…after a long walk, with the threat of heavy rain, you get to spend a good hour or two slipping and sliding, crouching and crawling along one of the oldest tunnels dug by humankind. That mud is sticky…very sticky and I’ll defy anyone to go down there and not come out covered!

 

It’s normal to spend a good couple of hours cleaning your camera equipment once you have been down here!

 

Went with a good friend Jim who, as a postman, you would have thought a long walk would have been no bother…jeez…the moaning !

 

All pictures copyright to www.mckenzie.photos

 

The full history....

  

The idea of a fixed link across the English Channel was first put forward in the early part of the 19th Century but concerns over national security stalled attempts to progress it.

But an Anglo-French protocol was established in 1876 for a railway tunnel under the Channel. South Eastern Railway Chairman Sir Edward Watkin and French Suez Canal contractor Alexandre Lavalley conducted exploratory works on either side of the water, coming together in 1882 under the umbrella of the Submarine Railway Company.

In 1880, No.1 shaft was sunk and a 7-foot diameter pilot tunnel begun below Abbot's Cliff, between Dover and Folkestone, 10 feet above high water level. The driving force was Captain Thomas English's rotary boring machine - 33 feet in length and powered by compressed air - which was capable of cutting 5/16" for every rotation of its cutting head, at a rate of two revolutions per minute and almost half-a-mile per month. It was though hoped that this performance could be improved over time.

In February 1881, with about 800 feet driven and the machine proven, work was refocused at a site further along the coast, accessed via the 160-foot No.2 shaft at Shakespeare Cliff. Here another pilot tunnel was started under the foreshore, progressing through lower grey chalk towards a meeting with the French pilot tunnel - which was extending from Sangatte - 11 miles out to sea. This phase of the work was expected to be complete by 1886. Machinery was being developed which would then have enlarged the heading to 14 feet in diameter before a 2-foot thick concrete lining was inserted. The approach railways would fall on a gradient of 1:80 before reaching a depth of 150 feet below the sea bed. Operational ventilation would be provided by the compressed-air locomotives used to haul the trains.

But 1882 saw the government call a halt, worried about the military implications of a land-link to Europe. Sir Edward's well-reasoned reassurances fell on deaf ears with 2,040 yards of the Shakespeare Cliff heading driven, another 897 yards at Abbot's Cliff and 1,825 yards on the French side of the Channel. Both shafts were later backfilled.

When the idea of a tunnel was revisited in both 1974 and 1988, various remedial works were carried out on the 1880s workings as a result of the new alignments potentially intersecting with them. This work discovered a number of roof falls and broken timber supports. A concrete bulkhead was installed 890 yards into the No.2 heading, effectively entombing the boring machine.

Access to the original heading has been maintained as it meets one of the drainage adits driven from the base of the cliff under the coastal railway. This joins the 1880 tunnel 70 metres from the surface, after passing beneath Shakespeare Cliff Tunnel where it has been reinforced with concrete arches. Adjacent to the junction is a timber-lined passage leading to the base of the shaft where the boring machine would have been assembled.

   

Intertwined, grasping, touching, leaning, helping. All done by humans and in nature as well. We all need to have someone or something to let us know we are not alone. This is a silhouette of one of my favorite trees across the street from my home. I look at it everyday and get a sense of peace. Have a great evening!!

 

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Before reading the actual photo caption:

Keeping in mind... this is Humankind's FIRST MANNED journey to the MOON, leaving the cradle, slipping earth’s surly bonds, etc., etc...bold, daring and historic.

And this, THIS is the 'official' caption? Any ‘Weekly Reader’ article of the time was more thoughtfully & articulately written...ANY:

 

"A duck appears to be watching the launch of Apollo 8 astronauts Borman, Lovell and Anders to the Moon December 21, 1968."

 

Duh.

 

In color:

 

history.nasa.gov/afj/ap08fj/photos/ksc/19681221-ksc-68pc-...

 

With intelligent, informative and articulate content:

 

history.nasa.gov/afj/ap08fj/01launch_ascent.html

Cute chinstrap penguins on a stroll....

This was taken on Deception Island, an island that is actually part of an active volcano still today. The island is unfortunately best known for some of the most gruesome acts of humankind as it was used for whaling. The ruins of this station are the most complete remains of whaling history in the Antarctic, and governments have agreed to let the remains stand, undisturbed, to be seen and understood as part of maritime history and to show the immense power of the volcanic activity that still haunts the island.

SAN FRANCISCO, CA - May 18 - Victoria Fung and Kim Young attend CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Devlin Shand for Drew Altizer Photography)

I was asked by UNIQLO to create six designs for their Nippon-Omiyage T-shirt lineup, the second three in the series were Onsen, Sakana and Animal Onomatopoeia. All using handmade typography and a connection to the subject itself.

  

ユニクロの「日本のお土産シリーズ」のデザインに参加させて頂きました。ハンドメイドのタイポグラフィーを使って、イメージを表現するという内容です。2013年の春夏に発売されたのは「東京」「銀座」「神戸」の三都市のお土産でした。2013年の秋冬シーズンは、日本の好きなところを何でもデザインしてもいいという内容でしたので、僕も日本人に負けないぐらい大好きな「温泉」「さかな」をモチーフにデザインしました。「温泉」のデザインでは、日本で大流行している"ゆるキャラ" もつくってみました。３つめのデザインは、音を表現する擬音語が英語と違うところ面白くて、動物の鳴き声をタイポグラフィーにしてデザインしてみました。

  

Onsen Daisuki 温泉大好き

There are few nations that have a love for bathing in natural hot springs more than the Japanese. Some outsiders are embarrassed to try while others fall in love this amazing experience. I took the commonly recognised symbol for hot spring (Onsen in Japanese), adapting it in to a kind of "yuru kyara" to illustrate the experience with the addition of hand drawn typography declaring a love for hot springs ‘Onsen Daisuki’.

 

温泉をこよなく愛するのは日本人だけではありません。しかし外国人の中には、日本の温泉の公衆浴場に抵抗を感じて、その素晴らしさを体験するところまで行けない人も少なくはありません。日本人なら誰もが知っている温泉のロゴを、温泉でゆっくりしているキャラクターにしてみました。温泉大好きという手書きの文字と共に、その素晴らしさが伝わればと思います。

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Photo by Chris Acheson.

Location: Nirox Sculpture Park, Cradle of Humankind, South Africa.

Photo taken: March 2015.

SAN FRANCISCO, CA - May 18 - Pablo Bravo, Sister Mary Haddad and Fred Najjar attend CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Devlin Shand for Drew Altizer Photography)

SAN FRANCISCO, CA - May 18 - CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Natalie Shrik for Drew Altizer Photography)

Thor (from Old Norse: Þórr) is a prominent god in Germanic paganism. In Norse mythology, he is a hammer-wielding god associated with lightning, thunder, storms, sacred groves and trees, strength, the protection of humankind, hallowing, and fertility. Besides Old Norse Þórr, the deity occurs in Old English as Þunor ("Thunor"), in Old Frisian as Thuner, in Old Saxon as Thunar, and in Old High German as Donar, all ultimately stemming from the Proto-Germanic theonym *Þun(a)raz, meaning 'Thunder'.

 

Thor is a prominently mentioned god throughout the recorded history of the Germanic peoples, from the Roman occupation of regions of Germania, to the Germanic expansions of the Migration Period, to his high popularity during the Viking Age, when, in the face of the process of the Christianization of Scandinavia, emblems of his hammer, Mjölnir, were worn and Norse pagan personal names containing the name of the god bear witness to his popularity.

 

Due to the nature of the Germanic corpus, narratives featuring Thor are only attested in Old Norse, where Thor appears throughout Norse mythology. Norse mythology, largely recorded in Iceland from traditional material stemming from Scandinavia, provides numerous tales featuring the god. In these sources, Thor bears at least fifteen names, and is the husband of the golden-haired goddess Sif and the lover of the jötunn Járnsaxa. With Sif, Thor fathered the goddess (and possible valkyrie) Þrúðr; with Járnsaxa, he fathered Magni; with a mother whose name is not recorded, he fathered Móði, and he is the stepfather of the god Ullr. Thor is the son of Odin and Jörð, by way of his father Odin, he has numerous brothers, including Baldr. Thor has two servants, Þjálfi and Röskva, rides in a cart or chariot pulled by two goats, Tanngrisnir and Tanngnjóstr (whom he eats and resurrects), and is ascribed three dwellings (Bilskirnir, Þrúðheimr, and Þrúðvangr). Thor wields the hammer Mjölnir, wears the belt Megingjörð and the iron gloves Járngreipr, and owns the staff Gríðarvölr. Thor's exploits, including his relentless slaughter of his foes and fierce battles with the monstrous serpent Jörmungandr—and their foretold mutual deaths during the events of Ragnarök—are recorded throughout sources for Norse mythology.

 

Into the modern period, Thor continued to be acknowledged in rural folklore throughout Germanic-speaking Europe. Thor is frequently referred to in place names, the day of the week Thursday bears his name (modern English Thursday derives from Old English þunresdæġ, 'Þunor's day'), and names stemming from the pagan period containing his own continue to be used today, particularly in Scandinavia. Thor has inspired numerous works of art and references to Thor appear in modern popular culture. Like other Germanic deities, veneration of Thor is revived in the modern period in Heathenry.

 

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.

