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AASHTO Sharrow Marking Dimension Specifications
Source: mutcd.fhwa.dot.gov/htm/2009/part9/part9c.htm#figure9C09
Someone should measure the current sharrows. They appear much smaller than AASHTO's specs.
via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/153980337096
Just Pinned to Car Park Marking: Markings in Frobost -...
8 Squadron markings on Royal Air Force Avro 696 Shackleton AEW.2 WL754 54. Saturday 15th August 1981
The sand, blue and red band markings originated in the early 1950s when the squadron operated De Havilland Vampire aircraft
Ref no 02384
Marking the City of Birmingham boundary is Toll Island on the Birmingham Canal Navigations Main Line.
Birmingham
1st March 2014
I like this photo but it's unfortunately also a prime example of the optical issues with this lens. I replaced it after returning and still need to do some testing on it.
DSCF2304
Tool marks & trace fossils in the Cambrian of Tennessee, USA.
Tool marks are a type of sedimentary structure present on the underside of some sedimentary beds. Features on the basal surfaces of beds are called "sole marks" or "sole markings" - they include burrows / trace fossils, flute casts, gutter casts, and tool marks. Sole markings form atop sediment surfaces and then get buried - the overlying sediments form casts.
Tool marks develop if currents move around a solid obstacle or if mobile objects fall, bounce, or roll around on sediment substrates. Fixed tool marks form where a non-moving solid obstacle is surrounded by moving material (for example, a large boulder in a stream or a large piece of driftwood on a beach). In such situations, a channel forms around the obstacle and a curved pile of sediments accumulates behind it - these are called obstacle scours or current crescents. In a glacial context, such features are called crag and tail - this can be seen on glacially-grooved limestones where resistant fossils act as obstacles.
Moving tool marks are features formed as clasts fall and make divots, which are later infilled. Example objects include coal clasts and log fragments. The divot shapes will only be maintained if the sediment substrate consists of relatively cohesive muds ("firmgrounds"). Varieties of moving tool marks include scratch marks, grooves, prod marks (for example, a twig prods the sediments and then lifts out), bounce marks, skip marks, and roll marks.
This rock is eroded from the Cambrian-aged Rome Formation in northeastern Tennessee. The Rome Formation in the Appalachian Basin ranges in age from late Early Cambrian to Middle Cambrian to possibly early Late Cambrian.
In the Phanerozoic rock record, tool marks are most common in Cambrian rocks. Tool mark occurrences noticeably decrease in abundance after the Early Paleozoic. This has been attributed to a rise in bioturbation intensity, which reduced the cohesiveness of seafloor sediment substrates (see Tarhan, 2018).
Stratigraphy: float from the Rome Formation, upper Lower Cambrian
Locality: roadcut on the northeastern side of Route 25E through Comby Ridge, northwest of Raven Hill & southeast of Tazewell, Tennessee, USA
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Reference cited:
Tarhan, L.G. 2018. Phanerozoic shallow marine sole marks and substrate evolution. Geology 46: 755-758.
View machine in action www.youtube.com/watch?v=X4GjX_oi_pE
CDRH Class I, 1 watt diode-pumped frequency-Tripled Nd:YVO4 semi-automatic laser marking system featuring robotic load workstation of light bases with rotary chuck part rotation. The system assumes that a tray of parts will be loaded by an operator. Control Micro Systems can deliver a custom laser marking system designed and configured specifically for your distinctive marking application. Give us an opportunity to bid on fulfilling your laser marking requirements. Contact us today for a complimentary feasibility study on laser marking your parts! 407-679-9716 | salesmail@cmslaser.com | www.cmslaser.com
Markings of TW-2, Naval Air Station (NAS) Kingsville
BuNo:163616
Specifications (T-45A)
General characteristics
Crew: 2 (student, instructor)
Length: 39 ft 4 in (11.99 m)
Wingspan: 30 ft 10 in (9.39 m)
Height: 13 ft 5 in (4.08 m)
Wing area: 190.1 ft² (17.7 m²)
Empty weight: 10,403 lb (4,460 kg)
Max takeoff weight: 14,081 lb (6,387 kg)
Powerplant: 1× Rolls-Royce Turbomeca F405-RR-401 (Adour) turbofan, 5,527 lbf (26 kN)
Performance
Maximum speed: 560 kt, 645 mph, 1,038 km/h
Range: 700 nmi (805 mi, 1288 km)
Service ceiling: 42,500 ft (12,950 m)
Rate of climb: 8,000 ft/min (40.6 m/s)
Armament
Usually none. One hardpoint under each wing can be used to carry practice bomb racks, rocket pods, or fuel tanks.
