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This rabbit just stood up, and started 'pedalling' its front paws in the air... WHAT THE HELL IS THAT??? Any answer (or strange theories :P) would be greatly appreciated. Theories I've heard so far include: Morning Exercise and Rabbit Sign Language...
But he had some pretty lame aim when it came to the game. And, thus, his result was always the same.
🔹🔸[000t0=Time Language, World Language, Number Language]🔸🔹
7t77=Have a nice day! 좋은 하루 보내세요!
01t01=We're best friends forever! 우린 영원한 친구!
02t02=We Go Together! 우리 함께 갑시다!
0005t=0!5=0!0=Top, Awesome 최고의
007t=Nice to meet you.
0015t=User
0009t=God bless you! 하나님의 축복이 있기를!
0t0=Amen 아멘
033t=Schedule
044t=Money
055t=Victory
066t=Textbook
77t7=Meeting
077t=Business
088t=Internet
099t=Computer
34×t=Cheer up! 힘내세요!
35×t=Best
88×t=APP 앱
99×t=Game
0t77=Global
82t82=Name Card 명함
88t8=Promise
015t=Family 👪
018t=Friend
0111×t=Dreams Come True. 꿈은 이루어진다.
0t000=TIMEnasa 타임나사
🎼🎼🎼 ✒+.×.÷/=!
※※※ (×=Multiplication sign)
🔸🔹🔸
We're introducing Time Language all over the world. Time Language is the world's language consisting of numbers that anyone in the world can easily use. Time Language frees us from foreign languages. Now, there is no need for interpretation and translation. Time Language is pronounced in the language of each country and the meaning is the same. [000t0=Time Language, Copyright 1974. T.H. Kwon All Rights Reserved.] Looking forward to our interactions. Thank you. Huibok Choe, Ph.D., MBA&CMO
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••• You should google 000t0. •••
🔸🔹[The world's first smartphone, PocketBox=Smartphone, APP]🔹🔸
■ The smartphone infringed the copyright of the PocketBox.
■ I've created a PocketBox inspired by looking at the ceiling in 1978.
■ PocketBox is a creation work composed of application as well as a book composed of operating system.
■ By ignoring the copyright protection of Pocket Box works and by recklessly infringing on Author’s works, many smartphone and smart device related companies (manufacturers as well as other developers and users) have indulged in illegal use of PocketBox works without obtaining the author's permission.
☆ Do not infringe PocketBox Copyright.
☆ Do not use the same work similar to PocketBox. - If you want to use it, use it after you pay a royalty.
ㅡ PocketBox Copyright 1978. T.H. Kwon All Rights Reserved. ㅡ
🌏 TIMEnasa's Creations(Books & Works) 🌏
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3. Nti2000=IoT, Metaverse, Smart City, Smart Systems
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4. Number Money=Digital Currency, Virtual Currency and Crypto Currency
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5. PocketBox=Smartphone, Copyright of the APP
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6. M+W=People Language 📖
7. ~ 14. TIME theory 📕
15. etc. 📡
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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.
Viernes 10 de noviembre. Presentación de poemas, ensayos, dramatizaciones y debates de los tres niveles académicos en castellano, inglés y portugués.
With year-long and six-month paid placements, becoming a British Council Language Assistant is a unique way to experience another country and make your CV stand out from the crowd.
UNICODE 5.1.0 meets Or-Omcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Or-Omcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Or-Omcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
Best viewed at :
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"I am learning Japanese language and into 3 and final year of it"
"What is the toughest part in leaning this language?"
"It basically has 3 parts OR you can say 3 importance aspects of this language - Hiragana, Katakana, Kanji. And during this you have to learn around 2000 words in the span of 3 years."
"So you can directly work as a translator after the course is done?"
"NOPE - I can work only after 4 years"
"What are your hobbies?"
"I play badminton too, and I just played a round at state level but lost in 3rd set."
"You are doing an amazing work. Keep it up"
While attending the Rome Pride Parade I learned that love equality has no language barrier. I captured this portraits in fractions of seconds before leaving the subject with a "Grazie!" and a wave.