If the town wasn't awake before, it sure as hell is now. The Thunderhead Asgard hauls immeasurable amounts of ass. Yes, it's impractical. Yes, it's gonna fuck me with the maintenance costs. Yes, I have a more economical bike. But this thing is badass. That's all that matters. I drove around town for a bit pissing off everyone with the loudest exhaust known to humankind before taking a break and parking just outside of Patton Arms.Need to see how Arnie's holding up, if the paranoia's subsided yet or what. The only reason he's not rotting away in Guantanamo right now or something is at the ruins of the Cathedral a piece of the Xenothium was recovered. He took credit for finding it, and his punishment was the government not including Patton Arms into any more projects. He still thinks men in black are gonna come along and cause an "accident" for him. I go into the building, tell the secretary I'm here to see him, and I go up to his office. First thing I notice is some remodelings been done. New desk, file cabinet moved, some weird lamp, and a couch. On that couch was a man reading a book. This guy seemed familiar, then I saw his right arm and noticed he lacked most of it. Then I remember those eyes. Those cold, cold eyes. Arnie was talking to this guy a while ago when that stolen helicopter was still a thing. Arnie gets out of his desk wearing his usual smile and pipes in.

 

"Ah, what a surprise! Mr. Kamiroff, this is Jerrick Davao, a good friend of mine. Mr Josef Kamiroff"

 

"Mr. Davao. Mr Patton has told me stories of you."

 

"Has he..."

 

"Yes. I can say it's a pleasure to meet you."

 

His voice matches his eyes. It's really fucked up because it doesn't sound like it would either, but...that doesn't stop a slight chill going down my back. And that shit doesn't happen to me. Ever. He gets up out of the couch, gives this equally cold smile, and extends his left had out to me. It's all he's got anyway. Well, don't wanna be rude, guess I should---

 

Don't do it.

 

...great, now he doesn't even have the balls to show himself. Wait, what the hell is that by the couch? Is that his...

 

"I, uh, fell in the gutter down there and my hands are kinda dirty. Sorry, but---"

 

"Understandable.I appreciate the consideration. Something I don't see much."

 

"Is that your sword?"

 

"Sword?"

 

"By the couch there?"

 

"I don't follow you, Mr. Davao. I haven't brought anything with me beyond the cloths on my back."

 

"Yeah, yeah, sorry. Must've hit the ground harder than I thought..."

 

Am I sweating?

 

"So J, what's up? Why you here?"

 

"Just stopped in to say Hi, wanted to tell you about my new car, and, uh..."

 

"New car? 'bout time you got rid of that old bike. What'cha get?"

 

"1970 Thunderhead Asgard. Restomodded. Had to import it from Europe, of all places."

 

"What makes importing this car from Europe so peculiar, Mr Davao? Might I ask where in Europe?"

 

"Well, a Thunderhead Asgard is an American Musclecar. Not the most popular kind of car in Europe. Especially in the U.K where I found it."

 

"Ah, the United Kingdom. Makes sense I suppose. There wouldn't be any American sportscars in Wymarcie."

 

"Where?"

 

"Republic of Wymarcie, Mr. Kamiroff's home. Mr Kamiroff is a high ranking member of the Wymarcie military and he's interesting in buying weapons, specifically one of our laser sharpeners."

 

"What do you need the guns for?"

 

"The current Cremia crisis is too close to home. I want my men armed in case that scum Putin decides he wants my land, too. I'm especially interested in the laser sharpener. According to Mr Patton, this sharpener can sharpen a blade to the width of a molecule. Is that true, Mr. Davao?"

 

"Yeah. I own a knife that got sharpened by that thing. Don't let the kids near 'em."

 

"Funny. My army is no place for children, though. You look like you'd fit perfectly, though, Mr. Davao. You've got the body of a great soldier. Do you have a military past?"

 

"Nope..."

 

Christ, why do I feel like I'm gonna shit myself?

 

"Hm. You'd make a great soldier from the things Mr Patton has told me. You're a career fighter who is currently undefeated? MMA, I believe it's called?"

 

"Yeah. Not a single loss in years."

 

"Very impressive. I can see why Mr. Patton would have someone like you test his best weapons."

 

"Yeah.....uh, you guys gotta excuse me, I'm kinda sick. Woke up feeling terrible and it hasn't gone down since. I'll let you guys keep talking business."

 

"I'm sorry to hear that, Mr. Davao. I wish you the best."

 

Something is very, very wrong about that guy...

....................................................

 

Thanks to Billy Riner for Editing work.

Planet Earth Needs your Help. If you are interested in saving the planet for our feathered friends, wild flowers, wild animals and nature areas, as well as humankind follow the links below to articles I and my girlfriend have published. Each article explains in mostly layman terms what scientist are observing and forecasting about climate change as well as offering things an individual can do to help reduce global warming.

 

Latest Article

planetearthneedsyou.blogspot.com/2020/10/an-open-letter-t...

 

All Previous Articles

planetearthneedsyou.blogspot.com/

My vision is a vision of world harmony. The vision within us is the great

vision of infinite light, infinite love, infinite peace and harmony for

all humankind.

On a planet which provides such scenes it is quite easy to comprehend why humankind is perpetually happy & lives in a perpetual state of peace within & without. It is obvious that intelligence and free will have served to produce a sort of utopia on the Earth that such must exist throughout the Universe on every single planet hospitable to life.

SAN FRANCISCO, CA - May 18 - Andrew Nice and Lauren Paglini attend CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Devlin Shand for Drew Altizer Photography)

A 360° Panorama on a hill in the area of the "Cradle of Humankind" (a World Heritage Site in Kromdraai, Gauteng, South Africa). Xerophyta retinervis, Spotted Aloes (Aloe greatheadii var. davyana) and Sugar Bush Proteas are scattered throughout the grasslands.

 

"Mrs. Ples" (Australopithecus africanus) was found in this area in 1947, and is currently the oldest human fossil found to date. This gave rise to the idea that Africa is the "Cradle of Humankind";.

 

In 2008 two fossilised skeletons of a new species of early human "Australopithecus sediba" were discovered.

 

Winter, June 2007.

 

Best viewed LARGE.

 

Martin

-

Administrator of:

Stapeliad & Asclepiad Group

All things beautiful in Nature Group

Succulent Treasures of the Desert Group

The World Up-Close (Nature Macro) Group

Image of “Angie” first appeared : Best true detective cover July 1962

The story of the racket dames behind the sensational Park Avenue Jewel Robberies

 

*****

This is a link to a You Tube Video of a thief not unlike our Angie.

youtu.be/HAZdjhNVjxk

*********

  

Title: Now, if only she could find where that darling young miss, the one so richly clad in purple silk, had gotten her pretty little self-off too?

 

Case Study 113 : Warning, these are the raw, bare unusual facts as originally recorded. Some names, times, places and some facts have been altered.

Name: Angelica D circa 1933

Subject: an unscrupulous light-fingered body thief

Place: Resolution Ball - Baltimore (original incarnation)

Time: Evening, through early morning, of the dance

  

Story line:

 

Angie grinned, stowing away the emerald bracelet, as she smugly watched the police dragging away the struggling girl. Lit cigarette dangling from a corner of her lip; Angie smirked wickedly to herself as Ginny frantically tried to plead her innocence.

**

One of the coppers had her by the wrists; the other tried gripping her waist, finding it slippery by the satiny gown she was wearing. Ginny was pleading, it was not me, I don’t know how it got there, please let me go, my emeralds, my bracelet… its…its..I gone! I must find it, shrieked the struggling girl. Angie just listened to the girl, ginning; Ginny’s tearful words, spoken in her brash nasally east ender accent, wasn’t helping her cause with the pre-judgmental coppers.

 

One of them snarled loudly into her ear, ere ,you aint the kind to wear emeralds sister, we’ve got your number, it was her diamonds youse was after.

 

Actually, she had, Angie admitted to herself wickedly. Yes, dear Ginny had been wearing an emerald bracelet, the one Angie now had tucked securely away. Nevertheless, she chose not to enlighten the harness bulls on the matter, and smugly watched as the small group disappeared through the entrance, heading down to the eastside patrol car waiting at the street, as she let a wisp of cigarette smoke curl upwards from her sneering lips.

**

So it was now, with the emeralds safely tucked away, that Angie turned he back to the main door to watch down the long corridor as she continued puffing on her victory smoke. At the end of the hallway was the main entrance to the cavernous Ballroom where all action had all taken place leading up to poor Ginny’s arrest.

 

With a suspect now in custody, and two less security bulls, Angie was free to slip back in amongst the wealthy guests in attendance at the ball. Now, if only she could find where that darling young miss, the one so richly clad in purple silk, had gotten her pretty little self-off too! She shivered deliciously at the mere thought of it. However, she decided to take her time finishing her cigarette, give things ample time to cool down, as she marveled at the opulence that seemed to bleed from every square inch of the Baltimore Palace this evening.

 

How Angie savored attending events held here, and visited the Baltimore area Ballroom several times whenever she was in town on “business”. The lighting, modern for the day, seemed to coax any piece of jewelry to sparkle. Making it ever so easy to focus on even the smallest (and sometimes most expensive) piece a fashionably dressed female would be wearing.

**

For you see, Angie was a master pickpocket, who, with the discovery and subsequent aid of a pamphlet written in the early 1800’s, was able to take her game to the next, more profitable level...

 

See Album: Angie Picks Chicago for the story of how she discovered the phamplette.

 

Entitled the Cutpurse: skilles, artes and Secretes of the Dip by “Gaston Monescu, 1826”, it covered the various tactics and moves used by master pickpockets of the time, Including whole chapters on successful “Methodes” of relieving a well-dressed lady of her” jeweles”.

 

Angie had nimbly crafted a new art form of relieving wealthy women and rich girls of their valuable jewelry. She performed this feat by combining the tactics of an illusionist, with the delicate touch of “The Dip” ; Employing this method to nick the fiery sparklers while still warm from the unwary, usually be-gowned , figures ostentatiously displaying them!

**

Angie began to reflect on how the ballroom had looked when she had first entered some three hours previously. She had been eagerly anticipating the opportunities in store for her inside, and she was not disappointed in the very least. The place was packed wall to wall with guests dressed in their dapper nines for the annual event.