From Wikipedia, the free encyclopedia
The T-45 Goshawk is a highly modified version of the BAE Hawk land-based training jet aircraft. Manufactured by McDonnell Douglas (now Boeing) and British Aerospace (now BAE Systems), the T-45 is used by the United States Navy as an aircraft carrier-capable trainer.
The T-45's A and C models are currently in operational use. The T-45A, which became operational in 1991, contains an analog cockpit design while the newer T-45C, which was first delivered in December 1997, features a new digital "glass cockpit" design. All T-45A aircraft will eventually be converted to a T-45C configuration under the T-45 Required Avionics Modernization Program (T-45 RAMP).
T-45A
Two-seat basic and advanced jet trainer for the US Navy.
T-45B
Proposed land-based version for the US Navy, which would have been basically a conventional Hawk with a USN cockpit and no carrier capability. The USN had wanted the T-45B to get an earlier training capability, but abandoned the idea in 1984 in favor of less-costly updates to the TA-4 and T-2.
T-45C
Improved T-45A with glass cockpit, inertial navigation, and other improvements. Existing T-45As are being upgraded to the T-45C standard.
Pima Air and Space Museum
ILYUSHIN IL-2M SHTURMOVIK
SERIAL NUMBER 5612
Current Markings: Soviet Navy, 7th Guards Assault Aviation Regiment, Red Banner Baltic Fleet, 1944
Designed in 1938 as a medium range, single-seat bomber, the IL-2 became the most produced aircraft of World War II. The initial single seat version entered production in early 1941 and remained in production until the summer of 1942 when it was replaced on the assembly line by the IL-2M two-seat version. The IL-2M was a stopgap design rushed Into production to address the most serious flaw in the aircraft, the lack of a rear firing gun. This version of the Shturmovik was replaced by the II-2 Type 3 in late 1943 which further modified the design to improve performance and stability. The modifications included a 15-degree sweep on the leading edge of the wing which improved the plane's stability, and a more powerful engine. The shortage of aircraft aluminum that plagued the Soviet Union for most of the war resulted in some of the Shturmovik's most interesting features. Until late in 1944 the wings and rear fuselage of the plane were built of wood, with only the heavily armored center section and nose of the aircraft being of metal construction. Eventually, over 36,000 Shturmoviks of all models were produced, making it the most produced military aircraft design of all time.
This aircraft was completed on February 25, 1943 at Factory Number 1 in Moscow and delivered to the 7th Guards Assault Aviation Regiment of the Red Banner Baltic Fleet. The 7th Guards fought in the Leningrad area during this time. On January 28, 1944, the aircraft was shot down while attacking German troops. The pilot, Junior Lieutenant Mark. I. Andaranov, successfully landed the damaged aircraft on frozen Lake Bebro about seventy miles south of Leningrad. He and his gunner Seaman Leonid. T. Grishin both survived and successfully returned to their unit a week later. Once the lake thawed out in the spring the aircraft sank and was recovered in 1992.
Technical Specifications
Wingspan: 47 ft 11 in.
Length: 38 ft 1 in.
Height: 13 ft 8 in.
Weight: 13,362 Ibs (loaded)
Maximum speed: 255 mph
Service Ceiling: 11,480 ft
Range: 475 miles
Engines: One Mikulin AM-38 with 1,665 horsepower
Crew: 2
A last look at some of the bullet holes on one of the surviving walls in the Jallianwala Bagh which stand as silent testimony to the senseless killing of innocent civilians by a demented British Gen. Dayer. Marking the bullet holes has dampened the effect somewhat, but these large square marks are infinitely superior to the small, thick round marks places around some of these bullet holes which I had seen on my last visit here way back in 1979. There are several unmarket bullet holes though, which you saw just before this picture. For detailed notes about the Jallaianwala Bagh massacre see earlier pictures in this album. (see preceding images) (Amritsar, Punjab, northern India, Nov. 2017)
Our useless council painted these markings and in less than 2 weeks, they were "erased" which has made the road a mess.