Clarence P. Hornung, Hornung’s Handbook of Designs and Devices, Second Revised Edition (New York: Dover Publications, 1946)
Thought to be probable design inspiration for fall-out shelter signs. Longer article on the development of these signs here:
conelrad.blogspot.com/2011/06/indelible-cold-war-symbol-c...
These courses are aimed at students who need to achieve recognized English qualifications for professional purposes.We offer programs consisting of ten sessions in $900 and fifteen sessions in $1300.
Redford is by Milnathort in Kinrosshire. The word neuk wad be, in Inglis "nook." A neuk is anither wey o sayin a corner. In Scots we micht say a thing can be three-neukit, or, in Inglis a "triangle." Tak a swatch o the Cobblers Neuk, in Dundee, an The Neuk in North Berwick.
Photie bi Katrina MacLeod.
Baku is the capital of Azerbaijan Republic, which was also the capital of Shirvan (during the reigns of Akhsitan I and Khalilullah I), Baku Khanate, Azerbaijan Democratic Republic and Azerbaijan SSR and the administrative center of Russian Baku governorate. Baku is derived from the old Persian Bagavan, which translates to "City of God". A folk etymology explains the name Baku as derived from the Persian Bādkube (بادکوبه ), meaning "city where the wind blows", due to frequent winds blowing in Baku. However, the word Bādkube was invented only in the 16th or 17th century, whereas Baku was founded at least before the 5th century AD.
Starting from the 13th century AD the name of Baku begins to appear in mediaeval European Sources. Spelling of the name varies from Vahcüh (Pietro Della Valle), to Bakhow, Baca, Bakuie and Backu.
On the coins minted by Shirvanshahs name appears as Bakuya.
Various different hypotheses have been proposed to explain the etymology of the word Baku. According to L.G.Lopatinski[3] and Ali Huseynzade "Baku" is derived from Turkic word for "hill". K.P. Patkanov, a specialist in Caucasian history, also explains the name as "hill" but in Lak language.
Around 1000 years ago, the territory of modern Baku and Absheron was savanna with rich flora and fauna. Traces of human settlement go back to the Stone Age. From the Bronze Age there have been rock carvings discovered near Bayil, and a bronze figure of a small fish discovered in the territory of the Old City. This have led some to suggest the existence of a Bronze Age settlement within the city's territory. Near Nardaran in a place called Umid Gaya, a prehistoric observatory was discovered, where on the rock the images of sun and various constellations are carved together with a primitive astronomic table. Further archeological excavations revealed various prehistoric settlements, native temples, statues and other artifacts within the territory of the modern city and around it.
In the 1st century, Romans organized two Caucasian campaigns and reached Baku. Near Baku, in Gobustan, Roman inscriptions dating from 84–96 AD were discovered. The remnant of this period is the village of Ramana in the Sabunchu district of Baku.
In the Life of the Apostle Bartholomew, Baku is identified as Armenian albanus. Some historians assume that during the existence of Caucasian Albania Baku was called Albanopolis. Local church traditions record the belief that Bartholomew's martyrdom occurred at the bottom of the Maiden Tower within the Old City, where according to historical data, a Christian church was built on the site of the pagan temple of Arta.
A record from the 5th-century historian Priscus of Panium was the first to mention the famous Bakuvian fires (ex petra maritima flamma ardet – from the maritime stone flame emerges). Owing to these eternal fires Baku became a major center of ancient Zoroastrianism. Sassanid shah Ardashir I gave orders "to keep an inextinguishable fire of the god Ormazd" in the city temples.
There is little or no information regarding Baku in medieval sources until the 10th century. The earliest numismatic evidence found in the city is an Abbasid coin dating from the 8th century AD. At that time Baku was a domain of the Arab Caliphate and later of Shirvanshahs. During this period, they frequently came under assault of the Khazars and (starting from the 10th century) the Rus. Shirvanshah Akhsitan I built a navy in Baku and successfully repelled another Rus assault in 1170. After a devastating earthquake struck Shamakhy, the capital of Shirvan, Shirvanshah's court moved to Baku in 1191. A mint was put into operation.
Between the 12th and 14th centuries, a massive fortification was undertaken in the city and around it. The Maiden Tower, castles of Ramana, Nardaran, Shagan and Mardakan, and also famous Sabayel castle on the island of the Baku bay was built during this period. The city walls were also rebuilt and strengthened.
