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Jaroslav Romanchuck, distinguished Belarus politician and renowned economist presents “The Morality of Capitalism and Ayn Rand”
Jaroslav Romanchuk, a presidential candidate in Belarus in 2010, will present a unique conference entitled “The Morality of Capitalism and Ayn Rand” on February 11, 2013 at the Institute for Cuban and Cuban-American Studies (ICCAS) of the University of Miami, 1531 Brescia Avenue in the Coral Gables campus, with cocktails at 6:30 p.m., followed by the presentation at 7:00 p.m.
This timely conference is designed to provide the community in South Florida with the opportunity to hear, first hand, the views of a leading libertarian economist and political figure in the former Soviet republic and engage in a dynamic conversation about the importance of individual rights, free-enterprise, small government and strong personal freedoms.
“I’m honored to have been invited to present this critical topic, which drives my political and economic thinking, to the audience in Miami”, says Romanchuck, President of the Scientific Research Mises Center in Minsk. “It’s a great opportunity to share my views on the true meaning of capitalism, the new clothes of socialism and the framework of a moral social economic system, especially with the Cuban-American community who, like Belarusians, understand full well the evils of socialism.”
Following the presentation there will be a question and answer session with a distinguished panel of political thinkers, including Dr. Jose Azel, senior scholar at the ICCAS and author of Mañana in Cuba: The Legacy of Castroism and Transitional Challenge for Cuba, Glenn Cripe, co-founder and Executive Director of The Language of Liberty Institute and Olga Nodarse Chao, Founder of The Cuba Corps and author of Freedom Embattled. Dr. Andy S. Gomez, senior fellow at ICCAS, University of Miami will be the moderator.
This event is co-sponsored by The Cuba Corps, ICCAS, and the National Association of Cuban-American Educators (NACAE). Founded in 2005, The Cuba Corp’s mission is to help rebuild civil society in Cuba. ICCAS serves as a world class academic center for the research and study of Cuban and Cuban-American Studies. NACAE represents the interests of Cuban-American educators at all levels and promotes their accomplishments. It also contributes to the preservation of the Cuban cultural heritage and the promotion of the principles of liberty and civil rights.
PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center observed Memorial Day during a ceremony on Soldier Field at the Presidio of Monterey, California, May 26. The annual ceremony consists of a formation of troops in their dress uniforms representing all four service detachments, ceremonial cannon fire and the playing of taps. Retired U.S. Air Force Col. William “Terry” Bare, former assistant commandant at DLIFLC from 2008 to 2011, was guest speaker at the event that honored service members killed in service to our nation.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Cyanotype print on handmade paper, 20 x 27cm, $350 1 of 1
Thailand, Laos & Vietnam in their languages. (Vietnam & Thailand are recipes from the paper book, Google-translated)
Endpapers for Paper Pilgrimage: Bombs, Bandits, and a Vanishing Art in Southeast Asia
Due out in 2012 from ThingsAsian Press
Boudhanath (Devanagari, Nepali: बौद्धनाथ) (also called Boudha, Bouddhanath or Baudhanath or the Khāsa Caitya) is a stupa in Kathmandu, Nepal. It is known as Khāsti in Nepal Bhasa, Jyarung Khashor in Tibetan language (Tibetan: བྱ་རུང་ཁ་ཤོར། Wylie: bya rung kha shor) or as Bauddha by speakers of Nepali. Located about 11 km from the center and northeastern outskirts of Kathmandu, the stupa's massive mandala makes it one of the largest spherical stupas in Nepal.
The Buddhist stupa of Boudhanath dominates the skyline. The ancient Stupa is one of the largest in the world. The influx of large populations of refugees from Tibet has seen the construction of over 50 Tibetan Gompas (Monasteries) around Boudhanath. As of 1979, Boudhanath is a UNESCO World Heritage Site. Along with Swayambhunath, it is one of the most popular tourist sites in the Kathmandu area.
The Stupa is on the ancient trade route from Tibet which enters the Kathmandu Valley by the village of Sankhu in the northeast corner, passes by Boudnath Stupa to the ancient and smaller stupa of Cā-bahī (often called 'Little Boudnath'). It then turns directly south, heading over the Bagmati river to Patan - thus bypassing the main city of Kathmandu (which was a later foundation). Tibetan merchants have rested and offered prayers here for many centuries. When refugees entered Nepal from Tibet in the 1950s, many decided to live around Boudhanath. The Stupa is said to entomb the remains of Kassapa Buddha.
