View allAll Photos Tagged EXPECTATIONS
Testing a new-to-me KMZ 50mm f1.4 Jupiter 3 in St. Augustine, Florida.
Camera: Cosina Voigtlander Bessa R3M
Lens: KMZ Jupiter 3 50mm f1.5 Soviet-era lens.
Film: Ultrafine 100
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
[9/365]
press "L" please.
hey guys,
so this is day nine, and i just wanted to take a little time to thank everyone on flickr who has given me even the smallest smidge of support. i stand by the assumption that you can find the nicest people in the entire world on flickr, and i'm sure most of you have had the same experience. i try and reply to every single comment and return the favor for every favorite i get just because i know how much it can improve your day to know someone is inspired by you. i think it's unbearably important to remember the people who were rooting for you at the start, so i hope you all take that into consideration within your own streams, too. thanks again, everyone.
I FORGOT I WAS TAGGED. [ten things you want to say to ten people]
1. My very being would have no purpose if it weren't for you.
2. Being friends with you has basically built the personality i have today, you have no idea how much i appreciate our friendship.
3. Do you even realize how intelligent you are? stop wasting your time with stupid girls, you deserve a masterpiece.
4. You are so strong. you are my sister, and i know you can get through this!
5. I think about you every minute of the day. you are one of the most incredible people to have walked in and out of my life.
6. Thank you for being yourself, i'm sorry it wasn't enough for me. you're the shit.
7. You remind me that all good things must come to an end. you are the most relate able and down to earth chick i have ever met, and you have a good head on your shoulders. you're beautiful inside and out, i can't wait to watch your indie films at sundance someday.
8. Thanks for giving me the comfortable life i didn't even know i deserved.
9. You are my best friend, and you can't even speak english or walk on two legs. i'm going to be lost without you next year.
10. I miss you, other half.
Who am I going to converse with today? What interesting people am I going to encounter? Will I get compliments (I hope!)?
The thing is, I never know beforehand, but it is always interesting.
All I can say is, I'm glad I hadn't driven for hours to capture a sunset. At 5.00 this evening the sky from my kitchen window looked as though it was about to throw up a dramatic and stupendous sunset. Fifteen minutes later and I was parking my car at Ogmore-by-Sea, but sadly the sky failed to perform for me this evening. It was also high tide, but not high enough to reach the little inlets at my favourite shooting spot, so had to make-do with being a bit lower down the beach.
Sorry folks, the best I could come up with this evening, nearly all the others I've already deleted!
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.
Elections at the capital, Buenos Aires.
Copyright © 2007 Tatiana Cardeal. All rights reserved.
Reprodução proibida. © Todos os direitos reservados.
A business trip brought me to the Finnish capital. Great people, yet weather in January as expected ;)
Olympus EM5
Panasonic Vario 12-32mm
Just before the sun went down, temperature dropped and we had last look at Sandy bay before we went home to have glass of wine.
With Ronel my friend, taken in Hout bay dunes.
This, of course, is the beautiful Moraine Lake in Banff National Park, Alberta.
As mentioned in one of my other pics of Moraine I really made a point of going there a few times on my 2013 Autumn Photography trip because I wanted to get a nicer than average shot of this iconic location.
On this particular chilly morning I really thought there was a good chance of getting the full enchilada; orange glow on the peaks along with some great colour in the skies, and so I stood there anticipating something grand.
When that didn't happen I was a little bit disappointed but now that some time has passed by and as I was looking at these images this morning I can't help to be grateful that I got some nice colour in the skies on that particular morning and so I guess that I can't complain............. but I will be back and I will get my full enchilada some day!!!!!!!
The great Big Black Things that have loomed against the horizon of my life, threatening to devour me, simply loomed and nothing more. The things that have really made me miss my train have always been sweet, soft, pretty, pleasant things of which I was not in the least afraid.
-- Elbert Hubbard
The next few months are filled with great expectations for me as I head off to Chattanooga to pursue an M.A. in English Literature. Change will bring challenges, but I look forward to the opportunity to grow.
With this image, I felt that it was time for me to "get back to basics," the style that I began my Flickr journey with months ago. Props to Joel Robison for the inspiration!
Also, for The Teleidoscope Week 28: Monochrome!
