EXISTS photos on Flickr

13

“things only exist if they are told/narrated”

(attributed to Alessandro Baricco);

“le cose esistono solo se vengono raccontate”

(attribuita ad Alessandro Baricco).

POSTER - LOCANDINA –

< a>

----------------------------------------------------------

click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;

www.worldphoto.org/sony-world-photography-awards/winners-...

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

………………………………………………………

This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.

In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .

Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.

A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.

Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.

Co - Existance by atinirdosh

2

Earth Magic by Veronique Oatsmill LotusSpirit.....ღ.

11

“Magic exists. Who can doubt it, when there are rainbows and wildflowers, the music of the wind and the silence of the stars? Anyone who has loved has been touched by magic. It is such a simple and such an extraordinary part of the lives we live.”

Outfit - Petite Mort - Violetta Dress (Navy)

Classic/Maitreya - Maitreya FIt Shown

Black Fashion Fair - April 15th - 29th 2016

Taxi

maps.secondlife.com/secondlife/Hype/41/38/27

Petite Mort

Taxi

maps.secondlife.com/secondlife/Paedra/209/70/501

What Are We Doing Now??:

msroyalworld.tumblr.com</

The Magpies Nest Street Art/Graffiti, Glastonbury, Somerset, England. by PHOTOGRAPHY by DM & DBM.

49 4

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.

Exist. by Savanou

9

Existance by Foysal Dipu

10

ALCALA DE HENARES MADRID 7745 27-1-2018 by Javier Martin Espartosa

22 84

El casco histórico de la ciudad de Alcalá de Henares y su universidad, fueron declarados Patrimonio de la Humanidad por la Unesco en 1998, en reconocimiento a su condición de primera ciudad universitaria planificada como tal que ha existido en el mundo

Los orígenes de la ciudad de Alcalá se remontan al nacimiento de la Complutum romana, ciudad que en sus más de cuatro siglos de existencia alcanzaría gran esplendor y una importancia que mantendría a lo largo de todo el periodo visigótico. Al período de dominación musulmana le debe Alcalá la construcción de una ciudad que con el tiempo será conocida como Al-Qalat-Nahar (El castillo del Henares) y de la que hereda su actual denominación.

Con la Reconquista Cristiana se produce la nueva reconstrucción en lo que supuso desde entonces su emplazamiento definitivo, en torno a lo que es hoy la Catedral Magistral. Sin embargo, hay que esperar a finales del XV para asistir al gran período de esplendor de la ciudad: en 1499 el Cardenal Cisneros funda la Universidad, produciéndose a partir de ese momento una renovación urbanística que convierte a Alcalá en una ciudad universitaria, siguiendo los cánones arquitectónicos clásicos.

Durante los siglos XVIII y XIX la ciudad inicia un periodo de decadencia. El traslado de la Universidad a Madrid en 1836 unido a las sucesivas desamortizaciones provocaron el cierre de varios conventos y el empobrecimiento del ya degradado ambiente cultural alcalaíno.

Hoy, tras la reinauguración de la Universidad en 1977, el desarrollo industrial de las últimas décadas y el reconocimiento como Ciudad Patrimonio de la Humanidad por la Unesco, Alcalá vive un período de expansión económica, turística y cultural desde el que se asoma al futuro con optimismo manteniendo estrechos lazos con su singular pasado.

Roma: Complutum

La conquista romana de la Carpetania parece que se inició con una campaña dirigida por M. Porcio Catón en el año 195 a. J.C. Posteriormente, los carpetanos, en alianza con vetones, vacceos y celtíberos, se constituyeron en una amenaza para Roma que ésta solucionó en el 192 a. C. por medio de Marco Fulvio. Las luchas terminaron, con la caída de Numancia, el año 133 a. C. en el que se inicia la pacificación, asentamiento y romanización de la zona.

No se tiene conocimiento de la fecha exacta en que los romanos ocuparon la ciudadela de San Juan de Viso y el castro del "Salto del Cura", pero las monedas del denominado "tesorillo de Zulema", parecen sugerir que antes de la mencionada caída de Numancia.