 

Like a kid in a candy shop, Angie had eagerly looked over the crowd, admiring the shiny, flowing gowns the female guests were wearing. Selecting and keenly observing dresses made of the richest, most form fitting material, for by long experience, these women wearing them would bring the most profit. By employing this method to narrow the field of selections, Angie was able to quickly to pinpoint on a piece of jewelry, make her move, and be gone before giving any security patrolling the area a chance to recognize her for what she was. It sometimes was as easy as taking candy from a baby, or as Angie like to imagine it, relieving a satin and lace clad innocent of her “silver spoon”

 

Angie than eagerly looked over the jewels of those she had chosen, vividly glittering their colourful joy at being brought out of the vault and worn for this evening’s festivities. She had been quite hard pressed to make a selection, so for the first 30 minutes or so, Angie just mingled about, following her whimsy.

 

Then she spotted Olivia. Elegant in a long slick purple gown of luxurious silk that flowed and moved tightly along her shapely figure as she flitted about, presenting the very picture of a tickle thief’s dream ( see addendum rr).. Young, flighty and loaded with beckoning diamonds, Angie began to stalk her in ever decreasing circles, hunting her slowly, deliberately, much as a snake in the grass would a tiny unsuspecting mouse. However, all too soon, Angie realized that this mouse was being watched over by someone else, like a hawk.

 

The hawks name was Ginny. Lower east end, rough as her cousin Olivia was polished, awkward in one of her cousins borrowed long satin gowns, she watched protectively over her mingling cousin from the sidelines, totally out of her element, ill-fitting right down to the only jewelry she wore, a shimmering elegant emerald bracelet that was obviously borrowed( probably from Olivia) . Angie weighed the consequences of an attempt on Olivia’s diamonds, deciding that there was plenty of less guarded prey, and so Angie reluctantly decided to let go of the scent.

**

It was not much later that Angie, from her new perch at one of the twin bars that lined opposite sides of the room, found herself eyeing a most interesting subject. She rose and began trailing behind the swishing gown of her new prospect. The fine taffeta gown was spilling down along the still voluptuous, if not a little pudgy, figure of an older, matronly looking lady with long hair of faded gold. Her longish hair was home to a glittering Diamond Head band, from which shimmering strings of diamonds were entertained in her still silky soft hair.

 

The lady stopped to chat with two other finely decked out women, giving Angie a chance to circle and leisurely eyeball, head to foot, these unsuspecting ladies baubles. Angie felt her heart rate quicken with delight at what she saw.. Now, older women could be a little bit trickier since they were more likely to notice quicker the disappearance of often worn jewelry, as opposed to younger ladies or girls were not yet used to wearing fine jewelry adorning their squirming figures. Nevertheless, Angie spied something that should even the playing field a bit, so to speak, making this wealthy lady a fairly less risky prospect…

 

Now, Monescu‘s pamphlet had a little side Chapter on how ladies would sooner think jewels were lost as to believe they had been stolen from them (pickpockets only go after wallets and hankies, my dear, everyone knows that!) . To this end, losing one of a pair, like an earring, or clips, is a safe bet, especially if one desires to tempt fate and remain in the area to try for a second piece, like the brooch one of her friends was wearing.

 

And the lady Angie was ogling was wearing a pair of twin diamond and ruby clips, one on each side of the wide shiny sash that encircled her waist. Taking one of her jeweled clips should be as easy as slipping candy away from the side of a silken clad baby. Which in a fashion, Angie had actually done, once long ago, coming across a small group of wedding attired young girls playing alone at a playground, whose chaperones had obligingly wandered off for a bit. But, when Angie had left the chirpy little group to continue their game of (appropriately enough) cops n robbers, It had definitely not been the gullible young ladies candy that walked off along with her!

 

(See album, Angie at play, for the full story)

  

Angie’s full attention was now focused on the two wave shaped clips as the pair fired glittering salvos of flickering rainbow-like colures with each elegant movement their mistress made. Patiently Angie stalked from a distance, awaiting her chance. It came soon enough, when the Hors d’oeuvres were put out, and the clips, along with their mistress, headed with the other multitudes of guests to the long banquet tables. As they formed a line, Angie managed to wedge herself in between the lines, effectively cutting off her victim, who bumped against Angie.

 

Angie’s left hand slipped in and snaked along the satin sash, feeling once again the deliciously tingling ling chill she always experienced when her fingers first rubbed against the warm scintillating material of a luscious gown as she dipped in to steal the selected jewel.. This time was no different as her slender fingers located the first of the clips ; lifting it up, and nimbly flicked open the clasp( it was amazing how jewelers skimped on clasps when making upper end jewels), at the same time her right hand slithered up the slick taffeta backside of her victims gown. Reaching underneath an armpit, her fingernails dug in, distracting her victim as to the nefarious activity happening at her waist. The lady was knocked slightly off balance, and anyone else who saw the pair had their eyes focused their faces, and not on any handiwork occurring with the hands below sight.

 

Angie apologized profusely in her softest most innocent voice. Petting down the ladies backside as she did so with her right hand, while her left plucked the clip from her sash and palmed the jewel and slipped behind her back. It was over in seconds, merely someone trying to cut the line, and Angie made her escaped receiving a few clucks of the tongue from one of the ladies’ friend as the lady caught up to them. Angie just smiled at them winningly, her hand still behind her back. As she smiled, Angie slipped the diamond clip down inside her sash before turning away and heading off.

 

It had all come off quite easily, and Angie was congratulating herself, when suddenly a voice behind her pronounced, quite loud and clear, oh my gwad Ceclia, you’ve lost a brooch. Diamond clip Angie correctly the lady silently to herself. She did not turn, but kept on moving, even slowing her pace a bit. From the same area she heard Celica gasp. Me clip, I’ve lost one of me diamond clips! it was here a minute ago, remember Maud, you was admiring them, weren’t you? Angie could imagine from what actions the lady in the elegant taffeta gown was taking now that she had discovered her loss, security was probably hoofing their way over, Angie had to think quickly.

 

Not losing any of her demeanor, Angie turned causally around to watch with the rest of the nearby group as the lady was showing her sash and the remaining clip to a couple of her friends. Angie spied a brace uniformed bulls approaching. She casually turned and headed across the room, her mind whirling. she knew that the pricy clip was too hot to hold onto. She had slowly looked around as she sauntered away from the scene. Then, spotting one of the many Ladies powder rooms scattered around, she ducked into it. Angie knew from past experiences ( and a few hints from Monescu‘s phamplett) that rooms such as these had a plethora of hiding places to let “hot items” cool down..

 

She entered the room, the noise dying out as the door closed. She was alone, wait, not nearly, the room had one other occupant. Ginny was at the sink, washing her face, the bored look she had worn all evening now was replaced by deep thoughts, forlorn ones by the looks of it. On the fly Angie coolly devised a plan.

 

She walked up behind the unwary, unnoticing, fetchingly clad Ginny, and wrapped her arms round her, hugging, as she called out, Maude dear, I haven’t seen you in ages. Ginny was uncomfortably flabbergasted, and Angie felt her warm figure stiffen. She turned and Angie apologized, I am so sorry , I totally mistook you for someone else. I should have known better, Maude is not nearly as pretty .As she spoke, Angies’ fingers touched and prodded the startled girl, not allowing her to collect her wits. If Angie was hoping for a smile, she didn’t get it,. Streetwise Ginny looked at Angie hard, and scolded the thief for scaring the beezusses out of her. In a Huff Ginny left, Angie watched as Ginny’s soft gown curled around the closing door before whipping out of.

 

She was smiling to herself, for as she had hugged Ginny, she had deposited the clip in the girls green velvet purse that was laying open on the vanity. She had also in the process, tit for tat, whisked off the emeralds from around the flustered Ginny’s satin gloved wrist.

 

Not wasting any time Angie headed down the hallway where she secreted the bracelet in a nearby ash can, slipping it underneath the ½ ash filled bowl. Angie than reentered the ballroom, and went up to the orchestra’s conductor and requested a couple of waltzes, ones she knew were lengthy.

 

She then look around to make sure that she had all the principle players in her plot in sight. She spied Ginny talking with her cousin Olivia, and Celia was still searching the floor by the banquet tables. Now Maude , Maude took a little doing, but Angie spotted her chatting with a security cop. Great Angie thought, all I need to do is wait for it. “It” soon became apparent , was the start of one of the slow waltzes, and sure enough, Olivia was almost immediately scooped up and led off to the dance floor, leaving poor Ginny alone, as she had been most of the evening. Her hard disposition more than enough to keep any potential suitors at bay.

 

Angie immediately sought out Maude, a short mousey woman in a faded velvet gown wearing loads of gold chains and bangles. Angie caught her ear; feeding her a story about what she saw being placed in a certain green velvet purse. Maude’s eyes darted to where Ginny stood along a wall, and Angie saw a delicious gleam flare up in mousey Maude’s semi -be speckled green eyes.

 

**

Angie than serenely slipped back, regaining her barstool perch and waited as the developments unfolded. Maude went to the copper she had been chatting up, and they both went to Celica. The copped grabbed a partner and the group surrounded poor Ginny. Angie kept one eye on the, and the other on Olivia, who was dancing on the far side of the room, blissfully unaware of the clamor on the far wall, that was surrounding her hapless cousin Ginny.

 

Angie saw that, upon discovering what she had in her purse, they were going to arrest her and escort Ginny off the premises, exactly as Angie had planned! Angie slipped from her stool, and headed out to the lobby to await the final act in Ginny’s tragedy. Angie concealed herself in the hidden alcove, behind the small ash can where she had stashed the emerald bracelet. Just in time to witness the poor girl, struggling between the two security types, and being forcibly escorting her out. When she was sure no suspicion was coming her way, Angie lit a victory smoke, and retrieved the emeralds, stowing them away as she looked back upon the protesting Ginny, struggling as she was being ushered out the door to the waiting patrol car on the street below.