MYTHOLOGY
PADMASAMBHAVA BUDDHISM
This Bauddha stupa was built just after the demise of Lord Buddha and is largest single Chhorten in the world. Many Kilograms of gold were used in the decoration of the holy building. The legend of its building begins with one person:
An Apsara in a previous life, Jyajima (Tibetan: བྱ་རྫི་མ། Wylie: bya rdzi ma) was born into a very ordinary family of the earth after the reduction of her religious merit from the heaven. She had four husbands, and gave birth to four sons from each of her husbands. Tajibu (Tibetan: རྟ་རྫིའི་བུ། Wylie: rta rdzi'i bu) was born of a horse trader, Phagjibu (Tibetan: ཕག་རྫིའི་བུ། Wylie: phag rdzi'i bu) from a pig trader, khyijibu (Tibetan: ཁྱི་རྫིའི་བུ། Wylie: khyi rdzi'i bu) from dog trader and Jyajibu (Tibetan: བྱ་རྫིའི་བུ། Wylie: bya rdzi'i bu) from poultry business man. They had a most religious attitude, and decided to construct the largest chhorten (stupa). The land necessary for the stupa was made available by Majyajima (Tibetan: མ་བྱ་རྫི་མ། Wylie: ma bya rdzi ma), and construction was started soon after. The construction materials of soil, bricks and stones were carried on elephants, horses, donkeys etc. Majyajima died four years later, after completion of four stories of the structure, and after three more years of ceaseless efforts, the sons completed The Baudha stupa. It took almost seven years in total to complete the construction of the stupa.
It is believed that thousands of Buddhas and heavenly Deities incarnated as Lamas in the Baudha stupa It is said that because of Rabne, the rays of Bodhisattvas entered in the song from heaven and the holy sound of was heard in the sky. Due to being empowered by the Bodhisattvas this stupa is viewed with a great reverence as are Sangye Tong Duspai Chorten (Tibetan: སངས་རྒྱས་སྟོང་འདུས་པའི་མཆོད་རྟེན། Wylie: sangs rgyas stong 'dus pa'i mchod rten) etc.
After the completion of the construction of Boudha stupa, Tajibu prayed very devoutly to become the king of the northern region to disseminate the religion, so he was the Dharma King Trisong Detsen of Tibet in his next life. Phagjibu wished to be a scholar to disseminate the religion, and he became Bodhisattva Śāntarakṣita, an enlightened teacher in Tibet in the next birth. Khyijibu was incarnated as the enlightened Guru Rinpoche Padmasambhava on Ashada Dashain (on the tenth day of lunar calendar of first half of Ashada) in Oddiyana, Oḍḍiyāna (Skt. Oḍḍiyāna; Tibetan: ཨུ་རྒྱན་, Wylie: u rgyan, Oriya: ଓଡ଼ିଆଣ), in the southwest area, at Dhanakosha lake. He suppressed the Demons who were barriers to the religion and conserved and protected the religion from the Demonic attacks. Jyajibu prayed to be a minister for the protection of religion in the north and as an answer to his prayer he was born at Tibet and became the minister Bhami Thri Zher (Tibetan: སྦ་མི་ཁྲི་བཞེར། Wylie: sba mi khri bzher).
All of these person prayed for themselves but they did not pray for the animals, who transported bricks, soil, and stone. So these animals became angry and the elephant prayed to be the Demon in the next life to eliminate the religion. So he became the King Langdarma of Tibet in the next life, where Tajibu had disseminated the holiest religion. In the same way, the Donkey prayed to become a minister in the next life to destroy the religion and he too became a minister Dudlon Mazhang Drompakye (Tibetan: བདུད་བློན་མ་ཞང་གྲོམ་པ་སྐྱེས། Wylie: bdud blon ma zhang grom pa skyes) in Tibet.