No obstante, en el año 80 a. J.C., durante las guerras entre Sertorio y Pompeyo, ya se menciona a Complutum, que en época de Augusto adquiriría gran importancia por su valor militar y como nudo de comunicaciones (entre vías primarias y secundarias se dice, en el "Itinerario de Augusto", que eran 23 las calzadas que permitían llegar a la ciudad).

La romanización empezaría en la población preexistente del cerro del Viso, cuyas fortificaciones se reforzarían a la vez que se tendía la red de calzadas. Posteriormente, con la paz de Trajano y de los Antoninos (siglo II), la población comenzará a descender al pie del cerro en busca de una zona con menos declive, más fértil y mejor comunicada.

Mosaico romano de las Cuatro Estaciones de la Casa de Baco en Complutum. En sentido antihorario desde arriba a la derecha: primavera, verano, otoño e invierno. El área que acabaría ocupando la urbe sería; desde la ladera del cerro del Viso hasta la actual nacional II (en la dirección norte-sur), y desde el Arroyo Torote hasta las puertas de Madrid y Santa Ana (en dirección este-oeste). Ello no excluye la existencia de edificaciones alejadas del casco urbano, como la villa que se descubrió en 1970 a la altura de la ermita de Nuestra Señora del Val. Complutum tenía el trazado típico de la ciudad romana, que arranca del campamento militar con dos calles principales que se cruzan; cardo y decumano.

La denominación de "Complutum" parece venir del verbo latino "compluere" que significa confluir o del término "compluo" (confluencia de aguas). El nombre sería bastante apropiado puesto que la población primitiva se encontraría en la "confluencia" de los ríos Henares y tenía la ciudad carácter de «civitas stipendiaria», es decir, que mediante el pago de un tributo o estipendio anual a la metrópoli conservaba el derecho a su autonomía y sus propios usos mientras no alterasen el orden establecido.

Durante la época visigoda la ciudad conservó su importancia, llegando a ser sede de obispado. En la Hispania visigoda fue sede episcopal de la iglesia católica, sufragánea de la Archidiócesis de Toledo que comprendía la antigua provincia romana de Cartaginense en la diócesis de Hispania.

Dominio Musulmán: Al Qalat La dominación islámica de la Península Ibérica arrinconó en las zonas más septentrionales de la Península a los pocos cristianos que conservaban su independencia. Los musulmanes, nuevos señores de casi la totalidad de la geografía hispana, requerían de un puesto fortificado en la ruta de Zaragoza a Toledo, que junto con las ciudades cercanas de mayor valor estratégico como Guadalajara o Talamanca, sirviera de apoyo a las razias que periódicamente se dirigían contra los reinos cristianos del norte. Estas fortificaciones tenían la función de impedir el descenso de las tropas enemigas hacia el curso medio del Tajo. Constituían, pues, las dos referidas ciudades y la fortaleza de Al-Qul’aya, levantada a orillas del Henares aguas arriba de la antigua Complutum, los tres puntos estratégicos que vigilaban y defendían el territorio frente al acceso de las huestes cristianas, que intentaban descender al valle del Jarama desde los altos de Somosierra, o llegar hasta el valle del Henares desde Atienza y las zonas orientales de Castilla, y desde Zaragoza

A principios del siglo X, el nuevo emplazamiento árabe de Alcalá no debía de ser más que una atalaya fortificada de reducidas dimensiones, a juzgar por terminología con que se la nombra en la primera noticia conocida que tenemos de Alcalá la Vieja. Según el Bayan-al Mugrib, en el año 920, reinando en Córdoba Abd-al-Rahman III, el gobernador de Guadalajara derrotó a una gran expedición de cristianos leoneses que había atravesado los puertos del Sistema Central con la intención de atacar Guadalajara. El emplazamiento que asediaron, cercano a Guadalajara, aparece reseñado como al-Qul’aya, que se puede traducir como “el castillejo”. Lévi-Provençal lo identificó como la pequeña fortaleza que precedió a la que dio nombre a la ciudad actual.

