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A series of images showing the progress of the Moon across the face of the Sun, March 20th, 2015.
Shot in Winstanley, Wigan, Lancashire.
Canon 60D, Canon 70-200 L lens.
1/8000, F13/16/19, ISO 100, manual focus, live view, remote release trigger.
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The mandarin duck (Aix galericulata) is a perching duck species native to the East Palearctic. It is sexually dimorphic - the males are elaborately coloured, while the females have more subdued colors. It is a medium-sized duck, at 41–49 cm (16–19 in) long with a 65–75 cm (26–30 in) wingspan. It is closely related to the North American wood duck, the only other member of the genus Aix. 'Aix' is an Ancient Greek word which was used by Aristotle to refer to an unknown diving bird, and 'galericulata' is the Latin for a wig, derived from galerum, a cap or bonnet. Outside of its native range, the mandarin duck has a large introduced population in the British Isles and Western Europe, with additional smaller introductions in North America.
Taxonomy
The mandarin duck was described and illustrated in 1727 by the German explorer Engelbert Kaempfer in his The History of Japan. He wrote: "Of Ducks also there are several differing kinds, and as tame as the Geese. One kind particularly I cannot forbear mentioning, because of the surprizing beauty of its male, call'd Kinmodsui, which is so great, that being shew'd its picture in colours, I could hardly believe my own Eyes, till I saw the Bird it self, it being a very common one." In 1747 the English naturalist George Edwards included an illustration and a description of the species in the second volume of his A Natural History of Uncommon Birds. He used the English name "The Chinese teal". He based his hand-coloured etching on a live specimen kept by the merchant Matthew Decker on his estate at Richmond in Surrey. Decker was a director of the East India Company. When in 1758 the Swedish naturalist Carl Linnaeus updated his Systema Naturae for the tenth edition, he placed the mandarin duck with the ducks and geese in the genus Anas. Linnaeus included a brief description, coined the binomial name Anas galericulata and cited the earlier publications. The mandarin duck is now placed together with the wood duck in the genus Aix that was introduced in 1828 by the German ornithologist Friedrich Boie. The species is monotypic: no subspecies are recognised. The genus name is the Ancient Greek word for an unknown diving bird mentioned by Aristotle. The specific epithet is from Latin galericulatum meaning a "peruke" or "wig".
Description
The mandarin duck is among the more diminutive types of waterfowl, with a shorter height and smaller overall body size than the dabbling ducks, and is slightly smaller than its American wood duck relatives. The adult male has a petite, red bill, large white crescent above the eye and reddish face and "whiskers". The male's breast is purple with two vertical white bars, the flanks ruddy, and he has two orange feathers at the back (large feathers that stick up similar to boat sails). The female is similar to the female wood duck, with a grayish-lavender tone to her plumage, and a white eye-ring and stripe running back from the eye. The female is paler on the underside, has a small white flank stripe, and a pale tip to its bill.
Both the males and females have crests, but the purple crest is more pronounced on the male.
Drake in eclipse plumage
Like many other species of ducks, the male undergoes a moult after the mating season into eclipse plumage. When in eclipse plumage, the male looks similar to the female but can be distinguished by its bright yellow-orange or red beak, lack of any crest, and a less-pronounced eye-stripe.
Mandarin ducklings are almost identical in appearance to wood ducklings, and very similar to mallard ducklings. The ducklings can be distinguished from mallard ducklings because the eye-stripe of mandarin ducklings (and wood ducklings) stops at the eye, while in mallard ducklings it reaches all the way to the bill.[citation needed]
Ballyfermot 7 a side 1960
Men born in 1946 to 1951 and are from Ballyfermot, Bluebell, Inchicore, Chapelizod, Crumlin, James Street, Marrowbone lane, Kilmainham, Rialto, Rathfarnham, Tallaght,
Runners Up was Red Star Manager was Mr Fletcher Secretary 42 Ballyfermot Avenue
Winners Southend 7, Manager Andrew Cooke 2 Spencer Dock North wall
Teams Southend 7 winners, Red Star Runners Up.
Loreto United, Lawnview Rangers, Frans 7, Claddagh A Cresent United,
Bluebell Stars A & B, The Jets A.F.C, The Bars A & B,
Rosemore Athletic A & B, Chapelizod Boys, Lough Conn Rangers,
Camac Rovers, Cherry Orchard Boys B, OLV Boys Club, Real Madrid,
Gurteen United, St Vincent Boys Club.