 

**

Now, Angie only had to find where that darling young Olivia, so richly clad in purple silk, had gotten her pretty little self-off too! With a suspect now in custody, and two less security bulls, Angie was free to slip back in amongst the wealthy guests in attendance at the ball. Good thing old Angie girl was a tough cookie, she contemplated, congratulating herself over not losing her head and coming out in roses, as happy with herself, she watched down the hallway. She was in no hurry; haste makes waste after all, so Angie savored her thoughts as she waited patiently to continue her mischievous habits.

Her thoughts now were trained fully on the unsuspecting, capriciously flighty , Olivia, and her dazzling diamonds.

In her minds eye she relished over several scenarios that could develop, and how to use them to her advantage, Angie exciting herself so much that she held the cigarette for a minute to lick her lips over them…

She imagined Olivia darting about, as she looked for her missing cousin, imagining, a well-placed foot on the hemline of a swirling long purple silk gown, which could yield some marvelous results.

Or perhaps Olivia could use some help looking for her cousin. Angie would then be able to discreetly help herself to some of the enticingly slippery-gowned Olivia’s dainty, but expensively fiery, diamond jewelry.

Alternatively, and best of all, and it is here where the almost purring Angie licked her lips, was a most scintillating scenario…

Angie could explain what had happened and offer to share a cab downtown with her new friend. Angie would comfort the worrying, sobbing (brought on by how Angie would describe what had happened) girl riding alongside her in the back of the bouncing cab. Angie would comfortingly stroke the warm figure encased in the richly slick, scrumptiously smooth silky gown, as she cooed words of encouragement in Olivia’s ears, Angie’s lips touching the diamond earrings dripping down from their lobes.

Then she would let Olivia go inside alone, as not to cause her cousin any further embarrassment. Then Angie would watch as Olivia hurried away, admiring the flow of her shiny gown in the light from the entranceways lamps ,and while also basking in the provocative sparkle of any remaining diamonds that Angie had not managed to spirit away during the ride down to the police station.

Angie shivered happily, as she gave one final drag on her cigarette and bent down to place it in the ash bin.

Suddenly Angie’s senses perked up, and she raised her head, shooting her gaze down the long corridor..

A lady was leaving the ballroom, unescorted, heading down the long hallway to the exit. She could tell by the quality of the long slinky gown that fell in ruffles from the hem of the long black mink she wore, and by the rings glittering from the hand that held the thick mink, that this specimen was well worth some effort. Angie rose, not yet noticed by the fur encased broad. One for the road, Angie thought to herself, bemused. The lady kept looking back, like she did not really want to leave and was afraid she would miss something exciting. That fact, along with the narrowness of the passage made for an excellent opportunity… A well place foot, and expertly placed bump, a few seconds of confusion, and the lady and Angie would part company, and Angie would have parted something else from the broad, and be a richer woman for it.

 

It was a formula that Angie had perfected and executed many profitable times. As a matter of fact, it had only been a few days prior that a young daughter, quite fetchingly (and targetable) in a pretty lavender satin and lace gown, ornamented regally with pearls and a flashy blue rhinestone tiara, had quite literally, but not accidentally, come under foot. Allowing Angie the opportunity to artfully nick the girl’s fine strand of gleaming white pearls (with a sapphire gemmed drop!) that had obligingly bounced up into Angie’s waiting fingers.

 

Angie now watched this rich lady headed towards her, with the very same thoughts in mind. But she needed to know what jewels the broad had hidden under that pricey mink. As the lady came close Angie tried to “will” her to open up. “C’mon honey, its warm, you must be burning up in that pelt, show mama what you got.” But the broad did not obligingly peel back the mink for Angie, and Angie would never know what riches may have been in the cupboard, or perhaps it had been bare, though Angie seriously doubted it. The lady reached her, shooting Angie a nervous smile. Angie smiled back, wondering if the lad realized how close she had come to being relieved of one of her fancy trinkets.

As the woman passed by, Angie watched her backside, musing to herself, Fine, I’ll just have to settle for Olivia. Angie then started down the long deserted corridor with a brisk walk, her satin dress bouncing in rhythm.

 

**

Reaching the Ballroom proper, Angie stopped and gave the room a vigilant scan for security, and as she had figured, it definitely had loosened up. She then searched in earnest for the young miss clad in her expensive purple silk “tickling gown”( see addendum rr). The naïve young thing had been ever so carelessly displaying those delectably exquisite diamonds of hers with such reckless abandon that it would be a wonder if she still possessed all of them. It will be a wonder if she still does after meeting me, Angie mused. She almost was purring in anticipation as she thought about those diamonds, especially the long necklace and the way it had flung from side to side as the girl had walked past Angie the first time that evening(and several more since). Angie envisioned the diamonded box clasp at the back of her bare neck (long hair was high in a bun) that held the necklace around her neck, for now! She hoped that Olivia had not removed her shiny hairpiece to let her long hair down, Angie prayed, it would make things so much the easier.

 

As Angie thought about this she slowly edged her way along the wall, dodging in and out amongst the happily chatting guest, constantly on the lookout for Olivia.

 

Angie was suddenly, unexpectedly blindsided from behind as something incredibly soft, slickly bumped up against her back. Like a cat, she kept her feet and whirled around in time to catch a handful of pure heaven in the form of one of the be- gowned young “princesses” that seemed to be everywhere this gay evening. She found herself nose to eye with a young miss, resplendent in a long slippery gown as black as ink, and as soft as young chinchilla. The sleek gown literally poured tightly down along her perked figure to the floor, covering over her shiny black high heels. The colour of night that was her gown was broken only by the whiteness of her bare shoulders and neck, and by an exquisitely large, leaf like brooch of clear diamond banquets that covered her right side at least 8 inches above and below her slender waistline.

 

The young “princess” giggled nervously as she profusely apologized over her “silliness” at tripping over her own gown as she had stepped backwards. Angie oozed kindness as she spoke soothingly to the girl, watching her melt like putty in Angie’s light fingered hands. As Angie spoke calmingly to the girl, her eyes were indiscreetly soaking up the dazzling white diamond necklace that surrounded the nervous girl’s bare white throat that was now eye level to Angie. .Angie looked down at the girls gloved hand resting upon her full bosom , admiring the softness of the satin gloves (dyed to match her gown) that stretched up past her elbows, drooling secretly over the enormous cocktail ring that graced one of her fingers. The princess raised up her hands, giving them to Angie, who took up the satin clad hands, holding them as tightly as she was holding the girls gaze, before letting the girl slowly slip them from her firm grasp., .

  

The girls eyes finally broke away, and Angie smiled exuberantly, giving the girl an enveloping hug to show there were no hard feelings, letting her hands slip ever so gingerly down to grasp the girl by the waist, giving her a squeeze. She then let the young thing slip out, free to go on her way, as Angie turned and did likewise. As Angie sauntered off, she happily thought that it was sometimes funny how occasionally, when least expected, one gets very lucky. As she thought this, she moved her clenched fist to the top of her dress. Pulling the dress out, she dropped down her cleavage the rather large, expensively glittering , diamond brooch she had so carefully slipped from the rather ditsy young ”princess” black satin clad waist. The damsel had not so much felt a prick when Angie had lifted the jewel, snapped the clasp open, and slipped it from her figure as her hands had squeezed her scintillatingly soft waist. She now felt it wonderfully slip down, joining Ginny’s purloined bracelet already resting securely there. Angie stole a careful look back over her shoulder.

 

The clueless young” Princess” was now happily dancing away with a tuxedoed young man. Her handsome partner, with a neatly trimmed beard, had one white gloved hand holding up her hand in black satin, the enormous cocktail ring shining out like some richly coloured beacon ; the other white gloved hand lay upon her back, mere inches away from the simple hook in eye clasp of the necklace of white diamonds. Angie drooled, how she would have liked to have had her hands in either of the positions that the man’s were now laid. Taking the ring and necklace would have been a piece of cake. Angie did sometimes secretly envy men, who could get close to jewel-laden ladies in ways that Angie could not! Angie imagined these wicked thoughts to herself as she allowed herself to be mesmerized by the blaze of fiery diamonds that for the time being, were still wrapped around the “princess’s” slender white throat.

  

Angie was not worried about the young lady raising a squawk over a missing brooch. Clumsy Dames like her were used to having jewelry misplaced. Angie wondered if they ever realized how many times those jewels were not misplaced, but stolen by light fingered thieves who, like Angie, knew all too well how to read the signs and reap the rewards. If only she had had time to be better prepared, she sighed, turning her attention reluctantly away from the diamonds.

 

Angie moved off, filled with the confidence that the tides of her fortune had turned for the better. Rounding a corner Angie spied Celia off to one side, and toyed with the idea of slipping off her remaining diamond clip now that Maud was still chatting up one of the Guards (another one out of commission!) Then, for a split second, on the other side of the room, she saw the silky wisp of purple that singled out her prey. Now, down to business she said, licking her lips. With a cat like gleam in her eyes, she swiftly stole into the crowd of dancing couples. Soon she was lost to sight, swept up in a rainbow coloured sea of slinky swirling gowns.

 

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Addendum rr (excerpted from :Cutpurse: skilles, artes and Secretes of the Dip by “Gaston Monescu, 1826”)

A perfect tickle thief setup, as Angie renamed it, was a ploy for use on a lady “waering a long gown or skirtes” that was easily trip able, when a foot stepped on it from behind, sometimes added with a soft nudge, sending the wearer tumbling. Ones fingers, in the process of steading or helping would glide(tickling) over the material ( the sleeker the better) to reach and pluck free the fair ladies’ targeted bauble.

 

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Interested in reading more about the shenanigans of Angie?

Then Check out the following albums:

Angie Picks Chicago

Angie being Receptive

Angie being chartable

Angie at Play

Angie Trick Or Treat( coming soon)

  

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Courtesy of Chatwick University Archives

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The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

 

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The concept of Rewilding may be understood as one which undertakes to show what healthy, as opposed to diseased, relationships between all things in Nature, including humankind, would look like. It is something of a rage on many college campuses & among both moderate & radical environmentalists, entails a growing body of theory & literature, & deserves to be taken seriously not just as a notion, but also as a practice - for indeed, it is a concept created to be practiced with all the arts & fervor presently devoted to war & other means of destruction, such as global capitalism.