Parece ser que en el transcurso del siglo X esa pequeña atalaya aumentó sus fortificaciones, acompañándose este incremento defensivo del crecimiento de su población y de una mayor importancia urbana, sobre todo, si atendemos a su nueva denominación de Qal’at Abd-al-Salam, que puede traducirse como Castillo de Abd-al-Salam e incluso según algunos autores como Castillo del Príncipe de la Paz. Esta denominación aparece en las crónicas islámicas, al relatar la crisis del Califato cordobés en los primeros años del siglo XI.

Sería en el verano del año 1062 cuando Fernando I, al frente de un numeroso ejército, puso cerco a la ciudad musulmana, combatiéndola con ingenios para abrir brecha en sus muros, lo que obligó al rey Al-Ma’mun de Toledo a hacerse tributario suyo y rendirle parias para que levantase el asedio, a cambio de la entrega de grandes riquezas. Sin embargo, a pesar de la histórica conquista de Toledo por Alfonso VI en 1085 y de su dominio de la comarca inmediata, la fortaleza de Alcalá la Vieja continuaría bajo el dominio musulmán hasta que en 1118 el arzobispo de Toledo, Don Bernardo, llevó sus ejércitos al importante enclave de Alcalá, en donde consiguió rendir la plaza.

Edad Media: El Burgo de Santiuste El 3 de mayo de 1118 el arzobispo toledano Bernardo de Sedirac conquistó la plaza musulmana de Alkal'a Nahar o Alcalá la Vieja para Castilla pero este reino cedió Alcalá y su Tierra al Arzobispado de Toledo, pasando a ser la comunidad de Alcalá un señorío eclesiástico. Pronto, la ciudad gozaría de privilegios y Feria (data de 1184). El Burgo de Santiuste, Alcalá de Santiuste, Alcalá de San Justo o Alcalá de Fenares (nombre del s. XIV) sería un emergente centro de transacciones y mercado comarcal, lo cual haría incrementar la población considerablemente. No obstante, la aljama o judería y la morería alcalaína serían de las más notables de Castilla (la aljama complutense está considerada de tamaño medio. Algunos estudios la cifran en 5.000 judíos). Durante la Edad Media, Alcalá fue habitada pacíficamente por judíos, musulmanes y cristianos. En el siglo XII se suprimiría el obispado complutense en favor de la sede primada de Toledo.

El día 19 de diciembre de 1308 fue rubricado en la ciudad el tratado de Alcalá de Henares, suscrito por el rey Fernando IV de Castilla y por los embajadores del rey Jaime II de Aragón.

En 1345 y en 1348 tendrán lugar en la ciudad las Cortes de Castilla (léase también Cortes de Alcalá y Ordenamiento de Alcalá).

La ciudad y su alfoz de 25 villas fueron dotadas de dos fueros: el Viejo y el Nuevo (por Cisneros). A lo largo de los siglos, las aldeas del alfoz irían obteniendo la independencia como villas con ayuntamiento propio hasta que en el siglo XX el término municipal alcalaíno sólo tuviera a la ciudad como núcleo urbano.

Es conocida por su histórica universidad, la Universidad de Alcalá, que fue fundada por el Cardenal Cisneros. El 13 de abril de 1499 data la bula del papa Borgia Alejandro VI que autorizaba la creación del Colegio Mayor de San Ildefonso que fue la cabeza de la universidad. En 1508 se abrieron sus aulas y entre los colaboradores de Cisneros se encontraban importantes personalidades como la de Antonio de Nebrija. No obstante, el germen de la universidad alcalaína lo encontramos en el año 1293 con la creación de los Estudios Generales. Pronto la Universidad de Alcalá compitió con la de Salamanca y por sus aulas pasaron importantes personalidades,

La primera mujer a la que excepcionalmente se le consintió estudiar y alcanzar el grado de doctor en Artes y Letras fue María Isidra de Guzmán y de la Cerda (1785)

Carlos II concedió a la población el título de ciudad en 1678. A partir del siglo XVIII la ciudad perdió importancia a pesar de la construcción de nuevos monumentos como la Puerta de Madrid. A comienzos de ese siglo, Alcalá fue ocupada por los portugueses durante la Guerra de Sucesión.