The photo shows a delicious-looking, open-faced sandwich on a white plate, set against a backdrop of warm-toned wooden planks, likely a table surface. The sandwich features a multigrain roll, generously topped with several layers of ingredients.
Starting from the bottom, you can see fresh, light green lettuce leaves providing a crisp base. On top of the lettuce are slices of pale pink deli meat, possibly ham or turkey. Overlapping the meat are two slices of light yellow cheese, likely Gouda or a similar mild variety.
Nestled among the cheese and meat are slices of hard-boiled egg, revealing the white and a portion of the yellow yolk. Adding a touch of freshness and color are slices of red tomato and thin slivers of cucumber. A few vibrant green arugula leaves are also placed on top, adding a peppery note and visual appeal.
The multigrain roll, sliced horizontally, has a slightly rustic appearance with visible seeds and grains on its crusty top. The bottom half of the roll is partially obscured by the toppings.
The lighting in the photo appears natural, casting soft shadows and highlighting the textures of the different ingredients. The overall impression is of a fresh, appetizing, and well-prepared sandwich, perfect for a light meal.
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.
Margolies, John,, photographer.
Overall 1, Sir Goony Golf, Rehoboth Beach, Delaware
1985.
1 photograph : color transparency ; 35 mm (slide format).
Notes:
Title, date and keywords based on information provided by the photographer.
Purchase; John Margolies 2010 (DLC/PP-2010:191).
Credit line: John Margolies Roadside America photograph archive (1972-2008), Library of Congress, Prints and Photographs Division.
Please use digital image: original slide is kept in cold storage for preservation.
Forms part of: John Margolies Roadside America photograph archive (1972-2008).
Subjects:
Miniature golf--1980-1990.
United States--Delaware--Rehoboth Beach.
Format: Slides--1980-1990.--Color
Rights Info: No known restrictions on publication. For more information, see "John Margolies Roadside America Photograph Archive - Rights and Restrictions Information" www.loc.gov/rr/print/res/723_marg.html
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Margolies, John John Margolies Roadside America photograph archive (DLC) 2010650110
General information about the John Margolies Roadside America photograph archive is available at hdl.loc.gov/loc.pnp/pp.mrg
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/mrg.02790
Call Number: LC-MA05- 2790
Φεβρουάριος 2025. Το χωριό Κυλλήνη όπως το είδαμε από το ξωκλήσι του Προφήτη Ηλία...
Σημείωση: Το σημείο λήψης της φωτογραφίας απεικονίζεται στο χάρτη, αλλά η yahoo ενδέχεται να μην αναφέρει τη σωστή ονομασία της περιοχής.
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Ορειβατική ανάβαση στη Νότια Ζήρεια με αφετηρία το χωριό Κυλλήνη, ακολουθήσαμε ομαλές στράτες, μονοπάτια και κάποια μικρά τμήματα δασικών δρόμων έως τη βάση του κώνου της κορυφής Παράγκας στα 1600 μέτρα. Από εκείνο το σημείο ξεκινά μία αρκετά ανηφορική πορεία χωρίς όμως κάποια τεχνική δυσκολία. Φτάνοντας στα 1800 υψόμετρο, κατά την τελική ανάβαση στην κορυφή, μπήκαμε σε σφιχτό χιόνι το οποίο μας οδήγησε πιο εύκολα στα 2033 μέτρα υψόμετρο. Στην επιστροφή επιλέξαμε το βόρειο λούκι το οποίο είχε σημαντική ποσότητα και καλή ποιότητα χιονιού και κατηφορίσαμε 370 υψομετρική γρήγορα και χωρίς κόπο. Κατά την επιστροφή στο χωριό Κυλλήνη επιλέξαμε διαφορετικές στράτες και μονοπάτια βοσκών, εντοπίσαμε μία πηγή στα 1280 υψόμετρο και πριν φτάσουμε στην αφετηρία επισκεφτήκαμε το ξωκλήσι του Προφήτη Ηλία πάνω από το χωριό.
Σημείωση: Η συγκεκριμένη διαδρομή εάν πραγματοποιηθεί χωρίς χιόνι είναι πιο δύσκολη, ειδικά στο κατέβασμα από το βόρειο λούκι, καθώς το έδαφος είναι αρκετά κατηφορικό και κακοτράχαλο. Επίσης, η απουσία υψηλών δέντρων και ο νότιος προσανατολισμός θα ταλαιπωρήσει όσους πεζοπόρους πραγματοποιήσουν τη διαδρομή αυτή τους θερινούς μήνες.