A crow listened the prayers of these animals who prayed for the destruction of the holiest religion, and he (the crow) prayed to the Bauddha Stupa to be a minister to protect and preserve the holy religion by killing the demonic king Langdarma (Tibetan: རྒྱལ་པོ་གླང་དར་མ། Wylie: rgyal po glang dar ma) in the next life. He was born as Lha Lung Pal Gyi Dorje (Tibetan: ལྷ་ལུང་དཔལ་གྱི་རྡོ་རྗེ། Wylie: lha lung dpal gyi rdo rje) in the next life, and assassinated King Lang Darma with a bow and arrow.
The cowherds and shepherds, who prayed for the protection of religion and suppression of demons (who were attempting to eliminate the holy religion), were born as Cholon Gos Padma Gung Tsan (Tibetan: ཆོས་བློན་འགོས་པདྨ་གུང་བཙན། Wylie: chos blon 'gos padma gung tsan) in Tibet to conserve the religion. In the same way, Chodpurchan and Sarse, two Brahmins who prayed to the stupa to be born in the holy country and to write the holy literature were reborn in the next life as Kawa Paltsek (Tibetan: སྐ་བ་དཔལ་བརྩེགས། Wylie: ska ba dpal brtsegs) and Chogro Lhui Gyaltshan (Tibetan: ཅོག་རོ་ཀླུའི་རྒྱལ་མཚན། Wylie: cog ro klu'i rgyaltshan); these two translated thousands of holy teachings of Lord Buddha into Bhoti (Tibetan) Language.
In addition to this, two crown princes of Nepal prayed to be helpers in dissesminating the religion, and they became Denma Tsemang (Tibetan: ལྡན་མ་རྩེ་མང་། Wylie:ldan ma rtse mang) and Legzyin Nyima (Tibetan: ལེགས་བྱིན་ཉི་མ། Wylie: legs byin nyi ma) in their next lives and wrote many holy books. Along with this, the religious king of Tibet, Dechen Devachan asked the greatest teacher Rinpoche: "what could be the factor and cultural background of our previous life that made us deeply devoted in religion and active in disseminating religious matters"? He was answered and was reverently referred by the Guru as 'Jyarung Khashor.
LEGEND OF THE CONSTRUCTION OF THE STUPA ACCORDING TO TIBETAN BUDDHIST MYTHOLOGY
"The village that surrounds the great Kāṣyapa stupa is generally known by the name of Bauḍḍha. ...which in Tibetan is called Yambu Chorten Chenpo (Tibetan: ཡམ་བུའི་མཆོད་རྟེན་ཆེན་པོ། Wylie: yam bu'i mchod rten chenpo). Yambu is the general name by which Kāthmāndu is known in Tibet; and Chorten Chenpo means great stupa. The real name of the stupa in full is, however, Jya Rung Khashor Chorten Chenpo, which may be translated into: "Have finished giving the order to proceed with."
The stupa has an interesting history of its own which explains this strange name. It is said in this history that Kāṣyapa was a Buḍḍha that lived a long time before Shākyamuni Buḍḍha. after Kāṣyapa Buḍḍha's demise, a certain old woman, with her four sons, interred this great sage's remains at the spot over which the great mound now stands, the latter having been built by the woman herself. Before starting on the work of construction, she petitioned the King of the time, and obtained permission to "proceed with" building a tower. By the time that, as a result of great sacrifices on the part of the woman and her four sons, the groundwork of the structure had been finished, those who saw it were astonished at the greatness of the scale on which it was undertaken. Especially was this the case with the high officials of the country, who all said that if such a poor old dame were allowed to complete building such a stupendous tower, they themselves would have to dedicated a temple as great as a mountain, and so they decided to ask the King to disallow the further progress of the work. When the King was approached on the matter his Majesty replied: "I have finished giving the order to the woman to proceed with the work. Kings must not eat their words, and I cannot undo my orders now." So the tower was allowed to be finished, and hence its unique name, "Jya Rung Khashor Chorten Chenpo." I rather think, however, that the tower must have been built after the days of Shākyamuni Buḍḍha, for the above description from Tibetan books is different from the records in Sanskrit, which are more reliable than the Tibetan." the biggest stupa in Nepal.