Es universalmente famosa Alcalá por haber sido la localidad natal de Miguel de Cervantes Saavedra, novelista, poeta y dramaturgo que escribió la que está considerada la obra cumbre narrativa de la literatura española, El Quijote, que muchos críticos han descrito como la primera novela moderna y una las obras más leídas, traducidas y difundidas de la historia.

-------------------------------------------------------------------------------------------------------------------------------------------------------

The historic old town of Alcala de Henares and the University, were declared World Heritage by UNESCO in 1998 in recognition of his status as first planned university city that has existed in the world

The origins of the city of Alcalá back to the birth of Complutum Roman city in more than four centuries of existence had great splendor and importance, which would maintain throughout the Visigothic period. The period of Muslim rule owes Alcalá building a city that will eventually be known as Qalat Al-Nahar (The castle Henares) and which inherited its current name.

With the Christian reconquest the new reconstruction occur in what was from then its final position, around what is now the cathedral canon. However, we have to wait at the end of XV to attend the great period of splendor of the city in 1499 by Cardinal Cisneros founded the University, resulting from the time an urban renewal that makes Alcalá in a college town, following the classical architectural fees.

During the eighteenth and nineteenth centuries the city began a period of decline. Moving to Madrid University in 1836 joined the successive confiscations led to the closure of several monasteries and the impoverishment of already degraded cultural environment Alcala.

Today, after the reopening of the University in 1977, the industrial development of recent decades and the recognition as a World Heritage Site by Unesco, Alcalá is experiencing a period of economic expansion, tourism and culture from which peers into the future optimism maintaining close ties with its unique past.

Rome: Complutum

The Roman conquest of Carpetania seems that began with a campaign led by M. Cato in the year 195 a. J.C. Subsequently, the Carpetani, in partnership with vetones, vacceos and Celts, constituted a threat to Rome than it solved in 192 a. C. by Marco Fulvio. The fighting ended with the fall of Numancia, the year 133 BC C. in initiating the peace, settlement and Romanization of the area.

Nothing is known of the exact date when the Romans occupied the citadel of San Juan de Viso and castro "Salto del Cura", but the coins of the so called "little treasure of Zulema, seem to suggest that before such fall Numancia.

However, in 80 a. JC, during the wars between Sertorius and Pompey Complutum already mentioned, that in times of Augusto acquire great importance for its military value as a hub of communications (including primary and secondary roads, speaking on the "Route of Augustus" that there were 23 roads that allowed to reach the city).

Romanization begin in the pre-existing population of Mount Viso, whose fortifications were strengthened while he lay the network of roads. Later, with the peace of Trajan and the Antonines (second century), the population will start to fall at the foot of the hill in search of an area with less decline, more fertile and better communicated.

Roman mosaic of the Four Seasons of the House of Bacchus in Complutum. Counterclockwise from top right: spring, summer, autumn and winter. The area would end up occupying the city, from the slope of the hill to the current national Viso II (in the north-south) and from the Arroyo Torote to the gates of Madrid and Santa Ana (east-west) . This does not exclude the existence of buildings away from the village, as the villa was discovered in 1970 at the height of the shrine of Nuestra Señora del Val. Complutum had the typical layout of the Roman city, military camp, which starts with two main streets intersect; thistle and decumano.

The name "Complutum" seems to come from the Latin verb "compluere" meaning confluence or the term "Complutense" (confluence of waters). The name would be quite appropriate since the original population would be at the "confluence" of the river Henares and had the city's character "stipendiaria civitas', ie by paying a tax or annual allowance to the mother retained the right to autonomy and their own applications while not altering the status quo.

During the Visigothic period the city retained its importance, becoming home to the bishopric. In Visigothic bishopric was the Catholic Church, suffragan of the Archdiocese of Toledo who understood the ancient Roman province of Carthage in the diocese of Hispania.