Books About Town
This is one of many book benches that are dotted around London. This one is near London Bridge Station by the River Thames.
Does anyone know what what book is this?
Just found out, 'Great Expectations'
I might just do a few more of these benches in the following weeks!
Setting for the encounter between Pip and the escaped convict, Magwitch, in Dickens 'Great Expectations'
Low angle view of a bird sitting on a street lamppost and looking at the blue sky where an airplane is passing by.
It's always exciting to go to new places with new people and to see something new and/or unexpected!
Tomorrow I'll leave for my holiday and it will be just like that!
Det här skulle varit min bild till Fotosöndags sommartema men samma kväll som jag skulle lägga upp den gick min frus vatten och sen var det annat som pockade på uppmärksamheten :D
My last series of photos inspired by Funny Face/Paris and my last Poppy! She was also my very first Poppy and therefore very special to me.
Power can significantly change a person's personality. Maybe even transform it. To fight hubris syndrome, we must begin by fighting our tendency to admire power.Power has always inspired writers. Hubris syndrome "- when power drives an individual mad - would also have transfigured a large number of historical personalities.
Hubris (/ˈhjuːbrɪs/, also hybris, from ancient Greek ὕβρις) describes a personality quality of extreme or foolish pride or dangerous overconfidence.[1] In its ancient Greek context, it typically describes behavior that defies the norms of behavior or challenges the gods, and which in turn brings about the downfall, or nemesis, of the perpetrator of hubris.
The adjectival form of the noun hubris is "hubristic". Hubris is usually perceived as a characteristic of an individual rather than a group, although the group the offender belongs to may suffer collateral consequences from the wrongful act. Hubris often indicates a loss of contact with reality and an overestimation of one's own competence, accomplishments or capabilities. Contrary to common expectations,[by whom?] hubris is not necessarily associated with high self-esteem but with highly fluctuating or variable self-esteem, and a gap between inflated self perception and a more modest reality. In ancient Greek, hubris referred to actions that shamed and humiliated the victim for the pleasure or gratification of the abuser. The term had a strong sexual connotation, and the shame reflected upon the perpetrator as well. Violations of the law against hubris included what might today be termed assault and battery; sexual crimes; or the theft of public or sacred property. Two well-known cases are found in the speeches of Demosthenes, a prominent statesman and orator in ancient Greece. These two examples occurred when first Midias punched Demosthenes in the face in the theatre (Against Midias), and second when (in Against Conon) a defendant allegedly assaulted a man and crowed over the victim. Yet another example of hubris appears in Aeschines' Against Timarchus, where the defendant, Timarchus, is accused of breaking the law of hubris by submitting himself to prostitution and anal intercourse. Aeschines brought this suit against Timarchus to bar him from the rights of political office and his case succeeded. In ancient Athens, hubris was defined as the use of violence to shame the victim (this sense of hubris could also characterize rape. Aristotle defined hubris as shaming the victim, not because of anything that happened to the committer or might happen to the committer, but merely for that committer's own gratification: to cause shame to the victim, not in order that anything may happen to you, nor because anything has happened to you, but merely for your own gratification. Hubris is not the requital of past injuries; this is revenge. As for the pleasure in hubris, its cause is this: naive men think that by ill-treating others they make their own superiority the greater. Crucial to this definition are the ancient Greek concepts of honour (τιμή, timē) and shame (αἰδώς, aidōs). The concept of honour included not only the exaltation of the one receiving honour, but also the shaming of the one overcome by the act of hubris. This concept of honour is akin to a zero-sum game. Rush Rehm simplifies this definition of hubris to the contemporary concept of "insolence, contempt, and excessive violence".In Greek mythology, when a figure's hubris offends the pagan gods of ancient Greece, it is usually punished; examples of such hubristic, sinful humans include Icarus, Phaethon, Arachne, Salmoneus, Niobe, Cassiopeia, and Tereus. The concept of hubris is not only derived from Greek philosophy - as it is found in Plato and Aristotle - but also from the theatre, where it allows us to tell the story of great epics, where success goes up to the head of the hero, who claims to rise to the rank of gods; it is then ruthlessly put in its place by Nemesis, the goddess of vengeance. The Greek hybris refers to the excesses and their disastrous consequences.