The biggest problem of Baku during this time was the transgression of the Caspian Sea. The rising levels of the water from time to time engulfed much of the city and the famous castle of Sabayel went completely into the sea in the 14th century. These led to several legends about submerged cities such as Shahriyunan ("Greek city").
Hulagu Khan occupied Baku under the domain of the Shirvan state during the third Mongol campaign in Azerbaijan (1231–1239) and it became a winter residence for Ilkhanids. In the 14th century, the city prospered under Muhammad Oljeitu who relieved it from some of the heavy taxes. Bakuvian poet Nasir Bakui wrote a panegyric to Oljeitu thus creating the first piece of poetry in Azerbaijani language.
Marco Polo had written of Baku oil exports to Near Eastern countries. The city also traded with the Golden Horde, the Moscow Princedom, and European countries.
In 1501, Safavid shah Ismail I laid siege to Baku. The besieged inhabitants resisted, relying for defense on their fortifications. Due to the resistance, Ismail ordered part of the fortification's wall to be undermined. The fortress's defense was destroyed and many inhabitants were slaughtered. In 1538, the Safavid Shah Tahmasp I put an end to the Shirvanshahs' reign and in 1540, Baku was recaptured by Safavid troops again.
Between 1568 and 1574 there is a record of six English missions to Baku. English men named Thomas Bannister and Jeffrey Duckett described Baku in their correspondence. They wrote that the "...town is a strange thing to behold, for there issueth out of the ground a marvelous quantity of oil, which serveth all the country to burn in their houses. This oil is black and is called nefte. There is also by the town of Baku, another kind of oil which is white and very precious, and it is called petroleum." The first oil well outside of Baku was drilled in 1594 by a craftsman named A. Mamednur oglu. This man finished the construction of a high-efficiency oil well in the Balakhany settlement. This area was historically outside city territory.
In 1636, German diplomat and traveler Adam Olearius described Baku's 30 oil fields, noting that there was a great quantity of brown oil.[citation needed] In 1647, famous Turkish traveler Evliya Çelebi visited Baku. In April 1660, Cossacks under Stepan Razin attacked the Baku coast and plundered the village of Mashtaga. In 1683, Baku was visited by the ambassador of the Kingdom of Sweden, Engelbert Kaempfer. In the following year, Baku was temporarily recaptured by the Ottoman Empire.
Baku is noted for being a focal point for traders from all across the world during the Early modern period, commerce was active and the area was prosperous. Notably, traders from the Indian subcontinent established themselves in the region. These Indian traders built the Ateshgah of Baku during 17th–18th centuries; the temple was used as a Hindu, Sikh, and Parsi place of worship.
The fall of the Safavid dynasty in 1722 caused widespread chaos.[citation needed] Baku was invaded by the Russian and Ottoman empires.
On 26 June 1723, after a long siege, Baku surrendered to the Russians and the Safavids were forced to cede the city alongside many other of their Caucasian territories. In accordance with Peter the Great's decree, the soldiers of two regiments (2,382 people) were left in the Baku garrison under the command of Prince Baryatyanski, the commandant of the city. Peter the Great, while equipping a new military expedition commanded by General Mikhail Matyushkin, charged him with sending more oil from Baku to St. Petersburg, "which is a basis of an eternal and sacred flame"—Old Russian: "коя является основой вечного и священного пламени". However, due to Peter's death, this order was not carried out.
In 1733, Baku was visited by physician Ioann Lerkh, an employee of the Russian embassy and, like many others before him, described the city oil fields. By 1730, the situation had deteriorated for the Russians as Nadir Shah's successes in Shirvan forced the Russians to make an agreement near Ganja on 10 March 1735, ceding the city and all other conquered territories in the Caucasus back to Persia.
After the disintegration of the Safavid Empire and after the death of Nader Shah, the semi-independent principality of Baku Khanate was formed in 1747 following the power vacuum which had been created. It was ruled by Mirza Muhammed Khan and soon became a dependency of the much stronger Quba Khanate. The population of Baku was small (approximately 5,000), and the economy was ruined as a result of constant warfare, banditry, and inflation. The khans benefited, however, from the sea trade with the rest of Iran. Feudal infighting in the 1790s resulted in the dominance of an anti-Russian faction in the city resulting in the Russian-leaning brother of the Khan being exiled to Quba.
