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Claremont is a fine example of colonial architecture in Ipswich, Queenslad and was built for the merchant John Panton, who occupied it in 1858. In 1863 he sold Claremont to George Thorn, an innkeeper and important Ipswich figure of the period. It was in Thorn's time that Claremont was the centre of social and political activity in Ipswich. The Thorn family sold the building to Mr. G.R. Wilson in 1906 but he did not reside in it. Instead his brother, John Cecil Norman Wilson and his family lived there until 1922 when both brothers died and the property was inherited by Ralph Somerset Wilson.
After a succession of owners Claremont was purchased by the National Trust of Queensland in 1975. The building had been considerably altered over the years and the National Trust had it restored to it's original state. It remained a National Trust home open to the public, until 2002 when it was sold.
It’s difficult to improve upon a thoroughly considered $1.6 million hypercar, but McLaren has certainly given it one helluva crack. The marque’s special ops team (McLaren Special Operations) has just released a drool-worthy new theme for the McLaren Elva to one-up the original 804 hp roadster.
Inspired by Bruce McLaren’s superlight M1A, the reimagined Elva honors the marque’s storied racing history while showcasing all the latest automotive innovations. It’s an amalgamation of old and new and boasts impressive specs to boot.
A worthy muse, McLaren’s M1A was the quickest car on track at the Canadian Sports Car Grand Prix in 1964, smashing the lap record multiple times. The ferocious racer hit eye-watering speeds while exuding McLaren’s distinctive aesthetic beauty and has been artfully re-created thanks to this theme.
Sporting a sleek, black exterior, the roadster has Bruce McLaren’s iconic number 4 emblazoned on the rear quarter panels and silver-and-red racing stripes across the front bumper and rocker panels. Meanwhile, the Alcantara interior pairs jet black with plush burgundy upholstery.
While this one-of-a-kind Elva may take some design cues from the ‘60s, performance-wise it’s decidedly futuristic. Officially the lightest McLaren road car ever, the Elva boasts a bespoke carbon-fiber body and chassis, plus feather-light materials throughout. The land missile can soar from standstill to 60 mph in less than three seconds, thanks to a thundering 804 hp, twin-turbo V-8.
On top of that, McLaren claims the open-air dream machine, which has no roof, windshield or side windows, features the world’s first Active Air Management System. This ingenious design redirects airflow over the cockpit to create what the marque calls “a bubble of calm,” which means your hat should stay on even at menacingly high speeds.
The original McLaren Elva will be limited to just 399 examples and is expected to roll off the production line towards the end of this year. McLaren did not disclose exactly how many Elva M1As will be made but, hopefully, it won’t be too long before we see one flying through the streets.
Some examples of projects using conductive thread and LEDs. More information at tinkering.exploratorium.edu/sewn-circuits
Example of an entry in the British Consul of Sāmoa's Register of births, 1889-1899, deaths 1895-1899.
View a full PDF of the Register here: ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
Archives Reference: AEHA 18962 Samoa-BCS6/10/14
Patent drawing examples can comprise of diagrams or representations that you use to outline an innovation for a patent application.
Read more at thepatentdrawingsfirm.com/patent-drawing-examples-everyth...
Example of a vintage, industrial asbestos packing material, shown at close detail. The product container of this packing was labeled as, "Rainbesto Asbestos Spiral", by the United States Rubber Company. The reddish material inside the packing was from a rubber constituent of the packing, which as also included thin wire strands, likely for added compression and strength.
Not all non-red LTs are adverts. Often seen outside Ilford station on Elizabeth Line duties, these Go Ahead examples can also be found on the 5.
Some examples of projects using conductive thread and LEDs. More information at tinkering.exploratorium.edu/sewn-circuits
*** View through Red/Cyan glasses ***
NOTE: Calibrate monitor to use 'Color LCD' - to give optimum match between Red/Cyan glasses and LCD Display.
Anaglyph taken from animation created by Doug Ellison...http://www.dougellison.com/
For the Raindrops on roses group...
1. My video camera got me into photography. I wanted to record things that were happening and capture for the future. After a year or to withe the camcorder I bought my 400D as I wanted to capture the still moments.
2. The DeLorean from BTTF. One of my favourite films as a child and still love it today. This toy car reminds me that if I'm ever rich then I will buy the real thing. I'll hunt one down!!