In its modern usage, hubris denotes overconfident pride combined with arrogance.[10] Hubris is often associated with a lack of humility. Sometimes a person's hubris is also associated with ignorance. The accusation of hubris often implies that suffering or punishment will follow, similar to the occasional pairing of hubris and nemesis in Greek mythology. The proverb "pride goeth (goes) before destruction, a haughty spirit before a fall" (from the biblical Book of Proverbs, 16:18) is thought to sum up the modern use of hubris. Hubris is also referred to as "pride that blinds" because it often causes a committer of hubris to act in foolish ways that belie common sense.[11] In other words, the modern definition may be thought of as, "that pride that goes just before the fall."
Examples of hubris are often found in literature, most famously in John Milton's Paradise Lost, in which Lucifer attempts to compel the other angels to worship him, is cast into hell by God and the innocent angels, and proclaims: "Better to reign in hell than serve in heaven." Victor in Mary Shelley's Frankenstein manifests hubris in his attempt to become a great scientist by creating life through technological means, but comes to regret his project. Marlowe's play Doctor Faustus portrays the eponymous character as a scholar whose arrogance and pride compel him to sign a deal with the Devil, and retain his haughtiness until his death and damnation, despite the fact that he could easily have repented had he chosen to do so.
Charisma, charm, the ability to inspire, persuasiveness, breadth of vision, willingness to take risks, grandiose aspirations and bold self-confidence—these qualities are often associated with successful leadership. Yet there is another side to this profile, for these very same qualities can be marked by impetuosity, a refusal to listen to or take advice and a particular form of incompetence when impulsivity, recklessness and frequent inattention to detail predominate. This can result in disastrous leadership and cause damage on a large scale. The attendant loss of capacity to make rational decisions is perceived by the general public to be more than ‘just making a mistake’. While they may use discarded medical or colloquial terms, such as ‘madness’ or ‘he's lost it’, to describe such behaviour, they instinctively sense a change of behaviour although their words do not adequately capture its essence. A common thread tying these elements together is hubris, or exaggerated pride, overwhelming self-confidence and contempt for others (Owen, 2006). How may we usefully think about a leader who hubristically abuses power, damaging the lives of others? Some see it as nothing more than the extreme manifestation of normal behaviour along a spectrum of narcissism. Others simply dismiss hubris as an occupational hazard of powerful leaders, politicians or leaders in business, the military and academia; an unattractive but understandable aspect of those who crave power. But the matter can be formulated differently so that it becomes appropriate to think of hubris in medical terms. It then becomes necessary first to rule out conditions such as bipolar (manic-depressive) disorder, in which grandiosity may be a prominent feature. From the medical perspective, a number of questions other than the practicalities of treatment can be raised. For example can physicians and psychiatrists help in identifying features of hubris and contribute to designing legislation, codes of practice and democratic processes to constrain some of its features? Can neuroscientists go further and discover through brain imaging and other techniques more about the presentations of abnormal personality? (Goodman et al., 2007).
We see the relevance of hubris by virtue of it being a trait or a propensity towards certain attitudes and behaviours. A certain level of hubris can indicate a shift in the behavioural pattern of a leader who then becomes no longer fully functional in terms of the powerful office held. First, several characteristics of hubris are easily thought of as adaptive behaviours either in a modified context or when present with slightly less intensity. The most illustrative such example is impulsivity, which can be adaptive in certain contexts. More detailed study of powerful leaders is needed to see whether it is mere impulsivity that leads to haphazard decision making, or whether some become impulsive because they inhabit a more emotional grandiose and isolated culture of decision making.
We believe that extreme hubristic behaviour is a syndrome, constituting a cluster of features (‘symptoms’) evoked by a specific trigger (power), and usually remitting when power fades. ‘Hubris syndrome’ is seen as an acquired condition, and therefore different from most personality disorders which are traditionally seen as persistent throughout adulthood. The key concept is that hubris syndrome is a disorder of the possession of power, particularly power which has been associated with overwhelming success, held for a period of years and with minimal constraint on the leader.