Domain Muslim: Al Qalat Islamic domination of the Iberian Peninsula cornered in the northernmost parts of the Peninsula a few Christians who maintained their independence. Muslims, new masters of almost all Spanish geography, required for a fortified post on the route from Zaragoza to Toledo, which together with the nearby cities of greater strategic value as Guadalajara or Talamanca, serve to support the raids periodically were directed against the Christian kingdoms in the north. These fortifications were the function of preventing the descent of the enemy troops into the middle of the Tagus. They were, therefore, the two aforementioned cities and the strength of Al-Qul'aya, built on the banks of upstream Henares Complutum old, the three strategic points guarded and defended the territory from access by the Christian armies that tried down into the valley of Jarama from high Somosierra, or reach the valley of the Henares from Atienza and eastern parts of Castile, and from Zaragoza

In the early tenth century, the new Arabic site Alcalá should not be more than a fortified watchtower small in size, judging by terminology with which it is named in the first news we have known Alcalá la Vieja. According to Bayan-al Mugrib, in 920, ruling in Cordoba Abd-al-Rahman III, the governor of Guadalajara defeated a large Christian Leon expedition had crossed the ports of the Central System with the intention of attacking Guadalajara. The site that beset, near Guadalajara, appears as al-Qul'aya reviewed, which can be translated as "the chateau." Lévi-Provençal identified him as the little fort that preceded the one that gave the city its name today.

It seems that during the tenth century that little watchtower increased its fortifications, defensive accompanied this increase population growth and increased urban importance, especially if we consider the new name of Qal'at Abd-al-Salam , which translates to Castle Abd-al-Salam and even according to some authors such as Castle of the Prince of Peace. This name appears in Islamic chronicles, to relate the crisis of the Cordoba Caliphate in the early years of the eleventh century.

Would be in the summer of 1062 when Ferdinand I, in front of a large army, laid siege to the Muslim city, combating with mills to open a breach in its walls, forcing the king Al-Ma'mun of Toledo to become tax and pay him pariah to lift the siege, in exchange for the delivery of great riches. However, despite the historic conquest of Toledo by Alfonso VI in 1085 and his mastery of the immediate region, the strength of Alcalá la Vieja continue under Muslim rule until 1118 the archbishop of Toledo, Don Bernardo, took his hosts the important enclave of Alcalá, where he managed to pay the plaza.

Middle Ages: El Burgo de Santiuste The May 3, 1118 Archbishop Bernard of Toledo Sedirac won the Muslim seat Alkal'a Nahar and Alcalá la Vieja Castilla but the kingdom gave Earth Alcalá and the Archbishopric of Toledo, becoming Alcalá community an ecclesiastical dominion. Soon, the city would enjoy privileges and Exhibition (dating from 1184). El Burgo de Santiuste, Alcalá de Santiuste, Alcalá de San Justo or Alcalá de Fenar (name of the XIV century) would be an emerging market central and local transactions, which would increase the population considerably. However, the Jewish quarter and Moorish or Jewish Alcala would be the most notable of Castile (the Jewry complutense is considered medium size. Some studies put at 5,000 Jews). During the Middle Ages, Alcalá was peacefully inhabited by Jews, Muslims and Christians. In the twelfth century the bishopric complutense be deleted for the headquarters of Toledo.

On December 19, 1308 was signed the treaty in the city of Alcalá de Henares, signed by King Ferdinand IV of Castile and the ambassadors of King James II of Aragon.

In 1345 and in 1348 the city will take place in the Castile (read also cuts and Management of Alcalá Alcalá).

The city and its district of 25 villages were provided with two forums: the Old and New (by Cisneros). Throughout the centuries, the villages of the district would achieve independence and villas with own municipality until the twentieth century the town of Alcalá only had the city as an urban center.

It is known for its historic university, the University of Alcalá, which was founded by Cardinal Cisneros. On April 13, 1499 data of the bull of Pope Alexander VI Borgia authorizing the creation of the Colegio Mayor de San Ildefonso was the head of the university. In 1508 he opened their classrooms and among employees of Cisneros were important personalities like Nebrija. However, the germ is found Alcala University in the year 1293 with the creation of General Studies. Soon the University of Alcalá de Salamanca competed with and passed through its halls important personalities,

The first woman who was exceptionally agreed to study and achieve the degree of Doctor of Arts and Letters was María Isidro de Guzmán y de la Cerda (1785)

Charles II granted the title of city population in 1678. From the eighteenth century the city lost importance despite the construction of new landmarks like the Puerta de Madrid. At the beginning of this century, Alcalá was occupied by the Portuguese during the War of Succession.