HISTORY
The Gopālarājavaṃśāvalī (Gopu) says Boudhanath was founded by the Nepalese Licchavi king Śivadeva (c. 590-604 CE); though other Nepalese chronicles date it to the reign of King Mānadeva (464-505 CE). Tibetan sources claim a mound on the site was excavated in the late 15th or early 16th century and the bones of king Aṃshuvarmā 605-621 were discovered there.However, the Tibetan emperor, Trisong Detsän (r. 755 to 797) is also traditionally associated with the construction of the Boudhanath Stupa.Yolmo Ngagchang Sakya Zangpo from Helambu resurrected Boudhanath.
2015 EARTHQUAKE
On April 25th, 2015 a 7.8 magnitude earthquake caused minor damage to the stupa.
WIKIPEDIA
Graffiti 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.
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.
Osage Nation Youth Language Student's PreK-5th grade participated in the Oklahoma Native American Youth Language Fair at Sam Noble Oklahoma Museum of Natural History at the University of Oklahoma in Norman Okla. on April 6th.
Disclosure: George Shaw, Jack Duty, Tabitha Duty and Jason Duty are the Children of Osage News Editor Shannon Shaw Duty. TARA MADDEN/Osage News
PRESIDIO OF MONTEREY, California -- The Defense Language Institute Foreign Language Center suspended classes on June 16 for a Resiliency Day held on Presidio's Soldier Field. Service members were treated to a variety of culinary options from food vendors while the 517th Training Group Rifle Drill Team performed, followed by a flag-football tournament. Coins and awards were presented to recipients by visiting TRADOC Command Sgt. Maj., David Davenport. The day was capped by a parachute demonstration jump from the U.S. Army Special Operations Command Black Daggers parachute team.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, Calif. -- Defense Language Institute Foreign Language Center students and staff marked Patriot Day with a Fall Resiliency Day event held at the Price Fitness Center field Sept. 11. Presidio of Monterey Garrison Commander, Col. Paul Fellinger and DLIFLC Commandant, Col. Phillip Deppert kicked off the event by signing a joint proclamation declaring September suicide prevention month. Resiliency Day combined athletic competitions with a variety of additional recreational activities, food vendors and informational booths to improve the well-being of the body, mind and soul.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
HE Mr. LI Song, Resident Representative of China to the IAEA, welcomes the arrival of Rafael Mariano Grossi, IAEA Director General, at the UN Chinese Language Day opening ceremony held at the Vienna International Centre, Vienna, Austria. 2 May 2023.
Photo Credit: Dean Calma / IAEA
Protesters run away from tear gas fired by Malaysian riot police during a protest against the use of English to teach math and science in Kuala Lumpur, Malaysia, Saturday, March 7, 2009. (AP Photo/Lai Seng Sin)
Image Title: Belle Terre Club, Port Jefferson, L.I., N.Y.
Author: C. W. Dare, Drugs and Books
Original Form: Postcard
Language: English
Date Original: 1909
Date Digital: 2003-05
Transmission Data: Master scanned using a Hewlett Packard Scanjet 6200C (master TIFF at 600 dpi and 24 bit color; access JPEG file at 150 dpi and 24 bit color). Image manipulated with Adobe Photoshop 7.0 software.
Digital ID: Port JeffersonAC5
Digital Format: JPEG
Collection: Long Island Historic Postcards Collection (collection 346)
Repository: Special Collections and University Archives, Stony Brook University Libraries
Contributing Institution: Stony Brook University Libraries
Restrictions: No known copyright restrictions; permission to use must be obtained from Stony Brook University Libraries
Click here to view Stony Brook University Libraries’ other digital collections
For more information, contact Kristen J. Nyitray
49th NYC LGBTQ Pride in celebration of 50th Anniversary of the Stonewall Riots World Pride Rally at Christopher Street and Waverly Place in New York City, NY on Friday evening, 28 June 2019 by Elvert Barnes Photography
Sign Language Interpreter (ASL) Project
Visit NYC 50th Anniversary of Stonewall Riots LGBTQ WORLD PRIDE 2019 RALLY website at 2019-worldpride-stonewall50.nycpride.org/events/stonewall...
49th NYC LGBTQ WORLD PRIDE 2019 docu-project at elvertbarnes.com/NYCGayPride2019.html
PRESIDIO OF MONTEREY, California -- The 2017 Language Day celebration was held by the Defense Language Institute Foreign Language Center at the Presidio of Monterey, May 12. Language Day is open to the public and attended by schools throughout the region to promote an understanding of diverse customs and cultures from around the world. Approximately 5,000 people attended the annual event featuring cultural displays, activities and international ethnic cuisine served by local vendors on Presidio’s Soldier Field.