The ability to make swift decisions, sometimes based on little evidence, is of particular importance—arguably necessary—in a leader. Similarly, a thin-skinned person will not be able to stand the process of public scrutiny, attacks by opponents and back-stabbings from within, without some form of self-exultation and grand belief about their own mission and importance. Powerful leaders are a highly selected sample and many criteria of any syndrome based on hubris are those behaviours by which they are probably selected—they make up the pores of the filter through which such individuals must pass to achieve high office.
Hubris is associated in Greek mythology with Nemesis. The syndrome, however, develops irrespective of whether the individual's leadership is judged a success or failure; and it is not dependent on bad outcomes. For the purpose of clarity, given that these are retrospective judgements, we have determined that the syndrome is best confined to those who have no history of a major depressive illness that could conceivably be a manifestation of bipolar disorder.
Hubris is acquired, therefore, over a period. The full blown hubris, associated with holding considerable power in high office, may or may not be transient. There is a moving scale of hubris and no absolute cut-off in definition or the distinction from fully functional leadership. External events can influence the variation both in intensity and time of onset.
Dictators are particularly prone to hubris because there are few, if any, constraints on their behaviour. Here, this complex area is not covered but one of us has considered the matter elsewhere (Owen, 2008). Hitler's biographer, Ian Kershaw (1998, 2000), entitled his first volume 1889–1936 Hubris and the second 1936–1945 Nemesis. Stalin's hubris was not as marked or as progressive as Hitler's. As for Mussolini and Mao both had hubris but probably each also had bipolar disorder. Khrushchev was diagnosed as having hypomania and there is some evidence that Saddam Hussein had bipolar disease (Owen, 2008).
Being elected to high office for a democratic leader is a significant event. Subsequent election victories appear to increase the likelihood of hubristic behaviour becoming hubris syndrome. Facing a crisis situation such as a looming or actual war or facing potential financial disaster may further increase hubris. But only the more developed cases of hubris deserve classification as a syndrome exposed as an occupational hazard in those made vulnerable by circumstance.
Hubris syndrome and its characteristics
Unlike most personality disorders, which appear by early adulthood, we view hubris syndrome as developing only after power has been held for a period of time, and therefore manifesting at any age. In this regard, it follows a tradition which acknowledges the existence of pathological personality change, such as the four types in ICD-10: enduring personality change after trauma, psychiatric illness, chronic pain or unspecified type (ICD-10, 1994)—although ICD-10 implies that these four diagnoses are unlikely to improve.
Initially 14 symptoms constituting the hubristic syndrome were proposed (Owen, 2006). Now, we have shortened and tabulated these descriptions and mapped their broad affinities with the DSM IV criteria for narcissistic personality disorder, antisocial personality disorder and histrionic personality disorder. These three personality disorders also appear in ICD-10, although narcissistic personality disorder is presented in an appendix as a provisional condition, whose clinical or scientific status is regarded as uncertain. ICD-10 considers narcissistic personality disorder to be sufficiently important to warrant more study, but that it is not yet ready for international acceptance. In practice, the correlations are less precise than the table suggests and the syndrome better described by the broader patterns and descriptions that the individual criteria encapsulate.
Establishing the diagnostic features of hubris syndrome
The nosology of psychiatric illness depends on traditional criteria for placing diagnoses in a biomedical framework (Robins and Guze, 1970). There are, however, other underpinnings—psychological or sociological—that can be applied. Validity for a psychiatric illness involves assessing five phases: (i) clinical description; (ii) laboratory studies; (iii) defining boundaries vis-a-vis other disorders; (iv) follow-up study; and (v) family study. While these phases are worth analysing, it has to be recognized that there are severe limitations in rigidly applying such criteria to hubris syndrome given that so few people exercise real power in any society and the frequency amongst those ‘at-risk’ is low. The potential importance of the syndrome derives, however, from the extensive damage that can be done by the small number of people who are affected. As an investigative strategy, it may be that studies such as neuroimaging, family studies, or careful personality assessments in more accessible subjects with hubristic qualities or narcissistic personality disorder from other vulnerable groups might inform the validation process.