Alcalá is universally famous for being the birthplace of Miguel de Cervantes Saavedra, novelist, poet and playwright who wrote what is considered the masterpiece of Spanish literature, fiction, Don Quixote, which many critics have described as the first modern novel and one of the most widely read works, translated and disseminated in history.

Regeneration Society Condueños Main article: Society Condueños recovery would probably not have been possible were it not for the existence of "Society Buildings Condueños were University", which was the first private individual and society that was created in Spain to save and preserve an artistic heritage philanthropically. Condueños Society, a citizens' initiative that Alcala, 1851, watching the city's main buildings were to be auctioned, they decided to save the heritage of the city to make its money and creating a society whose sole purpose was to buy the iconic buildings University to avoid looting and in the future, to get around the city's Complutense University. Today, the buildings house the Society Condueños rector and several faculties of the University.

The Twentieth Century: Heritage Plaza de Cervantes. In the background, the remains of the parish of Santa Maria Maggiore: Oidor chapel and tower. The church of Santa Maria la Mayor was destroyed in a fire during the Spanish Civil War, losing most of the paintings housed. Among the remains were preserved, highlights the pile where Miguel de Cervantes was baptized. Alcalá is an agricultural city, military and until the 40 monasteries in the ceramics industry and Forges de Alcalá (rolling stock) predict the next industrial development 60. In 1968 he declared the old town as a Historic-Artistic, with 9 National Monuments. In 1977 the college was refounded in the city with the name of the Universidad de Alcalá, which has been a cultural renaissance in the city and artistic heritage recovery.

Madrid. Fuente de la Cibeles. by José Manuel Azcona

90 58

View On Black

Las obras de la Fuente de la Cibeles comenzaron en 1780, encargándose de su realización los escultores Francisco Gutiérrez y Roberto Michel, así como el adornista Miguel Ximénez.

Esculpida en mármol de Montesclaros, consiste en un gran pilono circular sobre el que se sitúan unas rocas que hacen de soporte al carro de la diosa, el cual está tirado por dos leones. Sentada en el carro aparece la diosa Cibeles vestida con un fino manto. En la mano derecha sostiene un cetro, símbolo del poder universal, mientras que con la izquierda muestra las llaves de la ciudad.

La mayoría de la obra fue realizada por Francisco Gutiérrez, mientras que Roberto Michel se encargó de realizar los leones y parte del carro, y Miguel Ximénez realizó la ornamentación general.

Por último, a instancias de Juan de Villanueva, Alfonso Giraldo Vergaz completó su ornamentación con las figuras de un dragón y un oso, de cuya cabeza salían dos surtidores de agua potable, y que fueron retirados a mediados del siglo XIX.

Las obras finalizaron en 1792, situándose en un principio a la entrada del Paseo de Recoletos, mirando hacia Neptuno. Allí estuvo Cibeles hasta que en 1895, con motivo de la ordenación de la glorieta de Emilio Castelar, fue trasladada a su emplazamiento actual.

Lamentablemente, a lo largo de su historia, este símbolo de la ciudad de Madrid ha sido objeto de numerosos actos vandálicos que la han ocasionado importantes desperfectos; en 1841 fue robado el cañón de bronce que asomaba por la boca del oso, costando su reparación 1.800 reales. En 1931 fue arrancada su mano izquierda, y posteriormente, durante la Guerra Civil, hubo de protegerla mediante una compleja obra de ingeniería puesto que durante un bombardeo quedó muy dañada en su brazo derecho, nariz, así como en el morro de uno de los leones.

Suconversión en 'musa futbolera' le está ocasionando graves desperfectos, ya que por este motivo, varias veces ha sido mutilada, e incluso teñida de pintura fosforescente.

Este monumento simboliza la presencia de madrileños en otras ciudades hermanas a Madrid. Existe una réplica exacta en Mexico DF.

la mas clara prueba de que existe vida inteligente en otros planetas, es que aun no han venido a visitarnos. by nikte-ha solano mercado

Mar de la Tranquilidad. by DIEGO TOLEDO

10 43

Existe un lugar en el Mediterráneo, donde la tranquilidad es la nota predominante; donde el tiempo se para, ideal para el descanso, donde sus aguas son más que terapèuticas; el paraíso existe, se llama Mar Menor.