 

Before Darwin most westerners believed that humans were a special creation, & thus, though in Nature, not of Nature. Many people still believe this, but only a small percentage of educated people ignore the elegance & satisfactoriness of Evolution, which since the discovery of the double helix has been fully outfitted with the mechanism that makes it indisputably true, DNA. Humanity is in & of Nature. What we did throughout all of our past, & are presently doing & in the future will do, is altogether natural.

 

Species differ from one another. The species humankind, too, differs from other life forms. Among our differences is an ability to recognize, name & act upon alternatives that we know will shape the future of a substance, a thing, a place, & of our minds. We are beings who generate values. In brief, a value is a preferred end enjoined to one or more preferred means that pursue, enable or secure said end. Values evolve as the circumstances in which they are lived by change. For reasons not pertinent to the immediate discussion, values change more slowly than do circumstances. In many cases, values, such as ones occasioned by & concomitant with religious & economic beliefs, are notably resistant to change. For instance, although grotesque overpopulation is strongly contributing to the ever increasing poverty, misery, explosive social disorder & possible extinction of our kind, Islamic, Christian & Jewish institutions persist in regarding birth control & all abortions as anathema.

 

The world's scientific community is sufficiently convinced that the present century is an apocalyptic one. Unlike religious fanatics who pathologically wish for death rather than life (we are all in degree increasingly maddened by what our history has begot), the scientists wish for continued life. A few economists also wish for life, along with a few intellectuals, journalists, professors, students & some of the rest of us. Of the world's great politicians, prelates & oligarchs, there are none with us. Whether they consciously know it or not, they are in the oppression business - in the 'law & order' mindset - as they have been since agricultural arts made cities, the management of large groups of persons & the consequent acquisition of unequal wealth possible.

 

I am all for preserving Civilization, but not in the form in which it came into being 10,000 years ago & has remained in down to this moment. Boom & Bust must finally end in absolute, irresolvable Bust. I do not want that for me, nor for humankind.

 

In its better envisioning, Rewilding has little or nothing to do with primitivism. True Rewilders have much more important things to do than take to the woods, kill rabbits & light fires by rubbing wood sticks together. There are states of mind, economic theories & practical methodologies to be designed & achieved. Bows, arrows & clubs will not get us there. Nor will mere violence. If there must be violence, it must be informed by our minds, not just our guts & hearts. Revolutions can be intelligent, & a few have been. A small few have even been largely peaceful.

 

A lot of us are not going to survive what is coming, no matter how we try - the Earth is burning, & so are several billion of us. But it is our nature, is it not, to try? To accept suffering & death as a price of glory? To finally refuse to surrender, to lie down & be trampled upon, spit on, raped & robbed by tyrants?

 

Dare to denounce What Is & adventure for what could be. Stop treating What Is as though it were an implacable monster before which any of us need kneel. Extinguish rather than toady to what is no good. If what once seemed useful became a boomerang that turned on you - as, for instance, your bank, Obama, senator or congressperson - withdraw all of your money & support, & beg your neighbors to see the wisdom of this. Quit your political party. Examine the several fascinating alternatives to capitalism. Vote only for politicians who acknowledge the existence of & swear loyalty to humane economies, & above all speak well of & extend support only to politicians who take no payola or any services from corporations, oligarchs & lobbyists they say they oppose. Do not attend any church that preaches this is a god's business, not yours. File lawsuits against every corporation that offends you, & do not be ashamed of filing mere nuisance suits. Pay not in coin or respect to the masters of this world what the masters crookedly assert is theirs. Complain loudly, brazenly & incessantly, as a bear screams if its self, mate or cub is insulted. Join public protests, but do not just stand on corners - march to the doorways of newspapers, broadcasters, government offices, corporations, churches & every place that practices deceits to mislead, misinform or maltreat us ... & get in there if possible, & convert rather than just confront thy offenders. Rewild thyself, & thereby save us all.

          

A 360° Panorama just after sunrise (with most of the landscape still in deep sadow) on a hill in the area of the "Cradle of Humankind" (a World Heritage Site in Kromdraai, Gauteng, South Africa). Xerophyta retinervis, Spotted Aloes (Aloe greatheadii var. davyana) and Sugar Bush Proteas are scattered throughout the grasslands.

 

"Mrs Ples" (Australopithecus africanus) was found in this area in 1947, and is currently the oldest human fossil found to date. This gave rise to the idea that Africa is the "Cradle of Humankind".

 

In 2008 two fossilised skeletons of a new species of early human "Australopithecus sediba" were discovered.

 

Winter, June 2007.

 

Best viewed LARGE.

 

Martin

-

Administrator of:

Stapeliad & Asclepiad Group

All things beautiful in Nature Group

Succulent Treasures of the Desert Group

The World Up-Close (Nature Macro) Group

www.damanhur.org/en/art-and-creativity/temples-of-humankind

Ricoh GX200

[201950]

1 - Bosquet de l'Arc de Triomphe

 

MARGUERITE HUMEAU

RIDDLES (Sphinx Otto Protecting Earth from Humankind) (2017)

 

Peau artificielle (gelcoat, résine teintée, poudre de marbre, fibre de verre) ossature acier, plantes sélectionnées parmi les recettes de magie noire (dont Cornus Sanguinea, Cornus alba Siberica, Salix Alba Chermesina, Hamamelis, Sedum

 

Marguerite Humeau est née en 1986 à Cholet, France, vit et travaille à Londres, Royaume-Uni.

 

Le Bosquet de l'Arc de Triomphe est le premier du parcours du Voyage d'Hiver, qui s'ouvre avec l'installation de Marguerite Humeau titrée Riddles (Sphinx Otto Protecting Earth from Humankind). Le Sphinx fut la première sculpture installée dans le jardin par Louis XIV, comme pour indiquer une mise en garde; l'omniprésence de l'énigme du vivant en ces lieux. Métaphore des dispositifs sécuritaires contemporains, le Sphinx Otto protège la planète des dangers et menaces provoqués par les humains. Le visiteur parcourt un labyrinthe végétal aux couleurs sanguines et à la chair empoisonnée pour faire face à une énigme totale et silencieuse, celle de notre humanité et de ses cyvles, de la condition de nos existences, de l’équilibre fragile de notre rapport au monde

 

(D'après la notice de l'Exposition)

1 - Bosquet de l'Arc de Triomphe

 

MARGUERITE HUMEAU

RIDDLES (Sphinx Otto Protecting Earth from Humankind) (2017)

 

Peau artificielle (gelcoat, résine teintée, poudre de marbre, fibre de verre) ossature acier, plantes sélectionnées parmi les recettes de magie noire (dont Cornus Sanguinea, Cornus alba Siberica, Salix Alba Chermesina, Hamamelis, Sedum

 

Marguerite Humeau est née en 1986 à Cholet, France, vit et travaille à Londres, Royaume-Uni.

 

Le Bosquet de l'Arc de Triomphe est le premier du parcours du Voyage d'Hiver, qui s'ouvre avec l'installation de Marguerite Humeau titrée Riddles (Sphinx Otto Protecting Earth from Humankind). Le Sphinx fut la première sculpture installée dans le jardin par Louis XIV, comme pour indiquer une mise en garde; l'omniprésence de l'énigme du vivant en ces lieux. Métaphore des dispositifs sécuritaires contemporains, le Sphinx Otto protège la planète des dangers et menaces provoqués par les humains. Le visiteur parcourt un labyrinthe végétal aux couleurs sanguines et à la chair empoisonnée pour faire face à une énigme totale et silencieuse, celle de notre humanité et de ses cyvles, de la condition de nos existences, de l’équilibre fragile de notre rapport au monde

 

(D'après la notice de l'Exposition)

Golden early morning Winter colours in the "Cradle of Humankind" (a World Heritage Site in Kromdraai, Gauteng, South Africa).

 

"Mrs. Ples" (Australopithecus africanus) was found in this area in 1947, and is currently the oldest human fossil found to date. This gave rise to the idea that Africa is the "Cradle of Humankind".

 

In 2008 two fossilised skeletons of a new species of early human "Australopithecus sediba" were discovered.

 

Winter, June 2007.

 

Best viewed LARGE.

 

Martin

-

Administrator of:

Stapeliad & Asclepiad Group

All things beautiful in Nature Group

Succulent Treasures of the Desert Group

The World Up-Close (Nature Macro) Group

SAN FRANCISCO, CA - May 18 - Bryan Forry and Bobi Forry attend CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Devlin Shand for Drew Altizer Photography)

Copyright PS

 

Aegean, Cyclades, Mykonos.

 

The Aegean forms a branch of the Mediterranean mother sea. It's studded with these islands that bear a rich history of developing civilisation and art celebrating the continuity of humankind. In ancient times their beauty was deified, and many towns and temples were built. People's lives were tied closely to the sea and in economic relationship to the island environment.

 

Nature was a paramount determinant in daily life and this reflects in the architecture. Sun, wind, and limestone or volcanic ground were key influences. Seasonal wind from the north, the meltemi, blows cold and gusty. In the villages, with their contorting alleys, flat-roof cubic forms, limited window openings, and universal whitewash, we can readily see the adaptation to climate. This explains similarities between such complexes throughout island Greece, whereas exact details are special to each locality.

 

Aegean architecture is a shared art showing originality and invention. A sensitivity to context and neighbourliness is always there; communities are visually sharply defined and of limited, comprehensible size. Further, we find great integrity, sculptural skill, and humanity. Often a varied unit repetition occurs, without monotony, allowing for growth while closely related to topography. Growth followed time-honoured custom. These settlements remain built expressions of a heritage transmitted from one generation to the next.

 

In the southern Aegean lie the Cyclades. These islands are so called because they were perceived to encircle Delos, birthplace of mythical Apollo. Kyklos in Greek means circle.