By the end of the 18th century, Tsarist Russia now began a more firm policy with the intent to conquer all of the Caucasus at the expense of Persia and Ottoman Turkey. In the spring of 1796, by Yekaterina II's order, General Valerian Zubov's troops started a large campaign against Qajar Persia following the sack of Tbilisi and Persia's aim to restore its suzerainty over Georgia and Dagestan. Zubov had sent 13,000 men to capture Baku, and it was overrun subsequently without any resistance. On 13 June 1796, a Russian flotilla entered Baku Bay, and a garrison of Russian troops was placed inside the city. Later, however, Pavel I ordered the cessation of the campaign and the withdrawal of Russian forces following the death of his predecessor, Yekatarina II. In March 1797, the tsarist troops left Baku.
Prince Pavel Tsitsianov was shot to death when he tried to make Baku surrender during the Russo-Persian War (1804–1813).
Coat of arms of Baku Governorate
Tsar Alexander I set out to conquer Baku once again during the Russo-Persian War (1804-1813) during which Pavel Tsitsianov tried to capture Baku in January 1806. But aide-de-camp and cousin of Huseyngulu Khan suddenly shot Tsitsianov to death during the presentation of the city's keys to him. Left without a commander, the Russian Army left Baku and the occupation of Baku Khanate was delayed for a year. Baku was captured on October of the same year and eventually absorbed into the Russian Empire after formal ceding of the city amongst other integral territories in the North Caucasus and South Caucasus by Persia in the Treaty of Gulistan, in 1813. However, it was not until the aftermath of the Russo-Persian War (1826-1828) and the Treaty of Turkmenchay that Baku came under nominal Russian rule, as the city was retaken by Persia during the war.
When Baku was occupied by the Russian troops during the war of 1804–1813, nearly the entire population of some 8,000 people was ethnic Tat.
In 1809, at the time of the Russian conquest, the Muslim population grew to become 95% of the city's population.
On 10 July 1840, the Russian Duma approved "The Principles of Ruling of the Transcaucasian Region", and Baku uyezd was turned into an administrative region of the Russian Empire.
Fortstadt, a new suburb, grew from the dispersed buildings scattered within the city's fortifications. Medieval seaside fortifications were demolished in 1861 to allow for the creation of the port and a customs house in the quay.
Baku became a center of the eponymous province after the devastating earthquake of 1859 in Shamakha. The population of Baku Governorate began to increase steadily. It is recorded that the number of police stations increased. The first Baku stock exchange had ten brokers, all of Russian nationality.
In 1823, the world's first paraffin factory was built in the city, and in 1846, the world's first oil well was drilled in Bibi-Heybat. Javad Melikov from Baku had built the first kerosene factory in 1863. In 1873, the Russian government offered competition for free land, and Baku caught the eye of the Nobel brothers. In 1882, Ludvig Nobel invited technical staff to Baku from Finland, Sweden, Norway, and Germany and founded a colony that he called Villa Petrolea. This colony was located in the "Black City". Bullock-cart drivers used wineskins and flasks to transport oil until the 1870s. In 1883, a Rothschild's plenipotentiary arrived from Paris and created the "Caspian-Black Sea Joint-Stock Company". Famous Baku oil magnates of the era included Musa Nagiyev, Murtuza Mukhtarov, Shamsi Asadullayev, Seid Mirbabayev, and many others.
The companies owned by Musa Nagiyev and Shamsi Asadullayev were the largest of Baku's oil producers. Established respectively in 1887 and 1893, they produced between 7 million and 12 million poods (110 to 200 Gg) of oil annually. The companies owned oil fields, refineries, and tankers. By the beginning of the next century, more than a hundred oil firms operated in Baku.
The oil boom of the late 19th and early 20th centuries contributed to massive growth of Baku. Between 1856 and 1910 Baku's population grew at a faster rate than that of London, Paris or New York.