Tristeza Não Existe by Bong Manayon

13 17

Tristeza Não Existe* by Eumir Deodato (Ideias 1964) *there is no more sorrow

Pentax K-30 + SMCP DA 55-300/4-5.8 ED

Exist for Love. by Faunu

6

And when you say my name...

Like white horses on the waves...

I think it feels the same...

As an ocean in my veins.

Song: youtu.be/7YDkrJaiCrw

Momento de Pausa (03 fotos) by Mazé Parchen

13 18

O dia em que eu como pássaro,deixar-me escapulir num vôo, penetrarei em teu coração e tua presença me possuirá para sempre.

Sua imagem percorre meus sonhos como uma sombra,sua voz me invade meus sentidos como um sonho.

Os grandes momentos da vida vêm por si mesmos...

...não faz sentido esperar por eles.

Seu carinho me acompanha.

O valor das coisas não está no tempo que elas duram, mas na intensidade que acontecem.

Por isso existem momentos inesquecíveis e pessoas incomparáveis.

(Fernando Pessoa)

Fabulous exist by Katerina Hung

24 3

Sporophila hypoxantha by Guillermo Menéndez

15 5

Existe aún una extensa área de pastizales naturales en el departamento de Cordillera.

A veces combinados con el palmar de Karanday cerca del río Manduvirá, con humedales, y otras con parches boscosos.

Se trata de un ecosistema frágil en el que habita una biodiversidad particular con muchas especies en distintas categorías de riesgo. Su conservación dependerá del manejo de la producción sobre estos suelos, del deseo de preservar esta maravillosa comunidad de organismos en el futuro.

Cordillera, Paraguay.

KMARIN by Dan Healy

27 6

The Strait of Juan de Fuca is a body of water about 96 miles long that is the Salish Sea's main outlet to the Pacific Ocean. The international boundary between Canada and the United States runs down the centre of the Strait.

The Salish Sea is a marginal sea of the Pacific Ocean located in the Canadian province of British Columbia and the U.S. state of Washington. It includes the Strait of Georgia, the Strait of Juan de Fuca, Puget Sound, and an intricate network of connecting channels and adjoining waterways.

And just who is Juan de Fuca?

Juan de Fuca (10 June 1536 – 23 July 1602) was a Greek sailor who served Philip II of Spain. He is best known for his claim to have explored the Strait of Anián—now known as the Strait of Juan de Fuca—between Vancouver Island (now part of British Columbia, Canada) and the Olympic Peninsula (northwestern Washington state in the United States

Juan undertook two voyages of exploration on the orders of the Viceroy of New Spain, Luis de Velasco, marqués de Salinas, both intended to find the fabled Strait of Anián, believed to be a Northwest Passage, a sea route linking the Atlantic and Pacific oceans. The one voyage saw 200 soldiers and three small ships under the overall command of a Spanish captain (with de Fuca as pilot and master) assigned the task of finding the Strait of Anián and fortifying it against the English. This expedition failed when, allegedly due to the captain's malfeasance, the soldiers mutinied and returned home to California.

In 1592, on his second voyage, De Fuca enjoyed success. Having sailed north with a caravel and a pinnace and a few armed marines, he returned to Acapulco and claimed to have found the strait, with a large island at its mouth, at around 47° north latitude. The Strait of Juan de Fuca is in fact at around 48° N, although Fuca's account of sailing into it departs from reality, describing a region far different from what actually existed there. During the voyage, De Fuca also noted a "high pinnacle or spired rock", which may have been Fuca Pillar, a tall, almost rectangular, rock on the western shore of Cape Flattery on the northwestern tip of Washington beside the Strait of Juan de Fuca - although De Fuca noted it being on the other side of the strait. This may be why my fellow navigator, Don Morgan, unlovingly refered to him as Juan de F*#king Sailor.