 

Cycladic architecture took shape with details special to each place but typically as white clustering. All is compact and unified, having consistent scale. It's built up with simple form elements -- the cylinder and cube, barrel and spherical vaulting. These combine in a chunky and flowing continuity, often with enchanting paradoxes. Whitewashed thick masonry cools the interiors in hot weather. The incandescence, the play with sunlight, and the geometry, recharge our sensory responses to the qualities of light. However, the immaculate brilliance of now-popular places is a relatively recent phenomenon -- inhabitants would not have set out to attract pirates in the Middle Ages.

 

Renowned, commercialised, and not for the tourist season, captivating Mykonos (above) has a richness of spaces and forms. This island was always exposed to the sun, sea, and wind -- primal generators for life and architecture. The intensely visual main town is the archetypal Cycladic image. From sun-drenched granitic landscape the luminescent built concentration converges on the port, an active trading harbour open to that vital ocean. Typically, other island capitals were raised at a defensible distance from the sea and its piracy, yet the water's-edge town of Mykonos shows little fortification.

 

On the edge of the oldest part of the town lies "Little Venice" (Enetia), so-called because its upper-floor balconies overhang the splashing sea. This visual delight shows in my photo above. The grander examples were captains' houses and have access doors onto the water.

 

Enlarge

Click the diagonal arrows upper-right; then press F11 Fullscreen.

 

wikimapia

  

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SAN FRANCISCO, CA - May 18 - CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Natalie Shrik for Drew Altizer Photography)

I was asked by UNIQLO to create six designs for their Nippon-Omiyage T-shirt lineup, the first in the series were Tokyo, Ginza and Kobe. All using handmade typography and a connection to the location itself.

 

ユニクロの「日本のお土産シリーズ」のデザインに参加させて頂きました。全6デザインの内、今回発売されたのは「東京」「銀座」「神戸」の三都市のお土産です。ハンドメイドのタイポグラフィーを使って、それぞれの街のイメージを表現しています。

 

The traditional heart of Tokyo's upmarket shopping, dining and gallery district has historically been Ginza (since being rebuilt in the 1870’s).

In keeping with the ‘omiyage’ theme of the design and a connection to the shear number of foreign stores in Ginza I wanted to include the traditional western ‘from Ginza with love’ message you often find on gifts from Europe and America. Basing everything around the shape of a heart created with pieces that form the kanji for the place itself.

 

銀座は1870年代の再建以来、伝統的な高級ショッピング、レストラン、ギャラリー街の中心地となっています。海外ブランドのお店が立ち並ぶ「銀座」と今回のテーマである「おみやげ」を重ね合わせて、欧米の「お土産」のメッセージとしてよく見られる「from GINZA with LOVE」" 銀座より愛を込めて "を入れてみました。ハートの形を形成しているパーツによって、銀座の文字をあしらいました。

Ramadan (Arabic : رمضان‎ Ramaḍān, Arabic pronunciation: [rɑmɑˈdˤɑːn] ) (also Ramadhan, Ramadaan, Ramazan) is the ninth month of the Islamic calendar , which lasts 29 to 30 days. It is the Islamic month of fasting , in which participating Muslims refrain from eating and drinking [1] and is intended to teach Muslims about patience, humility, and spirituality. Muslims fast for the sake of God (Arabic : الله‎, trans: Allah ) and to offer more prayer than usual. Compared to the solar calendar , the dates of Ramadan vary, moving backwards by about eleven days each year depending on the moon ; thus, a person will have fasted every day of the calendar year in 34 years' time. Muslims believe Ramadan to be an auspicious month for the revelations of God to humankind, being the month in which the first verses of the Qur'an were revealed to the Islamic prophet , Muhammad .

 

Contents

 

[hide ]

 

· 1 Origins of Ramadan

 

· 2 The Beginning of Ramadan

 

· 3 Practices during Ramadan

 

o 3.1 Fasting

 

o 3.2 Prayer and reading of the Qur'an

 

o 3.3 Iftar

 

o 3.4 Charity

 

o 3.5 Laylat al-Qadr

 

· 4 Eid ul-Fitr

 

· 5 Cultural aspects

 

o 5.1 Decorations

 

· 6 Economic aspects

 

· 7 See also

 

· 8 References

 

· 9 External links

 

[edit ] Origins of Ramadan

 

The word Ramadan is derived from an Arabic root rmḍ, as in words like "ramiḍa" or "ar-ramaḍ" denoting intense heat,[2] scorched ground and shortness of rations. Ramadan, as a name for the month, is of Islamic origin. Prior to Islam and the exclusion of intercalary days from the Islamic calendar, the name of the month was Natiq and the month fell in the warm season.[3] The word was thus chosen as it well represented the original climate of the month and the physiological conditions precipitated from fasting. In the Qur'an, God proclaims that "fasting has been written down (as obligatory) upon you, as it was upon those before you". According to a hadith , it might refer to the Jewish practice of fasting on Yom Kippur .[4] [5]

 

[edit ] The Beginning of Ramadan

 

Hilāl (the crescent ) is typically a day (or more) after the astronomical new moon. Since the new moon indicates the beginning of the new month, Muslims can usually safely estimate the beginning of Ramadan.[6]

 

There are many disagreements each year however, on when Ramadan starts. This stems from the tradition to sight the moon with the naked eye and as such there are differences for countries on opposite sides of the globe.[7] More recently however, some Muslims are leaning towards using astronomical calculations to avoid this confusion.

 

For the year of 1432 Hijri , the first day of Ramadan was determined to be August 1, 2011.

 

[edit ] Practices during Ramadan

 

[edit ] Fasting

 

Main article: Sawm

   

During the month of Ramadan, Muslims fast from dawn to dusk.

 

The month of Ramadan is the one in which the Qur'an was sent down - right Guidance to mankind, and clear signs of Guidance and Distinction of truth from falsehood. Those among you who witness it, let him fast therein. Whoever is sick or on a journey, then a number of other days. God desires ease for you, and desires not hardship. Thus may you fulfil the number of days assigned, magnify God for having guided you, and perhaps you will be thankful.

 

Ayah 185, Sura 2 (Al-Baqara ), translation by Tarif Khalidi see:[2] [8]

 

Ramadan is a time of reflecting, believing and worshiping God. Muslims are expected to put more effort into following the teachings of Islam and to avoid obscene and irreligious sights and sounds. Sexual intercourse among spouse is allowed after one has ended the fast. During fasting intercourse is prohibited as well as eating and drinking, one is also encouraged to resist all temptations while you are fasting. Purity of both thoughts and actions is important. The act of fasting is said to redirect the heart away from worldly activities, its purpose being to cleanse the inner soul and free it from harm. It also teaches Muslims to practice self-discipline, self-control,[9] sacrifice, and empathy for those who are less fortunate; thus encouraging actions of generosity and charity (Zakat ).[10]

 

Muslims should start observing the fasting ritual upon reaching the age of puberty , so long as they are healthy, sane and have no disabilities or illnesses. The elderly, the chronically ill, and the mentally ill are exempt from fasting, although the first two groups must endeavor to feed the poor in place of their missed fasting. Also exempt are pregnant women if they believe it would be harmful to them or the unborn baby, women during the period of their menstruation, and women nursing their newborns. A difference of opinion exists among Islamic scholars as to whether this last group must make up the days they miss at a later date, or feed poor people as a recompense for days missed.[11] While fasting is not considered compulsory in childhood , many children endeavour to complete as many fasts as possible as practice for later life. Lastly, those traveling (musaafir) are exempt, but must make up the days they miss.[12] More specifically, Twelver Shī‘ah define those who travel more than 14 mi (23 km) in a day as exempt.[10]

 

[edit ] Prayer and reading of the Qur'an

 

In addition to fasting, Muslims are encouraged to read the entire Qur'an. Some Muslims perform the recitation of the entire Qur'an by means of special prayers, called Tarawih , which are held in the mosques every night of the month, during which a whole section of the Qur'an (Juz' , which is 1/30 of the Qur'an) is recited. Therefore the entire Qur'an would be completed at the end of the month.

 

Ramadan is also a time when Muslims are to slow down from worldly affairs and focus on self-reformation, spiritual cleansing and enlightenment; this is to establish a link between themselves and God through prayer, supplication, charity, good deeds, kindness and helping others. Since it is a festival of giving and sharing, Muslims prepare special foods and buy gifts for their family and friends and for giving to the poor and needy who cannot afford it; this can involve buying new clothes, shoes and other items of need. There is also a social aspect involving the preparation of special foods and inviting people for Iftar .

 

[edit ] Iftar

 

Main article: Iftar

 

Iftar in Sultan Ahmed Mosque in Is Istanbul ,Turkey

 

Muslims all around the world will abstain from food and drink, through fasting, from dawn to sunset. At sunset, the family will gather the fast-breaking meal known as Iftar . The meal starts with the eating of a date — just as Prophet Muhammad used to do. Then it's time for the Maghrib prayer, which is the fourth of the five daily prayers, after which the main meal is served. [13]

 

Over time, Iftar has grown into banquet festivals. This is a time of fellowship with families, friends and surrounding communities, but may also occupy larger spaces at mosques or banquet halls, where a hundred or more may gather at a time.[14]

 

Most markets close down during evening prayers and the Iftar meal, but then re-open and stay open for a good part of the night. Muslims can be seen shopping, eating, spending time with their friends and family during the evening hours. In many Muslim countries, this can last late into the evening, to early morning. However, if they try to attend to business as usual, it can become a time of personal trials, fasting without coffee or water.

 

[edit ] Charity

 

Charity is very important in Islam, and even more so during Ramadhan. According to tradition, Ramadhan is a particularly blessed time to give in charity, as the reward is 700 times greater than any other time of the year. For that reason, Muslims will spend more in charity (sadaqa), and many will pay their zakat during Ramadhan, to receive the blessings (reward). In many Muslim countries, it is not uncommon to see people giving food to the poor and the homeless, and to even see large public areas for the poor to come and break their fast. It is said that if a person helps a fasting person to break their fast, then they receive a reward for that fast, without diminishing the reward that the fasting person got for their fast.