Also a total waste of tax payers money (which this council is great for).
Now I can get off my soap box lol :-)
Ancient cup markings on a stone at Hämeenlinna, Finland.
Location on google maps: www.google.com/maps/place/60%C2%B059'58.0%22N+24%C2%B023'...
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.
This is a male White Ermine - Spilosoma lubricipeda. Longer wings and more markings than the Muslin Moth. Arrived in the garden May 14th, 2011.
Marking 250 years since London was first dazzled by the modern circus, April’s Friday Late invited visitors to witness acrobatics, artistry and those pushing their bodies and artforms to new limits. From VR insights into the social impact of circus, to rarely seen archives of the V&A’s Theatre and Performance Collection, and from newly commissioned youth circus pieces to contemporary clowning and discussions of the role of gender in the industry, this collaboration with The Roundhouse shone a light on the state of play in UK Circus today.
Photos © PeanutButterVibes Photography
www.peanutbuttervibesphotography.com
@peanutbuttervibesphotography
On Friday, February 6, 2015, Utica Academy of Science celebrated Black History Month during 2nd Marking Period Award Ceremony when we recognized our scholars who have achieved tremendous feats in the second quarter.
Judge Jawwadd Rasheed who is a Family Court Magistrate in Oneida County and also one of our board of trustee members joined our scholars, teachers, and parents to celebrate Black History Month. Judge Rasheed outlined what he called the "Five Steps to Making You Better Women and Men". He detailed his take on what one needs to become successful:
Knowledge of who you are: You have to know who you are and you have to be OK with that
Vision: helps to shape your focus and gives you direction
Dedication: doing anything necessary to achieve your goals
Perseverance: never giving up, never quit, even if you fail
Faith: trust in something greater than yourself
The judge urged students to "put those five things together and put them to work in your daily life" in order to reach one's goals.
The students were a captive audience as Judge Rasheed left this parting message: "Each of you has a contribution that you are supposed to make. You will never know how great you're supposed to be until you give it all you've got."
During 2nd marking period, Utica Academy of Science had:
UAS Atoms Robotics Team competed in robotics competitions one in NJ and team was award with Teamwork award, another competition in MVCC and team was qualified to go to SUNY Poly to compete, and lastly in SUNY Poly and our team was awarded "Gracious Professionalism".
Scholars brought in 1255 non-parishable food items in order to help Utica Food Bank during January.
Mrs. Nazel organized our first concert ever with 6th grade scholars and UAS Music Band on January 28th, 2015.
26 field trips were organized to various locations.
6 guest speakers visited our school to speak with our students.
Scholars attended to 9 Saturday schools.
Awards were given to scholars who made High Honor Roll, Honor Roll, Best Academics, Best Citizenship, and Most Imrpoved Scholar. Scholars for the last three categories represent each grade section, while High Honor Roll and Honor Roll are representative of all scholars with the highest grades in the school, regardless of class section. It is amazing to see how many scholars have achieved such success so early in the academic year, including 75 High Honor Roll scholars, 44 Honor Roll scholars, 14 scholars receiving the Best Academic, 11 scholars receiving the Best Citizenship Awards, and 11 scholars receiving the Most Improved Award during the 2nd marking period. Judge Jawwadd Rasheed and Utica Academy of Science teachers presented the awards to their scholars and are extremely proud of all their accomplishments.
Is this the site of some kind of street marking field day event?
For more mysterious street markings see : www.flickr.com/photos/howard33/sets/72157619103275794/
This is a fine example of warehouse striping using a 2 part epoxy. This project was done in Southern California. Trueline Striping can take care of warehouse marking and warehouse floor striping jobs in Orange County, Los Angeles County, Riverside County, San Diego County, San Bernardino County and Ventura.
Marking the official beginning of a Millsaps career, students process through the Bowl, sign the Major Call and present it to the president.
Markings: Sentimental Journey, 457th Bomb Group based in Glatton, England, during World War II with the Eighth Air Force
Technical Specifications
Wingspan 103 ft 9 in
Length 74 ft 4 in
Height 19 ft 1 in
Weight 65,500 lbs (loaded)
Maximum Speed 287 mph
Service Ceiling 35,600 ft
Range 2,000 miles
Engines 4 Wright R-1820-97 radial, 1,200 horsepower each
Crew 9
Sentimental Journey (44-83514) is the nickname of a B-17G Flying Fortress bomber. It is housed at the museum at Falcon Field, Arizona by the Commemorative Air Force.[1] The aircraft is regularly flown to airshows around the country.