The second half of the 19th century was notable for its advancement in communication. In 1868, the first telegraph line to Tiflis was established, and in 1879, an under-sea telegraph line connected Baku with Krasnovodsk. In the same year, the Baku-Sabunchi-Surakhany was in operation. The tracks were 520 versts (555 kilometres) from Tiflis and was completed in a relatively short time on 8 May 1883. The first telephone line was in operation in 1886. In 1899, the first horse tramway appeared.
In 1870, a Lutheran-Evangelical community was established in Baku. However, in 1937, the clerics as well as the representatives of other religious communities were banished or shot. The Lutheran community was not revived until 1994, after the fall of the Soviet Union.
In the 1870s, the number of administrative and public institutions had grown, among them a provincial court and arbitration. In the first years of the 20th century, a case considered in the district court won great popularity and lawyers from Petersburg, Moscow, Tiflis, and Kiev became involved because of fabulous fees often received there.[clarification needed] The loudest litigations passed with the participation of a certain Karabek, who knew by heart the extensive code of laws of the Russian Empire and remembered all decrees of the Sacred Synod with exact reference numbers and dates.
In the beginning of October 1883, tsar Alexander III with his wife and two sons, accompanied by a huge retinue, arrived to Baku from Tiflis. The railway station had been prepared for the solemn ceremony. The city authorized Haji Zeynalabdin Taghiyev to welcome Alexander. The visitors examined the oil storage of Nobel brothers, the pump station, and three powerful oil wells of Shamsi Asadullayev. Beginning from the 1890s, Baku provided 95% of the oil production in the Russian Empire and approximately half of world oil production. Within ten years, the city had become the foremost producer of oil overtaking the United States.
In 1914–1917, Baku produced 7 million tons of oil each year, totaling 28,683,000 tons of oil , which constituted 15% of world production at the time. Germany did not trust Turkey in oil matters and transferred General Friedrich Freiherr Kress von Kressenstein from the Middle Eastern front with his troops to Georgia in order to enter Baku, through Ukraine, the Black Sea and Georgia. Great Britain, in February 1918, urgently sent General Lionel Dunsterville with troops to Baku through Anzali to block the German troops. Having studied the Caucasus from the strategic point of view, Dunsterville concluded: "Those who capture Baku, will control the sea. That's why it was necessary for us to invade this city." On 23 August 1918, Lenin in his telegram to Tashkent wrote: "Germans agree to attack Baku provided that we would kick the British out of Baku".
Having been defeated in World War I, Turkey had to withdraw its forces from the borders of Azerbaijan in the middle of November 1918. Led by General William Thomson, British troops of 5,000 soldiers arrived in Baku on 17 November, and martial law was implemented on the capital of Azerbaijan Democratic Republic until "the civil power would be strong enough to release the forces from the responsibility to maintain the public order".
In the same year, Thompson was faced with an enormous challenge to recreate confidence in the economy. His fundamental requirement was to recreate a sound and reliable banking system. He wrote, however: "the political situation in Baku does not permit the opening of a British Bank because this would have increased suspicion and jealousy as to British intentions".
In the spring of 1918, Armenian interests in Baku were protected by the Baku Soviet of People's Commissars, who became known as the 26 Baku Commissars.
In February 1920, the 1st Congress of the Communist Party of Azerbaijan legally took place in Baku and made a decision about preparation of the armed revolt. On 27 April of the same year, units of the Russian 11th Red Army crossed the border of Azerbaijan and began to march towards Baku. Soviet Russia presented the Azerbaijan Democratic Republic with an ultimatum to surrender, and the troops entered Baku the next day, accompanied by Grigory Ordzhonikidze and Sergey Kirov of the Bolshevik Kavbiuro. The city became a capital of the Azerbaijan SSR and underwent many major changes. As a result, Baku played a great role in many branches of the Soviet life. Since about 1921, the city was headed by the Baku City Executive Committee, commonly known in Russian as Bakgorispolkom. Together with the Baku Party Committee (known as the Baksovet), it developed the economic significance of the Caspian metropolis. From 1922 to 1930, Baku was the venue for one of the major Trade fairs of the Soviet Union, serving as a commercial bridgehead to Iran and the Middle East.
On 8 February 1924, the first tram line and two years later the electric railway Baku-Surakhany—the first in the USSR—started to operate.