 

[edit ] Laylat al-Qadr

 

Main article: Laylat al-Qadr

 

Sometimes referred to as "the night of decree or measures", Laylat al-Qadr is considered the most holy night of the year.[15] Muslims believe that Laylat al-Qadr is the night in which the Qur'an was first revealed to the Prophet Muhammad . Also, it is believed to have occurred on an odd-numbered night during the last 10 days of Ramadan, either the night of the 21st, 23rd, 25th, 27th or 29th. Shiites also commemorate the attack on Imam `Ali ibn Abi Talib and his subsequent martyrdom every year on the 19th, 21st and 23rd of Ramadan.

 

[edit ] Eid ul-Fitr

 

Main article: Eid ul-Fitr

 

The holiday of Eid ul-Fitr (Arabic : عيد الفطر‎) marks the end of the fasting period of Ramadan and the first day of the following month, after another new moon has been sighted. The Eid falls after 29 or 30 days of fasting, per the lunar sighting. Eid ul-Fitr means the back to the fitrah ; usually a special celebration is made. Food is donated to the poor (Zakat al-fitr ); everyone puts on their best, usually new, clothes; and communal prayers are held in the early morning, followed by feasting and visiting relatives and friends. The prayer is two Raka'ah only, and it is sunnah muakkad [16] as opposed to the compulsory (Fard) five daily prayers. Muslims are expected to do this as an act of worship, and to thank God.

 

[edit ] Cultural aspects

 

[edit ] Decorations

 

Ramadan is met with various decorations throughout the streets. In Egypt , lanterns are known to be a symbol of Ramadan. They are hung across the cities of Egypt, part of an 800 year old tradition, the origin of which is said to lie in the Fatimid era where the Caliph Al-Muizz Lideenillah was greeted by people holding lanterns to celebrate his ruling. From that time lanterns were used to light mosques and houses throughout the city.

 

In other Muslim countries, lights are strung up in public squares, and across city streets, to add to the festivities of the month. In the West, many Muslim households have taken to decorating the inside of their homes to make Ramadhan a more special time for their children.

 

[edit ] Economic aspects

 

In Egypt, national statistics have pointed to substantial increase in consumption of food, electricity, and medications related to digestive disorders during the month of Ramadan as compared with the monthly average in the rest of the year.[17]

Native American Wisdom Quote:

 

Humankind has not woven the web of life.

We are but one thread within it.

Whatever we do to the web, we do to ourselves.

All things are bound together.

All things connect.

 

Chief Seattle, 1854

 

SAN FRANCISCO, CA - May 18 - Sean McDermott and Alona McDermott attend CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Devlin Shand for Drew Altizer Photography)

who can resist a shoe with something of value?

…after a long walk, with the threat of heavy rain, you get to spend a good hour or two slipping and sliding, crouching and crawling along one of the oldest tunnels dug by humankind. That mud is sticky…very sticky and I’ll defy anyone to go down there and not come out covered!

 

It’s normal to spend a good couple of hours cleaning your camera equipment once you have been down here!

 

Went with a good friend Jim who, as a postman, you would have thought a long walk would have been no bother…jeez…the moaning !

 

All pictures copyright to www.mckenzie.photos

 

The full history....

  

The idea of a fixed link across the English Channel was first put forward in the early part of the 19th Century but concerns over national security stalled attempts to progress it.

But an Anglo-French protocol was established in 1876 for a railway tunnel under the Channel. South Eastern Railway Chairman Sir Edward Watkin and French Suez Canal contractor Alexandre Lavalley conducted exploratory works on either side of the water, coming together in 1882 under the umbrella of the Submarine Railway Company.

In 1880, No.1 shaft was sunk and a 7-foot diameter pilot tunnel begun below Abbot's Cliff, between Dover and Folkestone, 10 feet above high water level. The driving force was Captain Thomas English's rotary boring machine - 33 feet in length and powered by compressed air - which was capable of cutting 5/16" for every rotation of its cutting head, at a rate of two revolutions per minute and almost half-a-mile per month. It was though hoped that this performance could be improved over time.

In February 1881, with about 800 feet driven and the machine proven, work was refocused at a site further along the coast, accessed via the 160-foot No.2 shaft at Shakespeare Cliff. Here another pilot tunnel was started under the foreshore, progressing through lower grey chalk towards a meeting with the French pilot tunnel - which was extending from Sangatte - 11 miles out to sea. This phase of the work was expected to be complete by 1886. Machinery was being developed which would then have enlarged the heading to 14 feet in diameter before a 2-foot thick concrete lining was inserted. The approach railways would fall on a gradient of 1:80 before reaching a depth of 150 feet below the sea bed. Operational ventilation would be provided by the compressed-air locomotives used to haul the trains.

But 1882 saw the government call a halt, worried about the military implications of a land-link to Europe. Sir Edward's well-reasoned reassurances fell on deaf ears with 2,040 yards of the Shakespeare Cliff heading driven, another 897 yards at Abbot's Cliff and 1,825 yards on the French side of the Channel. Both shafts were later backfilled.

When the idea of a tunnel was revisited in both 1974 and 1988, various remedial works were carried out on the 1880s workings as a result of the new alignments potentially intersecting with them. This work discovered a number of roof falls and broken timber supports. A concrete bulkhead was installed 890 yards into the No.2 heading, effectively entombing the boring machine.

Access to the original heading has been maintained as it meets one of the drainage adits driven from the base of the cliff under the coastal railway. This joins the 1880 tunnel 70 metres from the surface, after passing beneath Shakespeare Cliff Tunnel where it has been reinforced with concrete arches. Adjacent to the junction is a timber-lined passage leading to the base of the shaft where the boring machine would have been assembled.

   

Commentary on the Illuminations

 

How overwhelming must God's power be, if He could bestow such mighty powers on humankind! Psalm 8 extols mankind's privileged position within creation, recognizing that only the supreme might of the Creator could be powerful enough not only to draw the universe from nothingness, but also create humankind, “a little less than divine,...adorned... with glory and majesty.” The psalm is thus traditionally chanted by Jews in the daily Ma'ariv, or evening prayer service. The illuminations express the Psalmist's awe at humanity's remarkable powers—the power to understand the world, the power to appreciate and articulate our own position in Creation—which, however great, are a mere shadow of the all-encompassing supremacy of the Divine, symbolized by the surrounding cosmos.

 

On the Hebrew illumination, the expanding star pattern is composed of whirling, rotating triangular deltas, the Greek letter used in scientific notation to symbolize change. The delta alludes here to humanity's unique potential to learn about the world, to probe the innermost secrets of life as well as the most expansive views of the universe, to evolve an understanding of the laws and environment within which humankind exists. Each layer of the star celebrates a different aspect of humanity's God-given powers. The uppermost delta presents the text of the psalm, itself. The second level delta presents images of the probing of the DNA molecule, the chemical basis of all life. The angle at upper right presents the double-helix pattern of the DNA molecule itself as well as a depiction of an individual chromosome; the two opposing corners present at left, an electron microscopy image of high density liquid crystalline DNA, and at right, an image of DNA phase transition. The third layer introduces imagery drawn from modern astrophysics. The red-barred grey angle at upper left presents the celebrated image of the cosmological three degree background microwave radiation through which, in 2003, astrophysicists were able to determine the age of the universe. At center right is an image of a star cluster and nebula, at lower left a Hubble Space Telescope image of a star formation area in a gas cloud . The fourth delta includes images of Earth's surface produced by the Earth Observing Satellite (EOS); the three images present, in clockwise fashion from top right, images of the Ganges River Valley, the Himalayas, the Mississippi River Delta. All of these images have been realized through the sciences and engineering that blossomed from Enlightenment rationalism and that grew so rapidly during the twentieth century. But yet, all the splendor of mankind's wondrous achievements and gifts is surrounded by Almighty, invisible, yet perceptible in the very existence of the cosmos.

 

The English text of the psalm is surrounded by imagery of human creativity evidenced in the arts. The border in celestial blue and gold presents a mosaic, that art-form in which the continuous visual image must be imagined and abstracted in such a way that it can be recognizably re-formed in discrete bits of stone or tile. The mosaic carries two great statements of humanity's amazement at its brilliance. The Greek passage is drawn from Sophocles' Antigone, strophe 1 of the first Chorus: “Many wonders there be, but naught more wondrous than man.” The English passage is Miranda's cry of delight in the fourth act of Shakespeare's Tempest:

 

“O, wonder!

How many goodly creatures are there here!

How beauteous mankind is!

O brave new world,

That has such people in't!”

 

How beauteous indeed, is humanity – but how much mightier is the Almighty who bestows our gifts.

 

Christian Liturgical Uses

 

Roman Catholic tradition includes Psalm 8 in mass for the beginning of the New Year, and for the Season after Pentecost. In Anglican tradition, it is used in services celebrating daily work. In addition, overall Protestant tradition reflected in the Revised Common Lectionary includes Psalm 8 in the liturgies for January 1 (Feast of the Circumcision), Trinity Sunday and the Season after Pentecost.

24h Radio broadcast performance from CoseCosmiche.

humankind.voyage/

16 - 17 december 2018

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Photos by Matteo Castellani

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24 hour live radio performance of sound, poetry and radio works inspired by the Universe.