3. Revenge of the Nerds - Strangely I love the 80's and anything related to it. The shitter it is the more I like it. In this case (although I like the film!) the cheesier the film, the more I like it. I have an 80s blog dedicated to my love of 'All Things 80's'.
4. Blade Runner - One of my fave films of all time. I love Ridley Scotts vision of the future. Classic.
5. Back to School - Rodney Dangerfield is/was awesome. I only have to look at him to laugh. Obviously he goes back to school in this film. Acting is shite but that what makes it great. Another example of my 80's love!
6. Donnie Darko - In my top five films of all time. I like how you have to think about whats going on. I've had so many arguments with mates when we've all been bladdered about what the real meaning of the film is.
7. Dirty Sanchez - This represents my sick and twisted humour. I like anything like this mainly because the guys involved like living life, enjoying life and just pushing each other to the max in the name of pain. It's daft, yeah, but I don't take life so seriously myself.
8. 1999 - The greatest year of my life. I was present at most of the home games that season, including the last league game at Old Trafford when we bagged the title. I remember stood outside Moon Under The Water with a few hundred Man U fans singing our hearts out. The following week I bagged a ticket to Wembley to see us beat Newcastle, the night before I was out clubbing with my mates and we knew something special was about to happen with Man U. Of course, that night in the Nou Camp was awesome. I watched it from home unfortunately with mates and when we equalised we ran into the street cheering and dancing - when we returned we just caught the winner. We thought it was a replay of the first goal cos we'd been outside. Happy Dayz.......
9. StarWars - I loved it when I was a wee laddy. Few years back, me and a mate actually turned up to FAB cafe for 'A night with....Kenny Baker/R2-D2' and even got a pic of me with the little dude! Yeah I'm a geek!!
10. Ipod Nano - This is just awesome mainly because I plug my earphones in and I can ignore all those tossers on Market Street wanting to ask me questions or sign up to something. Also blocks out shop staff who ask 'Is everything all right?'. Also keeps me comapny in the very busy Post Office where the queues are massive!
11. Crazy tie - just the coolest tie ever made. How could anyone dislike such awesomeness. I wear this when I'm out in Manchester every now and again!
12. Graphic Design - I'm a designer by trade and I love it. After being made redundant last year I'm self employed and trying to make a few quid here and there. I love waking up in the morning and actually working on something interesting (it's not all interesting but it beats my first job as an Insurance Clerk when I left College!)
13. Apple - especially my iBook. I use it for work and everything else. It's central to everything I do. Apple is awesome and I've been a fan for years now. I love converting people to a Mac also and have done many times!
14. Xbox 360 - There are times when I can get frustrated so when I do I like to blast things to bits on the 360.
15. My Nan - my Nan was just awesome and I wish she was still around today. She spoilt me big time and cheered me up when things got me down. Not a day goes by when I think about her.
16. Libertines Live - I went through a stage where every week seemed to be another gig. I hadn't heard much about the Libertines but went along after listening to a CD. Pete Doherty wasn't available to line up with the rest of the group as he was locked up for robbing Carls flat!!
17. Razorlight Live - the ticket cost me £7 as they were relatively unknown at the time. You just knew they were gonna be huge.
18. Primal Scream live - the best live gig I've ever been to.
In this screenshot, you see the actual results generated from our newsletter. Notice:
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- Fast and tangible results
This proves the effectiveness of the emails we write which is attributed to a strict focus on content and giving relevant information your clients will find valuable as well as the strategic use of conversion magnet and scheduled distribution timings.
Example of diagram created using the metaphor of SPA health/sports centres in designing learning spaces.
Another example of the fibrous serpentine mineral, chrysotile, shown attached to host rock; located at an abandoned asbestos mine in northern Vermont, U.S. Image shows an occurrence of exposed chrysotile ore as it naturally appears in certain types of geological deposits and also demonstrates weathered characteristics. American five-cent coin (nickel) show for scale.
Example of the Lomo Script with stretched LAB Colors.
Original here:
(for further information please go to the end of page and press the link!)