While being in Baku in May 1925 Russian poet Sergei Yesenin wrote a verse "Farewell to Baku":
Farewell to Baku! I'll see you no more
A sorrow and fright are now in the soul
And a heart under the hand is more painful and closer
And I feel the simple word "friend" more distinctly.
However Yesenin returned to the city on 28 July of the same year.
Maxim Gorkiy wrote after visiting Baku: "The oil fields remained in my memory as a perfect picture of the grave hell. This picture suppressed all the fantastic ideas of depressed mind, I was aware of." Well-known—at that time—industrialist V. Rogozin noted, in relation with the Baku oil fields, that everything there was done "without counting and calculating". In 1940, 22.2 million tons of oil were extracted in Baku which comprised nearly 72% of all the oil extracted in the entire USSR.
In 1941, the trolley bus line started to operate in the city, meanwhile the first buses appeared in Baku in 1928.
The US Ambassador to France, W. Bullitt, dispatched a telegram to Washington concerning "the possibilities of bombing and demolition of Baku" which were being discussed in Paris at the time. Charles de Gaulle was extremely critical of the plan according to both his wartime and postwar statements. Such ideas, he believed, were made by some "crazy heads that were thinking more of how to destroy Baku than of resisting Berlin". In his report submitted on 22 February 1940, to French Prime Minister Édouard Daladier, General Maurice Gamelin believed the Soviets would fall into crisis if those resources were lost. However, during the Soviet-German War, ten defense zones were built around the city to prevent possible German invasion, planned within the Operation Edelweiss.
Even a cake for Hitler was adorned by a map of the Caspian Sea with the letters B-A-K-U spelled out in chocolate cream. After eating the cake, Hitler said: "Unless we get Baku oil, the war is lost".
The first offshore oil platform in the world, originally called "The Black Rocks", was built in 1947 within the city's metropolitan area. In 1960, the first Caucasus house-building plant was built in Baku, and on 25 December 1975, the only plant producing air-conditioners in the Soviet Union was turned over for operation.
In 1964–1968, the level of oil extraction rose to the stable level and comprised about 21 million tons per year. By the 1970s, Azerbaijan became one of the largest producers of grapes, and a champagne factory was subsequently constructed in Baku. In 1981, a record quantity of 15 billion m³ of gas was extracted in Baku.
In 1990, Shaumyan rayon of Baku was renamed to Khatai and Ordzhonikidze rayon to Narimanov. In 1991, following the collapse of the Soviet Union and the Bakgorispolkom as a result, the first independent city mayor Rafael Allahverdiyev was appointed. On 29 April 1992, the names of some more city rayons were changed:
With the initiatives for saving the city in the 2000s, Baku embarked on a process of restructuring on a scale unseen in its history. Thousands of buildings from Soviet Period were demolished to make way for a green belt on its shores; parks and gardens were built on the land claimed by filling up the beaches of the Baku Bay. Improvements were made in the general cleaning, maintenance, garbage collection fields and these services are now at Western European standards. The city is growing dynamically and developing at full speed on an east-west axis along the shores of the Caspian Sea.
Most Soviet era street names have been replaced after the collapse of the Soviet Union. More than 225 streets have been renamed since 1988; however, some people still use the old names. Namely, the first street ever to be built outside the Inner City, originally called Nikolayevskaya after Nicolas I, was renamed to Parlaman Kuchesi, because the Parliament of Azerbaijan Democratic Republic held its meeting in a building located at that street, then during soviet era it became Kommunisticheskaya Ulitsa and now is called İstiqlaliyyet Kuchesi (Azeri: "independence").
The habs have done something awful that they haven't done since 1948, they got shutout 3 games in a row this week. The Buffalo Sabres, Boston Bruins, and Washington Capitals all had their way with the habs, who have been out scored 11-0 over those 3 games. They have back to back games this Tuesday and Wednesday as well, their record for back to back games is not great either, it's a rough time to be a habs fan.
Luckily I have had some great distractions from the habbies this weekend. A few friends and I were down at The Ship tonight while Joanna Barker and Dead Language were followed by the Hunter Gatherers. It was another great night for music and a great night to distract me from the habs' woes.