Η διαδρομή είχε μέτριο βαθμό δυσκολίας καθώς η διαδρομή σε γενικές γραμμές δεν έχει δυσκολίες, η κόντρα από τη βάση του κώνου στα 1600 υψόμετρο έως τα 2033 μέτρα είναι σύντομη και έχει καλά πατήματα, ενώ κατά την επιστροφή γλιτώσαμε αρκετή κούραση, καθώς το σφιχτό χιόνι στο βόρειο λούκι ήταν ιδανικό για κατάβαση. Επίσης, η επιστροφή από διαφορετικές στράτες και μονοπάτια έγινε χωρίς εμπόδια και έτσι υπάρχουν διαθέσιμες δύο διαφορετικές επιλογές για την προσέγγιση της Παράγκας από το χωριό Κυλλήνη. Όσον αφορά τα χιλιόμετρα αν και ξεπέρασαν τα 14, περπατιώνται γρήγορα, λόγω του καλού σε αρκετά σημεία πεδίου.
Συνοπτικά η διαδρομή είχε 4 στάδια. Πρώτο στάδιο η ανάβαση από το χωριό Κυλλήνη έως τη βάση του κώνου στα 1600 μέτρα υψόμετρο. Μία διαδρομή με ήπιες ανηφόρες και απλωμένη όπως λέμε στην ορειβατική διάλεκτο. Δεύτερο στάδιο η ανάβαση από τη βάση του κώνου στην κορυφή Παράγκα στα 2033m. Πιο απαιτητικό αυτό το στάδιο, αλλά σύντομο σε απόσταση και διαφορά υψομετρικής. Τρίτο στάδιο η γρήγορη κατάβαση από το βόρειο λούκι έως τα 1670 μέτρα υψόμετρο σε δασικό δρόμο με σημαντική χιονοκάλυψη. Τέταρτο στάδιο η σταδιακή κατάβαση από διαφορετικές στράτες και μονοπάτια έως το χωριό Κυλλήνη.
Ο καιρός ήταν δυστυχώς ανοιξιάτικος με υψηλές για την εποχή θερμοκρασίες, ενώ κάποια ψύχρα συναντήσαμε πάνω από τα 1800 μέτρα υψόμετρο. Τα λίγα σύννεφα που εμφανίστηκαν ήταν λεκέδες στον καταγάλανο ουρανό και η διαύγεια ήταν αρκετά καλή. Ο άνεμος πουθενά δεν ξεπέρασε τα 2 μποφώρ από διάφορες διευθύνσεις. Αξίζει να αναφερθεί το σφιχτό χιόνι που συναντήσαμε σε σημεία με βόρειο προσανατολισμό, μολονότι η εβδομάδα που προηγήθηκε ήταν ζεστή για τέλη Ιανουαρίου...
Οι ξεχωριστές στιγμές της διαδρομής ήταν συνολική εμπειρία της ανάβασης σε γνώστη κορυφή του ορεινού συγκροτήματος της Ζήρειας με ονομασία Παράγκα, ακολουθώντας διαφορετική αφετηρία (χωριό Κυλλήνη), ενώ στην επιστροφή εντοπίσαμε και ακολουθήσαμε στράτες και μονοπάτια βοσκών όπου από λιβάδι σε λιβάδι μας επέστρεψαν στο χωριό. Ακόμη η θέα από την κορυφή Παράγκα είναι πολύ καλή προς τα γύρω βουνά. Αξίζει να αναφερθεί το σφιχτό χιόνι στο βόρειο λούκι της Παράγκας όπου κατηφορίσαμε 370 μέτρα υψομετρική γρήγορα, άνετα και απολαυστικά... Ορισμένα βουνά περπατιώνται καλύτερα με χιόνι...