MARIPOSA, Colibri. by Manu

12 2

Si bien existen muchas especies de animales en la naturaleza, todas deben enfrentar los mismos desafíos para sobrevivir: conseguir suficientes alimentos y dejar descendencia a través de sus genes. Hay especies que están relacionadas de forma distante, este fenómeno se llama evolución convergente. Estas especies convergen tan de cerca que tienen un extraño parecido entre sí. Un excelente ejemplo es la mariposa colibrí, un insecto que se ve y se comporta tan similar a un pájaro colibrí, que es difícil distinguirlo a la distancia. El insecto, es decir, la mariposa vuela como un pájaro, el colibrí. También parece tener ‘plumas’ y una ‘cola’, que en realidad son pelos alargados.

Algunas características de la mariposa colibrí

A simple vista es fácil confundir una mariposa colibrí con un pequeño colibrí. Al igual que el pájaro, esta especie de polillas se alimenta del néctar de las flores. Sus alas transparentes se mueven tan rápido que parecen invisibles, y su larga trompa sobresale como un pico en la flor. El vuelo produce un zumbido suave como el del colibrí.

Las mariposas colibrí son de la familia de las polillas esfinge, tienen cuerpos pesados y sus alas delanteras largas y claras, con un borde negro o marrón y parecen invisibles cuando vuelan. Los machos tienen una cola acampanada, al igual que un colibrí revoloteando.

Una de las diferencias más destacadas es el tamaño. El colibrí puede tener 3” de largo y las mariposas colibrí 1” y media.

Este tipo de mariposas se diferencian dentro de las de su especie, en que vuelan de día mientras que la mayoría de las polillas esfinge lo hacen de noche.

El hábitat de este tipo de mariposa puede ser variado, desde prados abiertos, bordes de bosques, hasta jardines subterráneos. Como vemos, se alimentan sumergiendo su trompa larga y delgada en cada flor para extraer su néctar.

okdiario.com/mascotas/sabes-como-mariposa-colibri-5930340

13

“things only exist if they are told/narrated”

(attributed to Alessandro Baricco);

“le cose esistono solo se vengono raccontate”

(attribuita ad Alessandro Baricco).

POSTER - LOCANDINA –

< a>

----------------------------------------------------------

click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;

www.worldphoto.org/sony-world-photography-awards/winners-...

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

………………………………………………………

This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.

In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .

Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.

A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.

Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.

Blank Page by fatmanwalking

16 18

At the monastery at Shey Palace, Ladakh. I hope it still exists.

Title Dedication: The Smashing Pumpkins

The cocktail hour by StephanieB.

25 32

Restaurant Pavillon Ledoyen 2.Paris

the Pavillon Ledoyen restaurant exists since 1792 and represents a pinnacle of french gastronomy.this is one of the best restaurant in the world

Un grand merci à Madame Confland du groupe Epicure ainsi qu'a tout le personnel du restaurant pour m'avoir permis de travailler dedans avant l'arrivée des premiers clients.Merci également au Chef,Christian Le Squer.

my website: www.stephaniebenjaminphoto.com/

10

“things only exist if they are told/narrated”

(attributed to Alessandro Baricco);

“le cose esistono solo se vengono raccontate”

(attribuita ad Alessandro Baricco).

POSTER - LOCANDINA –

< a>

----------------------------------------------------------

click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;

www.worldphoto.org/sony-world-photography-awards/winners-...

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

………………………………………………………

This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.

In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .

Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.

A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.

Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.

I Exist by John Hatfield

13 5

www.jhatphoto.com/2010/05/i-exist-tour-blog-2.html

430ex stage left bounced off roof, 430ex stage right in shot, cybersyncs

www.primevideo.com/detail/Oh-Mio-Dio/0FBFGSB0G1HMNXV56F5C...

12

“things only exist if they are told/narrated”

(attributed to Alessandro Baricco);

“le cose esistono solo se vengono raccontate”

(attribuita ad Alessandro Baricco).

POSTER - LOCANDINA –

pad.mymovies.it/filmclub/2018/02/181/locandina.jpg

movieplayer.net-cdn.it/t/images/2018/03/08/oh_mio_dio_car...

----------------------------------------------------------

click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;