Nose art features Betty Grable, the number-one pin-up girl of the World War II era. The aircraft's name takes after a song made very popular by Doris Day in 1945.
Sentimental Journey rolled off the Douglas assembly line in late 1944
St John’s church, Escomb was founded in c.670-675, much of the stone came from the nearby Roman Fort at Binchester. On the south wall is a 7th or early 8th Century sundial, and on the north wall is a reused Roman stone with the markings "LEG VI" (Sixth Legion) set upside down. The church was restored in 1875-1880 by RJ Johnson, and in 1965 by Sir Albert Richardson. It is a Grade I listed building.[1]
Set in its circular churchyard, has been in continuous use since Anglo-Saxon times but for a brief interval in the nineteenth century when a new church was built nearby and the Anglo-Saxon fabric was allowed to lie derelict. It was partly unroofed from 1863 until 1867. The church is built of large roughly dressed, squared stones, with particularly large quoin-stones, many of which are up to 2 ft high and between 3 ft and 4 ft measured along the wall face. Because Bede did not mention the church, some argued that it was not built until after his death (735). However, he only named churches which were associated with events which he recorded.
In his book (Anglo-Saxon Architecture, 1965) H.Taylor mentions that the early character of the building and its resemblance to other early work in Northumberland suggest that it was built in the period 650 to 800. Apart from the insertion of some medieval windows and the alteration of the south doorway (of which the eastern jamb is perhaps alone original), the body of the church stands now as it was built comprising a long rectangular nave, with five small windows high up in its lofty walls, and a square chancel, entered through an arch of imposing design. Above the sundial is a projecting animal’s head. Internally the most impressive feature is the tall, narrow chancel arch, the jambs of the head being formed of stones that pass through the full thickness of the wall. It has been noted that the southern impost of this arch is reminiscent of one of the gateways of the Roman fort of Chesters on the Roman wall, in this case supporting the theory that stones were removed from the neighbouring fort of Vinovia (Binchester). Many of the stones exhibit Roman tooling, which is a common occurrence with Anglo-Saxon church buildings. Eaton in his book relating to the re-use of Roman stonework mentions the chancel arch of typical Roman form, tall with massive through-stone jambs, simple chamfered imposts and precision-cut, radial voussoirs, and unlike the non-radial voussoirs that the Anglo-Saxons typically manufactured.
In the restoration of 1880 there were found to be a number of delicately carved fragments of cross-shafts of the high quality commonly assigned to the Hexham school. These were found built into the gables, doubtless at earlier restorations.
Atlanta was the host of the 1996 Summer Olympics, marking the 100th anniversary of the modern Olympic movement (Athens doesn't like to be reminded of it...). The man who made it happen back in the closing years of the 19th century was Baron Pierre deCoubertin. This statue was erected in his honor on the grounds of Centennial Olympic Park in downtown Atlanta, next to Phillips Arena, CNN Center and the Georgia Aquarium.
This is Kubota, the buck in the Whitetail Deer habitat on Grandfather Mountain, marking a fallen tree branch with his scent. They have glands on their foreheads between the eyes and antlers that they use to rub their scent off on branches etc. He was also very interested in sniffing everywhere where his does had presumably left their scent. Kubota has had a vasectomy to prevent breeding, but he will still go into rut and act like a buck. At one point, he was chasing the females around. The other male in the enclosure, Dozer, has been neutered to prevent fighting and was mostly just staying out of sight.
There is no sound on this video. I took it out because the only thing you could hear was the conversation of the people next to me and a plane flying overhead, so it didn't really contribute anything to the video. Curiously enough, Movie Maker decided to give the video a black border when I saved it.
This video is now also available on youtube if you prefer to watch it there.
Update, sad news: I just learned on my last trip to Grandfather Mountain that Kubota and two other deer in the habitat had to be put down this past winter due to injuries and infections. :-( Kubota had a large abscess in his jaw that wasn't responding to medication and it was decided to end his suffering. Lab results revealed that he had contracted tetanus.