The history of New Year's Concert
Dr. Clemens Hellberg
Long way of approaching
New Year's Concert 2013 ©
The international popularity of the New Year's Concert gives the impression as if the Strauss reception of the ensemble went back to Johann Strauss I and thus seamlessly to the beginning of the history of the orchestra. In fact, the Philharmonic long ignored this "most Viennese" music that was ever written: Obviously the social advancement they experienced through their Philharmonic concerts them seemed threatened by relationships with the "popular music". This attitude towards the Strauss dynasty changed only gradually. Crucial for rethinking were besides the fact that the members of the unique composer family were enjoying the highest recognition of the great composers such as Franz Liszt, Richard Wagner and Johannes Brahms, several direct encounters with Johann Strauss II giving the orchestra the opportunity the importance of this music and the whole of Europe compelling personality of its creator to get to know.
Johann Strauss and Vienna Philharmonics
Johann Strauss, son
The first meeting immediately brought a premiere: For the in the Great Hall of the Musikverein held Vienna Opera Ball on 22 April 1873 Strauss composed the waltz "Wiener Blut" and directed it "authentically" with the violin in his hand. On 4 November 1873 brought Strauss works of his father and Josef Lanner and the "Blue Danube Waltz" as part of a gala concert organized by the Chinese World Expo Commission to performance, the next meeting there was at the occasion of a soiree in the Court Opera (11 December 1877), in which Strauss the premiere of his "reminiscences of old and new Vienna" conducted, an unfortunately lost potpourri of topics from own or from compositions of his father. On 14 October 1894, the orchestra took part at the gala concert on the occasion of the fifty-year career anniversary of the master, and Strauss thanked with the presentation of a commemorative medal and a telegram: "For the nonce written warmest thanks to the great artists to the famous Philharmonic for both your masterly performance as well for the manifestation of Your sympathy which has given me great joy... Johann Strauss". The next encounter should have tragic consequences. On May 22, 1899, the composer had at the occasion of a performance of "Die Fledermaus" conducted for the first and only time in the Court Opera. By doing so, he got a cold subsequently leading to that pneumonia of which he died on 3 June in 1899.
The Johann Strauss monument in Vienna
Johann Strauss monument
Even after the death of the "King of Waltz" advanced the Philharmonic not immediately to his convinced interpreters. A turning point began to emerge in 1921: At the occasion of the unveiling of the Johann Strauss monument in Vienna's Stadtpark conducted Arthur Nikisch (1855-1922) the waltz "Artist's Life" "on the Beautiful Blue Danube" as well as "Wine, Women and Song", and the example of the world-famous artist apparently made school. The final breakthrough brought the celebrations to mark the 100th birthday of the master (25 October 1925): Felix von Weingartner conducted the "Blue Danube Waltz" in the Philharmonic subscription concerts on 17-18 October and conducted on October 25 a concert, exclusively consisting of works of Strauss.
Clemens Krauss
The real Strauss tradition of the Vienna Philharmonic but established that artist, to this day as perhaps the most important apologist of this music considered: Clemens Krauss (1893-1954). From 1929 to 1933 he conducted at the Salzburg Festival every year a Strauss program and thus anticipating the New Year's Concert.
The first New Year's Concert
New Year's Concert with Clemens Krauss
The origin of this concert falls in the darkest period in the history of Austria and the orchestra. In the midst of barbarism, dictatorship and war, in a phase of constant trepidation for the lives of individual members or their relatives, the Philharmonic on 31 December 1939 put an ambivalent accent: The net income of one the Strauss dynasty dedicated extraordinary concert, conducted by Clemens Krauss, was entirely the Nazi fundraising campaign war winter charity (Kriegswinterhilfswerk) dedicated. In 1941 the Philharmonic Academy "Johann Strauss Concert" was organized on January 1, and in the midst of war by many people as "real Viennese festival of joy" understood but also by the Nazi propaganda in the "Greater German Broadcasting" captured. Clemens Krauss was in charge of the newly created institution until the war ended. During the years 1946 and 1947 was Josef Krips (1902-1974) at the conductor's stand, in 1948 returned Krauss after lifting his two-year Dirigierverbotes (prohibition to conduct an orchestra) by the Allies and headed until 1954 seven other New Year's concerts.