The event featured a Vietnam War veterans recognition ceremony. Vietnam War lapel pins authorized by Congress were individually presented by POM Garrison Commander Col. Lawrence Brown and Garrison Command Sgt. Maj. Roberto Marshall to approximately 75 Vietnam War veterans in attendance.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
UH System Interim President David Lassner with UH Hilo Chancellor Donald Straney at the dedication of Hale‘ōlelo, the new home of the UH Hilo Ka Haka ‘Ula O Ke‘elikōlani College of Hawaiian Language.
Directly translated into: You No Can Come Inside.
Tok Pisin is largely spoken in Papua New Guinea as a lingua franca. It developed as an English-based creole with influences from local languages and to a smaller extent German or Unserdeutsch and Portuguese. Tok Pisin originated as a pidgin in the 19th century, hence the name 'Tok Pisin' from 'Talk Pidgin', but has now evolved into a modern language. [wikipedia.org]
Virtually all the tourist guides describe the usual suspects interred here, but none has mentioned Yilmaz. Although of Kurdish origin, he is, perhaps, Turkey's greatest film director who won many international prizes. He wrote and directed Yol while being a political prisoner.
He died in exile. The design of this grave is cinematic, it shines out among the rest. I discovered him by accident because of this. A great artist in the most fitting place to rest.
Fulbright Foreign Language Teaching Assistant (FLTA) Midyear Conference and Festival. December 12, 2019, Marriott Marquis, Washington, DC
As part of the King Sejong Institute, the Intermediate Class were taken on a tour of the KCCUK's latest exhibition: NYLON, London New York Exhibition.
The tour led by our curator Mrs Jihye Hong lasted 30 minutes and included pre-taught vocabulary connected to art and colours.
Rafael Mariano Grossi, IAEA Director General, together with Heads of the Vienna-based Organisation tours exhibited at the UN Chinese Language Day opening ceremony held at the Vienna International Centre, Vienna, Austria. 2 May 2023.
Photo Credit: Dean Calma / IAEA
An English language catalogue for the products of Fazer entitled “May we present Fazer?” and issued by the famous Finnish confectionery and food company of Karl Fazer. Consisting of loose leaf sheets, clip-bound in a folder, the catalogue is not dated but the product range and design feels late-1950s to early 1960s.
Karl Fazer opened his first café in Helsinki, Finland, in 1891 and rapidly branched out into manufacturing a range of chocolates and confectionery. The ranges were often carefully packaged and branded such as Fazer Sininen-Fazer Blue milk chocolate introduced in 1922. The company is still independent and its brands are to be found widely across the Scandinavian countries where they also produce a large range of bakery goods and biscuits.
I do not recall them as ever having much visibility in the UK market – a crowded field with its own manufacturers – but the Christmas arrival of Orange and Lemon Slices did occasionally, I recall, include Fazer’s blue packaging. The catalogue shows a wide range of products and it is fascinating to see packaging in colour.
090807-A-1211M-008: NURISTAN PROVINCE, Afghanistan ? U.S. Army Staff Sgt. Jeremy Torres-Cortes attempts to use his language translation card to speak with an Afghan villager while on patrol in the Wadawu Valley, in Afghanistan?s Nuristan province, Aug. 7, during Operation Silver Creek. U.S. service members are issued the cards before deploying to Afghanistan, which offer basic phrases in the countries native languages, as well as pictures.
Torres-Cortes is a member of Headquarters Headquarters Battery, 2nd Battalion, 77th Field Artillery Regiment, 4th Infantry Division, based out of Fort Carson, Colo.
Operation Silver Creek is a combined Afghan National Security Forces and coalition military event, aimed at disrupting anti-Afghan forces before the nation?s second national elections, scheduled for late August. (Photo by U.S. Army Sgt. Matthew C. Moeller, 5th Mobile Public Affairs Detachment)
On October 1, 2019, the Roukema Center for International Education welcomed students to learn or brush up their skills on the Chinese language. All levels are welcome.
