviolence. Gandhi is considered to be the Father of the Nation in post-colonial India. During India's nationalist movement and in several decades immediately after, he was also commonly called Bapu (Gujarati endearment for "father", roughly "papa", "daddy).
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.
Time spent on the streets of Brussels.
A city built upwards with millions of people living underneath
So, by popular demand, Bellamy is the first to model my second Incroyables/Rococo Homme jacket made from a silk tie! I'm really pleased with how this one turned out, especially as I managed to tweak the details that left me slightly unsatisfied with the green jacket. I am especially pleased with how it fits into the curve of the back and across the shoulders. I'm very pleased too with how the jacket now curves around the body making use of the bias stretch of the silk as it hits the waist and hip area. One small note to self; I might set the sleeve slightly on the bias next time so they are less tight on the upper arm/biceps. The jacket is VERY fitted so no room for a shirt underneath. I have improvised a sort of shirt front wrapping some silk around the body but I'm aiming to create a sort of 'halter neck' top that my guys can wear with these jackets. I want to keep the figure-hugging silhouette and not compromise that but this leads to the need to find little tricks to dress the underneath layer. All in all I'm very pleased and excited about finding more special tie material!
Je me demande toujours de quelle largeur est le grand cratère lunaire dans la partie basse de l'astre. De loin, il parait petit mais il est sans doute immense. Qu'y avait-il avant dedans? De l'eau? Du gaz?De la lave?
[Fond d'écran 4K — Tirages meilleurs jusqu'à 141 x 79 cm maximum]
[4K Wallpaper — Prints best within 141 x 79 cm / 55 x 31 inches]
Jeanne d'Arc relevant l'épée de la France - Antonin Mercié, 1902. Dédié aux morts de la Première Guerre mondiale.
J’ai pris cette photo au milieu des vents forts et des pluies abondantes... et je me sentais heureux. /
I took this photo amidst strong wind and heavy rain... and I felt blissful.
During a Thanksgiving visit to Domrémy, Joan of Arc's birthplace in Northern France, I do believe I received the greatest compliment any von Richthofen ever got when I heard these words: "You've come back home."
The purpose for my second deployment to the French region of Lorraine was quite similar to the first. Perhaps the reason was to simply ask, "How do you say I love you?"... How do you say it? Though it can in fact be a poignant question, the overwhelming feeling I received from my Saint Joan was that it didn't matter how I said it... what mattered was that I asked.
Codi von Richthofen,
Saint Joan of Arc Superstar ©
Ultima toma de esta salida. Aprovechamos a ultima hora para montar la montura ecuatorial, Star Adventure y hacer una larga exposición.
Que difícil es no moverse en 180s.
Sony A7M2+Irix 15mm f2,4 +Star Adventure
the most beautiful thing I have ever seen
was drawn deep within, by a gasp
instinctive intake of breath to secret it
deep inside my breast, out of their grasp
a secret smile hides the treasure within
caressed in private, loved and enjoyed
far from all those unfair demands
that I give it up, the beauty I hold in my clasp
~~~~by me~~~~~~~and it's true~~~~~~I always hide it
1- don't forget to go to Bliss Couture before it closes. This hat! Many hats! and other beautiful things)
2- Miamai for beautiful mesh gloves. the best I've seen
3- cStar for an amazing Yuna 01 skin you can put all sorts of makeup on. The freckles are lovely. The lipstick is Beautifully Grotesque. eyeliner is hardcore cat by cStar
4- corset = Maai!
5- Purplemoon for some amazing jewelry at very amazing prices
Ever wonder what "inflow of capital" looks like in the real world? You're looking at it.
Two or three years ago, all anyone could talk about were Portland's skyrocketing rents.
When Portland talks, capital listens. Now Portland is seeing an unprecedented apartment-building boom.
The area known as the Burnside Bridgehead at the east end of the Burnside Bridge, which remained for all intents and purposes unchanged for most of the 40 years I've been here, is now almost unrecognizable.
Seen here is one of the new projects, the 21-story Yard. Though I disliked it at first because of its dark-brown mass, which seemed to oppress Portland's lovely eastern skyline, I have warmed up to it.
At the Yard's own Website you can find photos of the entire building and judge for yourself whether it is a misfire or a hit:
*Working Towards a Better World
“No person is your friend who demands your silence, or denies your right to grow.” - Alice Walker
This is the twelfth in my new series, one which recognizes my friends here on Flickr. I wish to thank you for your friendship and your support! Some of you I work with, some of you I have worked with, some of you have given me opportunities and the rest of you my wonderful friends share an infinity with art and an ability to share our love, ideas and support thank you all!
Naughty Greek - Giorgos Rodis
www.flickr.com/photos/11336800@N00
ar-mart
www.flickr.com/photos/ar-mart/
Roiz Roiz
www.flickr.com/photos/127523566@N08/
sgrillo.angeloraffaele
www.flickr.com/photos/98440994@N08/
Gilda Tonello
www.flickr.com/photos/gildatonello/
joseruizramosjruizramos
www.flickr.com/photos/123370343@N02/
Budleigh mike .. talksport -Michael Kerswill
www.flickr.com/photos/talksport/
stanfarber62
www.flickr.com/photos/123265837@N08/
Dave-Mcclean 67
www.flickr.com/photos/davidmcclean67/
j0sh (www.pixael.com) - Giuseppe Milo
www.flickr.com/photos/giuseppemilo/
www.flickr.com/photos/124091301@N07/
keith_fannon
www.flickr.com/photos/keithjfannon/
WaldyWhite - Waldemar Weiss
www.flickr.com/photos/weiswaldemar/
“'kenlwc - ken leung
nilliske - Cees
www.flickr.com/photos/nilliske/
***** PLEASE UNDERSTAND, that there are so many of you who have befriended and support me, that if you have not already been mentioned, you will be. Please be patient, my list is long and will continue!!!
Thank you for your kind visit. Have a wonderful and beautiful day! xo💜💜
Taxiing out for departure to Jinjiang on a cloudy and rainy morning. This is a fantastic scheme that would look attractive on any aircraft type.
Okay, okay, it's a bit different than what I remembered, but still. The first impression I got was "$tripper$ do good things."
To follow on from my previous post showing pre-production Leyland National 00010 FRM 499K on display at a Silver Jubilee event held in Worden Park in Leyland on 4th June 1977. I mentioned in my previous post that a number of prototype and pre-production Leyland buses were on display. This photograph shows the prototype Leyland National Business Commuter UTJ 595M alongside prototype Leyland Titan B15.03. If you check my Leyland B15 Titan album you will see a photograph of B15.03 at this event.
The Business Commuter was built in 1973 for display at a Government organised "Moving People in Cities" symposium held at the Transport and Road Research Laboratory at Crowthorne in April 1973. It left Lillyhall without any seating and went to a company who specialised exhibitions to be trimmed out with eight swivel seats in the front half complete with work stations. The rear section of the National had 14 seats as a hospitality area. Leyland decided to keep the prototype Business Commuter as a toy basically and they ran it for 10 years before it passed to the ownership of the British Commercial Vehicle Museum in Leyland.
A strange twist came in the late nineties when the Motor Industry Heritage Trust Museum at Gaydon discovered that they owned the prototype Leyland National Business Commuter and demanded that the BCVM hand over the bus! It would be no use to them, because their museum houses cars, it was used as a rally control on open days when they had gatherings of cars. Sadly these days it is rotting away. The Business Commuter which the National Bus Company purchased is in safe hands and restored.
Photograph credit: Basil Hancock