25 New Year's Concerts with Willi Boskovsky
Willi Boskovsky
The unexpected death of Krauss on 16 May 1954 created for the Philharmonic major problems in terms of a successor, and it took several orchestra meetings before just before 1 January 1955 it was decided to entrust with the artistic leadership the concertmaster Willi Boskovsky (1909-1991). The choice proved to be a stroke of luck: Twenty-five times, from 1955 to 1979, Boskovsky conducted this concert and formed it so sustainably that his resignation marked the end of an era - in his camp was that old Austria that outside nostalgic dreams only exists in the magic of Strauss music.
A new chapter in the history of New Year's Concert
Lorin Maazel
As Boskovsky in October 1979 had to cancel for health reasons for the New Year's concert in 1980, the Philharmonic took again a fundamental decision: with Lorin Maazel an internationally acknowledged conductor he was elected, who directed the concert until 1986.
After that it was decided the the artistic director had to be changed every year. The first was in 1987 Herbert von Karajan with an unforgettable concert, followed him Claudio Abbado (1988 and 1991), Carlos Kleiber (1989 and 1992), Zubin Mehta (1990, 1995, 1998 , 2007), Riccardo Muti (1993, 1997, 2000 , 2004), Lorin Maazel (1994, 1996, 1999 , 2005), Nikolaus Harnoncourt (2001, 2003), Seiji Ozawa (2002), Mariss Jansons (2006, 2012, 2016), Georges Prêtre ( 2008, 2010 ), Daniel Barenboim (2009, 2014), Franz Welser-Möst (2011, 2013) and 2015 Zubin Mehta. Now I'm telling you a secret, 2017 Gustavo Dudamel!
Instructor example of stop-motion candy animation for the Chocolate Factory Mini-Camp 2/18, by Marcos
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.
Autum's Crystal over John's Spot, with inclusion stains and colouring oxides. See below.
John's Spot cone 5
31 Frit 3134
14.1 Silica
23.2 Wollastonite
31.7 EPK
Cover glaze
Autumn's Crystal Matte cone 5
34.4 Minispar (subbed Forshammer)
12.3 Nepheline Syenite
10.7 Silica
4.8 Whiting
24.6 Talc
9.9 Frit 3134 (subbed 169)
3.3 Zinc Oxide
Specific gravity 1.45 for both glazes
Firing cycle
Slow and Low Cycle (cone 5)
200F (93C) per hour to 220F(104C), hold 10 minutes
500F (260C)per hour to 2020F (1104C, hold 10 minutes
50F (10C) per hour to 2150F (1176c).
OFF
#14 10 spotted blue cobalt stain, 6 rutile
#1 Duncan black underglaze
#7 10 black stain, 6 rutile
Isfahan (Persian: اصفهان Esfahān), historically also rendered in English as Ispahan, Sepahan, Esfahan or Hispahan, is the capital of Isfahan Province in Iran, located about 340 kilometres (211 miles) south of Tehran.
It is famous for its Islamic architecture, with many beautiful boulevards, covered bridges, palaces, mosques, and minarets.
This led to the Persian proverb "Esfahān nesf-e jahān ast" (Isfahan is half of the world).
The Naghsh-e Jahan Square in Isfahan is one of the largest city squares in the world and an outstanding example of Iranian and Islamic architecture.
It has been designated by UNESCO as a World Heritage Site.
The Currituck Beach Light is a lighthouse located on the Outer Banks in Corolla, North Carolina. An example of Gothic Revival architecture, the Currituck Beach Light was added to the National Register of Historic Places on October 15, 1973.
On December 1, 1875, the Currituck Beach Light was completed, located between Cape Henry Light and Bodie Island. Unlike its fellows, Currituck Beach Light was not painted, leaving its brick facade visible. In 1939, the lighthouse was automated following a merger of the United States Coast Guard with the Bureau of Lighthouses.
Since 1991 visitors have been allowed to climb the original 214 steps to the outdoor gallery. Access to the lens room is not permitted as the first order lens is not only the original lens, but it is still a functioning one. The light comes on every night and shines from 158 feet (48 m) at 20-second intervals to warn ships hugging the chain of barrier islands along the coast.
The U.S. Light-House Board in 1872 stated that ships, cargoes, and lives continued to be lost along the 40 miles (64 km) of dark coastline that lay beyond the reaches of existing lighthouses. Southbound ships sailing closer to shore to avoid the Gulf Stream were especially in danger. In response, construction began on the Currituck Beach Lighthouse in 1873 with completion two years later. The date at the top of the entrance to the lighthouse says "1873" because on every lighthouse, the date on the structure is the date that construction began.