The Friars Peace Garden
The concept of creating a Peace Garden within the 42 acres that make up the grounds of The Friars was first discussed in 2006 by the Prior , the Estate Manager, and the Project Manager Jayne Hoose. The idea came about because Jayne Hoose had used the site as a place of escape whilst suffering from ME and felt that producing a Peace Garden was a way of giving something back and providing an additional space which would be open to all who sought the sanctuary she had found there.
The fundraising was started with a gift of £1000 from the local Funeral director Paul Rowland. The project has also been support by Gallaghers who undertook the preparation of the site for the garden's installation. The fundraising and implementation of the project has involved over 150 different individual volunteers including pupils and staff from St Anselm's school in Canterbury.
A Lottery Grant of £46484.84 was awarded to The Friars in 2010 via Community Spaces and Groundwork UK.
The garden, in the unused main entrance to The Friars Gatehouse, was designed to provide for a quiet space accessible to a wide range of visitors incorporating different seating styles and with flat access for those with mobility problems and families using children's buggies. Texture and scent have been incorporated to widen the garden's appeal and provides interest for those with sight impairment.
The Peace Garden is divided by upright sleepers into several small themed gardens allowing the visitor to view the garden as a whole, whilst enjoying the different smaller areas of planting. The first garden entered takes up the busy stressful mood of many visitors and aims to subtly move this energy to a place of warmth and vibrancy. This then enables the visitor to take onboard the energy reduction of the wind and wave garden. Making use of soothing curves and a mauve and pale yellow palette, this is designed to invoke a mood of gentle flowing calm. The central earth and water garden with a blue and white palette encourages tranquillity and stillness. The visitor, supported by the sounds of the water features, is encouraged to rest and 'to be'
Incorporated throughout the garden are peace tiles in over 200 different languages acting as a symbol of striving for the peaceful integration of all in society - locally, nationally and internationally. Parishioners, visitors and local businesses have sponsored these tiles.
The Love Language, from Chapel Hill, NC, performed at Clementine Cafe on Saturday, April 3, 2010 as part of MACRoCK 13 in Harrisonburg, VA.
Raymi Gutierrez, Jonatan Martinez, Alex Aldana, and Nicolas Gonzalez speaking at Language Academy of Sacramento.
Model: Chloe G
Makeup & hair: NS Makeup
Photographer: Lloyd K. Barnes
More photos, a video and musings about the nature of language
Feel free to share using the social media tools at the top of this photo :)
Great start with the fall semester! Welcome back TNCC students. This semester we have close to 10,000 students enrolled for fall.
Caption: The Erbs visit Eunice Miller frequently to bone up on their language skills, especially pronunciation. Mrs. Miller grew up in Argentina and is fluent in the language.
Citation: Mennonite Board of Missions. Photographs. Argentina, 1942-1963. IV-10-7.2 Box 1 folder 30, photo 6. Mennonite Church USA Archives - Goshen. Goshen, Indiana.
The month of February is an important time of the year for us Bangladeshis. This is the month when we fought against the odds for our language!!
Many lives were lost in the struggle only so that the later generation could speak the mother tounge.
National flags are found all over the place during this month, especially in the hands of little kids. Whenever the wind blows they hold up the flag high, in innocent pride and joy fulfilling the dreams of our forefathers in an Independent country.
"আমার সোনার বাংলা, আমি তোমায় ভালোবাসি"
Spanish language school Hispana
Hispana Spanish School, located in Lima, Peru, is a cultural center that specializes in teaching Latin American Spanish as well as culture to foreign residents, immigrants and travelers of all nationalities, occupations and ages. Our mission consists in facilitating the acquisition of the Spanish language to our students representing culturally diverse backgrounds so that they may effectively communicate within the Spanish-speaking world, whether it be to work, study, travel or vacation in Peru, or just to learn more about our fascinating and rich culture. Our vision is to become the leading institution engaged in teaching Spanish as a foreign language.
PRESIDIO OF MONTEREY, Calif. -- The Army team at the Defense Language Institute Foreign Language Center won the Commandant's Cup relay race at the Presidio's Price Fitness Center Field, June 15. The race was the precursor for the DLIFLC students' summer Resiliency Day, a day without classes, offering physical and recreational activities to strengthen the body, mind and spirit.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.