Where: CoseCosmiche, Via Aleardi 11, Milan

Start: 16.00, 16th December 2018 (SUN), km 0

End: 16.15, 17th December 2018 (PLUTO), km 5.906.376.272

Radio webstream (active on 16th December): humankind.voyage:8000/spaceradio

FM: 97.3 (CoseCosmiche area)

BROADCASTING TIMETABLE: humankind.voyage

Broadcast by Alan Alpenfelt

Random Synth sound generator by Luca Xelius Martegani

Shop design: Paolo Di Benedetto

 

ARTISTS

Tomomi Adachi / Alan Alpenfelt / Giuliana Altamura / Alvax / Ashtoreth & Anja Aerts / Sofía Bertomeu / Vanni Bianconi / Bluenoid / Brandon Boan / Pamela Breda / Dario Buccini / Distant Fires Burning / Canary Burton & Marylou Blakeslee / Joan Cambon / Catenation / Claudio Cavalli / Gustavo Chab / Caro C / CLARA / WORRAN feat. Maud Marique & Rebecca Glover / Athena Corcoran-Tadd / Marc Cosmic / DAGGER MOTH & Marc Ribot / Maroulita De Kol / Cláudio de Pina / Marco Dibeltulu / Hazal Döleneken / Abby Donovan / Ceel Mogami de Haas / Dr Hanzo / Ducks! / Kaj Duncan David & Martin Lau / BA Denigris / Giorgio Dursi / Duty / Exotikdot / Jurgen Fonteijn / Chelidon Frame / Nicola Frattegiani / Zeno Gabaglio / Alessandro Gaffuri & Alice Diacono / Alessandro Gambato / Ghosts of Electricity / Ian Gibbins / Gigsta / Penelope Gkika / Mark Goodwin / Jared Green / Guili Guili Goulag / Stelios Hadjithomas / Ursula Häse / Werner Hasler / Juliana Herrero / Kathryn Hummel / Olga Kokcharova / Antoine Läng / Dominique LeGendre / Nicole L'Huillier & Daniela Catrileo / Lite Orchestra / LucidBLN / Luminance / William Memotone / Stephanie Merchak / Muzikačaka / Alyssa Moxley / Necromishka / Guan Ng Chor / Oikoi / Moggy Ogara / Olga Palomäki / Claudio Parodi / Georgia Pazarloglou / Mario Pegoraro / Pic Nic Radio / Fred Poulet / prOphecy sun / Rodrigo Quintanilha / Andrew Reddy / George Ridgway / Francesca Ruberto / Pekka Sassi / Katharina Schmidt / SciFiSol / Hannah Silva / Anna Stereopoulou / Syrenomelia / Lorenzo Tamai / Tavishi / Temple Music / The little typists / Walt Thisney / Vincent Tholomé / Tribes of Europe / TJ Thompson / Tonylight / Dixie Treichel / VaathV / Massimiliano Viel / Sally Walmsley / Hannah Woźniak / El Wud / Xelius / Angelina Yershova / Billy Yfantis

 

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ENGLISH (Italiano sotto)

The performing arts company V XX ZWEETZ in collaboration with the music label Human Kind Records has invited poets, artists and musicians to send sound works inspired by the Universe. These works will be transmitted via webradio and FM during a 24 hour radio performance from 16 to 17 December 2018 in Milan, at the Athur Cravan Foundation and thanks to the support of Cosmic Things.

 

During the 24 hours starting from 4pm on Sunday 16 December 2018 (GTM+1), the shop facing via Aleardi 11 in Milan will be transformed into a 'spaceship' in which an astronaut will spend a day immersed in the spatial sound.

The astronaut believes that peaceful places on Earth barely exist anymore and have been exhaustively explored, as have metaphysical ones. So he chooses Outer Space where he can freely listen and perceive himself immersed inside infinity. While drifting, he shares with us the sounds he encounters.

He will travel for 24 hours through the Solar System starting from the Sun and reaching Pluto. On his way, he will meet objects and planets that will activate the sound works collected during the "call". The rest of the journey, when no object or planet is encountered, will be defined by sounds generated randomly by a Synthesizer. The total duration of the trip is 5,906,376,272 km corresponding to 4,101,650 km for each minute of transmission.

The public can access the spacecraft freely at any time to listen to the trip with him. They can feed him, send him letters and postcards, play chess and help him spend the time when he feels alone.

 

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Powered in collaboration with Cose Cosmiche & V XX Zweetz

Sustained by ProHelvetia | SRKS/FSRC

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How the project was born:

It started when a sound poem on Mercury was composed as a commission by Radio Pic Nic (Bruxelles) to create works for the Sviluppo-Parallelo exhibition in 2016 at the Luzern Kunstmuseum, Switzerland.

The innate passion towards the vastness and mystery related to the Universe was so intriguing that it inspired Human Kind Records to invite other artists to contribute to something bigger.

Through the networking art concept “Freundeskreis” (circles of friends), nine artist collectives were chosen to compose for nine planets. They were invited to Milan on the 27th March 2017 for a one day lab and concert at the Galleria Giuseppe Pero. Together with art residency project CoseCosmiche and astrophysicist Luca Valenziano, we shared amongst us our artistic curiosities and responses towards the planets and the Universe.

The artists then selected their planets and returned to their own worlds to create their works.

 

As we know (or think we know…) Space does not stop expanding. Human Kind Records therefore decided to create a Universe of its own: humankind.voyage .

The serpent, or snake, is one of the oldest and most widespread mythological symbols. The word is derived from Latin serpens, a crawling animal or snake. Snakes have been associated with some of the oldest rituals known to humankind and represent dual expression of good and evil.In some cultures snakes were fertility symbols, for example the Hopi people of North America performed an annual snake dance to celebrate the union of Snake Youth (a Sky spirit) and Snake Girl (an Underworld spirit) and to renew fertility of Nature. During the dance, live snakes were handled and at the end of the dance the snakes were released into the fields to guarantee good crops. "The snake dance is a prayer to the spirits of the clouds, the thunder and the lightning, that the rain may fall on the growing crops.."In other cultures snakes symbolized the umbilical cord, joining all humans to Mother Earth. The Great Goddess often had snakes as her familiars—sometimes twining around her sacred staff, as in ancient Crete—and they were worshiped as guardians of her mysteries of birth and regeneration.Historically, serpents and snakes represent fertility or a creative life force. As snakes shed their skin through sloughing, they are symbols of rebirth, transformation, immortality, and healing. The ouroboros is a symbol of eternity and continual renewal of life.In the Abrahamic religions, the serpent represents sexual desire. According to the Rabbinical tradition, in the Garden of Eden, the serpent represents sexual passion. In Hinduism, Kundalini is a coiled serpent, the residual power of pure desire.Serpents are represented as potent guardians of temples and other sacred spaces. This connection may be grounded in the observation that when threatened, some snakes (such as rattlesnakes or cobras) frequently hold and defend their ground, first resorting to threatening display and then fighting, rather than retreat. Thus, they are natural guardians of treasures or sacred sites which cannot easily be moved out of harm's way.At Angkor in Cambodia, numerous stone sculptures present hooded multi-headed nāgas as guardians of temples or other premises. A favorite motif of Angkorean sculptors from approximately the 12th century CE onward was that of the Buddha, sitting in the position of meditation, his weight supported by the coils of a multi-headed naga that also uses its flared hood to shield him from above. This motif recalls the story of the Buddha and the serpent king Mucalinda: as the Buddha sat beneath a tree engrossed in meditation, Mucalinda came up from the roots of the tree to shield the Buddha from a tempest that was just beginning to arise.The Gadsden flag of the American Revolution depicts a rattlesnake coiled up and poised to strike. Below the image of the snake is the legend, "Don't tread on me." The snake symbolized the dangerousness of colonists willing to fight for their rights and homeland. The motif is repeated in the First Navy Jack of the US Navy.Serpents are connected with poison and medicine. The snake's venom is associated with the chemicals of plants and fungi[10][11][12] that have the power to either heal, poison or provide expanded consciousness (and even the elixir of life and immortality) through divine intoxication. Because of its herbal knowledge and entheogenic association the snake was often considered one of the wisest animals, being (close to the) divine. Its divine aspect combined with its habitat in the earth between the roots of plants made it an animal with chthonic properties connected to the afterlife and immortality. Asclepius, the God of medicine and healing, carried a staff with one serpent wrapped around it, which has become the symbol of modern medicine. Moses also had a replica of a serpent on a pole, the Nehushtan, mentioned in Numbers 21:8.Serpents are connected with vengefulness and vindictiveness. This connection depends in part on the experience that venomous snakes often deliver deadly defensive bites without giving prior notice or warning to their unwitting victims. Although a snake is defending itself from the encroachment of its victim into the snake's immediate vicinity, the unannounced and deadly strike may seem unduly vengeful when measured against the unwitting victim's perceived lack of blameworthiness.

Edgar Allan Poe's famous short story "The Cask of Amontillado" invokes the image of the serpent as a symbol for petty vengefulness. The story is told from the point of view of the vindictive Montresor, who hatches a secret plot to murder his rival Fortunato in order to avenge real or imagined insults. Before carrying out his scheme, Montresor reveals his family's coat-of-arms to the intended victim: "A huge human foot d'or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel." Fortunato, not suspecting that he has offended Montresor, fails to understand the symbolic import of the coat-of-arms, and blunders onward into Montresor's trap.

In America some of the Native American tribes give reverence to the rattlesnake as grandfather and king of snakes who is able to give fair winds or cause tempest. Among the Hopi of Arizona the serpent figures largely in one of the dances. The rattlesnake was worshiped in the Natchez temple of the sun and the Aztec deity Quetzalcoatl was a feathered serpent-god. In many Meso-American cultures, the serpent was regarded as a portal between two worlds. The tribes of Peru are said to have adored great snakes in the pre-Inca days and in Chile the Mapuche made a serpent figure in their deluge beliefs. A Horned Serpent is a popular image in Northern American natives' mythology.In one Native North American story, an evil serpent kills one of the gods' cousins, so the god kills the serpent in revenge, but the dying serpent unleashes a great flood. People first flee to the mountains and then, when the mountains are covered, they float on a raft until the flood subsides. The evil spirits that the serpent god controlled then hide out of fear. The Mound Builders associated great mystical value to the serpent, as the Serpent Mound demonstrates, though we are unable to unravel the particular associations.

 

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