The Currituck Beach Lighthouse is a first order lighthouse, meaning it has the largest of seven Fresnel lens sizes. The original source of light was a Funck's hydraulic float lamp, fueled with lard oil, and consisting of four concentric wicks. In approximately 1884, the lighthouse converted to a mineral oil (kerosene) lamp with five concentric wicks; the largest was 4 inches in diameter. By 1913, an incandescent oil vapor lamp was used, with kerosene vaporized and forced into the burner by use of a hand pump attached to the storage tank.
The Currituck Beach Lighthouse was the last major brick lighthouse built on the Outer Banks.
en.wikipedia.org/wiki/Currituck_Beach_Light
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Examples of vitamin A-rich fruits and vegetables. Young children need 2–3 helpings of such foods per day.
© Helen Keller International.
Published in: Community Eye Health Journal Vol. 26 No. 84 2013 www.cehjournal.org
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Lighmark - Light Painting Examples
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Usually I try to provide images that can be used as your wallpaper, but I couldn’t pass up linking to a site that has some really good examples of Light Painting (not wallpaper size): LightMark.de. See previews below or head straight there for full-size images.
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2 Responses to Lighmark - Light Painting Examples
Steve Silverwood
VERY cool, thanks for sharing this! I’ve seen some of this kind of art before, but hadn’t seen quite as good a collection as this. I especially liked the one where they made the trees look like they were “on fire” — that was particularly impressive. Thanks again. //Steve//
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A nicely-kept example of the marque, spotted while on holiday in Ireland. The white-wall tyres and the headlight shades are unusual on an 1100 but the vehicle was in great condition to say it must be at least 29 years old. The number plate suggests that it is a Dublin-registered vehicle over 30 years old.
The bodywork had a few standard rust spots, e.g. wheel arches and sills, and a few repainted panels, but overall was in good nick. The red interior was in fine condition and looked original.
A British Pathe newsreel film "Morris 1100 on show"
he Olympic Torch Relay has arrived in Northern Ireland. On Sunday 3 June 2012 it was here in my hometown Bangor Co Down Northern Ireland. Just before 7am on a cool overcast Sunday morning and the town was packed with people wanting to share in this historic moment. Cheers rang out along with applause as the Torch was caried throughout the town.
The present torch is designed by Edward Barber and Jay Osgerby (BarberOsgerby) for the 2012 London Games. Despite a deeply cynical response to the logo and mascots of the London Games, this torch design appears to have been well accepted in the UK and internationally.
The fuel used for the torch has varied. Early torches used solid or liquid fuels, including olive oil. For a particularly bright display, pyrotechnic compounds and even burning metals have been used. Since the Munich Games of 1972, most torches have instead used a liquefied gas such as propylene or a propane/butane mixture. These are easily stored, easily controlled and give a brightly luminous flame.
The number of torches made has varied from, for example, 22 for Helsinki in 1952, 6,200 for the 1980 Moscow Games and 8,000 for the London 2012 Games.
In transit, the flame sometimes travels by air. A version of the miner's safety lamp is used, kept alight in the air. These lamps are also used during the relay, as a back-up in case the primary torch goes out. This has happened before several Games, but the torch is simply re-lit and carries on.
The Olympic Flame is a symbol of the Olympic Games. Commemorating the theft of fire from the Greek god Zeus by Prometheus, its origins lie in ancient Greece, where a fire was kept burning throughout the celebration of the ancient Olympics. The fire was reintroduced at the 1928 Summer Olympics in Amsterdam, and it has been part of the modern Olympic Games ever since.
In contrast to the Olympic flame proper, the torch relay of modern times which transports the flame from Greece to the various designated sites of the games had no ancient precedent and was introduced by Carl Diem at the controversial 1936 Berlin Olympics.
This official Minnesota State Capitol Restoration Project photo is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images are used, the photographic credit line should read “Courtesy: MN Dept. of Admin. Cathy Klima photographer.” These images may not be used in any way that would imply endorsement by the Minnesota State Capitol Restoration Project or the State of Minnesota of a product, service or point of view.
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