Proposed clinical features
Hubris syndrome was formulated as a pattern of behaviour in a person who: (i) sees the world as a place for self-glorification through the use of power; (ii) has a tendency to take action primarily to enhance personal image; (iii) shows disproportionate concern for image and presentation; (iv) exhibits messianic zeal and exaltation in speech; (v) conflates self with nation or organization; (vi) uses the royal ‘we’ in conversation; (vii) shows excessive self-confidence; (viii) manifestly has contempt for others; (ix) shows accountability only to a higher court (history or God); (x) displays unshakeable belief that they will be vindicated in that court; (xi) loses contact with reality; (xii) resorts to restlessness, recklessness and impulsive actions; (xiii) allows moral rectitude to obviate consideration of practicality, cost or outcome; and (xiv) displays incompetence with disregard for nuts and bolts of policy making.
In defining the clinical features of any disorder, more is required than simply listing the symptoms. In the case of hubris syndrome, a context of substantial power is necessary, as well as a certain period of time in power—although the length has not been specified, varying in the cases described from 1 to 9 years. The condition may have predisposing personality characteristics but it is acquired, that is its appearance post-dates the acquisition of power.
Establishment of the clinical features should include the demonstration of criterion reliability, exploration of a preferred threshold for the minimum number of features that must be present, and the measurement of symptoms (e.g. their presence or absence, and a severity scale). This endeavour may also include a decision as to whether the 14 criteria suggested might usefully be revised.
To determine whether hubris syndrome can be characterized biologically will be very difficult. It is the nature of leaders who have the syndrome that they are resistant to the very idea that they can be ill, for this is a sign of weakness. Rather, they tend to cover up illness and so would be most unlikely to submit voluntarily to any testing, e.g. the completion of scales measuring anxiety, neuroticism and impulsivity. Also the numbers of people with the syndrome is likely to be so small preventing the realistic application of statistical analyses. It also needs to be remembered that leaders are prone to using performance-enhancing drugs fashionable at the time. Two heads of government, Eden and Kennedy, were on amphetamines in the 1950s and 1960s. In the 21st century hubristic leaders are likely to be amongst the first to use the new category of so-called cognition enhancers. Many neuroscientists believe that such drugs properly used can be taken without harm. The problem is a leader who takes these without medical supervision and in combination with other substances or in dosages substantially above those that are recommended. In 2008, Nature carried out an informal survey of its mainly scientific readers and found that one in five of 1400 responders were taking stimulants and wake-promoting agents such as methylphenidate and modafinil, or β-blockers for non-medical reasons (Maher, 2008).
In defining the boundaries, one of the more important questions may be to understand whether hubris syndrome is essentially the same as narcissistic personality disorder (NPD), a subtype of NPD or a separate entity. As shown in Table 1, 7 of the 14 possible defining symptoms are also among the criteria for NPD in DSM-IV, and two correspond to those for antisocial personality and histrionic personality disorders (APD and HPD, respectively) (American Psychiatric Association, 2000). The five remaining symptoms are unique, in the sense they have not been classified elsewhere: (v) conflation of self with the nation or organization; (vi) use of the royal ‘we’; (x) an unshakable belief that a higher court (history or God) will provide vindication; (xii) restlessness, recklessness and impulsiveness; and (xiii) moral rectitude that overrides practicalities, cost and outcome.
academic.oup.com/brain/article/132/5/1396/354862/Hubris-s...
La Vie site cites the work of researcher Ian H. Robertson, who studied the effect of hubris on a fish species in Lake Tanganyka in Africa, on which the seizure of power triggers a hormonal reaction that changes their organism. The researcher explains that the situation is similar for humans, whose intelligence is multiplied tenfold by dopamine intake, but "too much dopamine will have harmful consequences. But absolute power floods the brain with dopamine. It also creates an addiction,"says the researcher. That is not all. Excessive self-confidence puts in place a mental mechanism that makes it impossible to assess oneself properly. The more you have a fair appreciation of your own qualities, the more modest you are. And you don't normally feel fit to become head of state,"explains Sebastian Dieguez, a neuroscience researcher at the University of Freiburg.
Expectations.
Probably my favourite photo from yesterdays shoot.
I'm learning to follow my instincts more and more and not worry too much about how sharp an image is or how I should have changed this pose and that angle and blah blah... If anything I guess you only fail when you don't learn from your mistakes.
What has become apparent to me is that letting go of the expectations of others and having an honest conversation with yourself is the start of truly creating something important with your own voice and vision.