Στατιστικά από το gps:
Υψόμετρο αφετηρίας 990m,
Μέγιστο υψόμετρο διαδρομής 2033m,
Υψομετρική διαφορά αφετηρίας - κορυφής 1043 μέτρα
Συνολική υψομετρική διαφορά ανάβασης (Total Ascent) 1142 μέτρα,
Συνολική υψομετρική διαφορά κατάβασης (Total Descent) 1142 μέτρα,
Συνολική πεζοπορία (Trip Odometer) 14,5 χλμ,
Συνολικός χρόνος παραμονής στο βουνό (Total Time) 6 ώρες και 32 λεπτά
Μέση ταχύτητα πεζοπορίας (Moving Avg) 2,9 km/h,
Συνολική μέση ταχύτητα (Overall Avg) 2,4 km/h,
Καθαρός χρόνος πεζοπορίας (Moving Time) 5 ώρες και 31 λεπτά,
Συνολικός χρόνος στάσεων (Stopped Time) 1 ώρα και 1 λεπτό
Το αρχείο της διαδρομής στην εφαρμογή wikiloc:
www.wikiloc.com/mountaineering-trails/notia-zereia-kullen...
Σημείωση: Η διαδρομή πραγματοποιήθηκε ιδιωτικά.
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Ενδεικτικά παλαιότερη ανάβαση στην κορυφή Παράγκα:
Απρίλιος 2019:
The National Museum of Natural History (NMNH) is a natural history museum administered by the Smithsonian Institution, located on the National Mall in Washington, D.C., United States. It has free admission and is open 364 days a year. With 4.4 million visitors in 2023, it was the most-visited museum in the United States.
Opened in 1910, the museum on the National Mall was one of the first Smithsonian buildings constructed exclusively to hold the national collections and research facilities. The main building has an overall area of 1.5 million square feet (140,000 m2) with 325,000 square feet (30,200 m2) of exhibition and public space and houses over 1,000 employees.
The museum's collections contain over 146 million specimens of plants, animals, fossils, minerals, rocks, meteorites, human remains, and human cultural artifacts, the largest natural history collection in the world. It is also home to about 185 professional natural history scientists—the largest group of scientists dedicated to the study of natural and cultural history in the world.
The United States National Museum was founded in 1846 as part of the Smithsonian Institution. The museum was initially housed in the Smithsonian Institution Building, which is better known today as the Smithsonian Castle. A formal exhibit hall opened in 1858. The growing collection led to the construction of a new building, the National Museum Building (known today as the Arts and Industries Building). Covering a then-enormous 2.25 acres (9,100 m2), it was built in just 15 months at a cost of $310,000. It opened in March 1881.
Congress authorized construction of a new building on June 28, 1902. On January 29, 1903, a special committee composed of members of Congress and representatives from the Smithsonian's board of regents published a report asking Congress to fund a much larger structure than originally planned. The regents began considering sites for the new building in March, and by April 12 settled on a site on the north side of B Street NW between 9th and 12th Streets. The D.C. architectural firm of Hornblower & Marshall was chosen to design the structure. Testing of the soil for the foundations was set for July 1903, with construction expected to take three years.
The Natural History Building (as the National Museum of Natural History was originally known) opened its doors to the public on March 17, 1910, in order to provide the Smithsonian Institution with more space for collections and research. The building was not fully completed until June 1911. The structure cost $3.5 million (about $85 million in inflation-adjusted 2012) dollars. The Neoclassical style building was the first structure constructed on the north side of the National Mall as part of the 1901 McMillan Commission plan. In addition to the Smithsonian's natural history collection, it also housed the American history, art, and cultural collections.
Between 1981 and 2003, the National Museum of Natural History had 11 permanent and acting directors. There were six directors alone between 1990 and 2002. Turnover was high as the museum's directors were disenchanted by low levels of funding and the Smithsonian's inability to clearly define the museum's mission. Robert W. Fri was named the museum's director in 1996. One of the largest donations in Smithsonian history was made during Fri's tenure. Kenneth E. Behring donated $20 million in 1997 to modernize the museum. Fri resigned in 2001 after disagreeing with Smithsonian leadership over the reorganization of the museum's scientific research programs.
J. Dennis O'Connor, Provost of the Smithsonian Institution (where he oversaw all science and research programs) was named acting director of the museum on July 25, 2001. Eight months later, O'Conner resigned to become the vice president of research and dean of the graduate school at the University of Maryland. Douglas Erwin, a paleontologist at the National Museum of Natural History, was appointed interim director in June 2002.
In January 2003, the Smithsonian announced that Cristián Samper, a Colombian with an M.Sc. and Ph.D. from Harvard University, would become the museum's permanent director on March 31, 2003. Samper (who holds dual citizenship with Colombia and the United States) founded the Alexander von Humboldt Biological Resources Research Institute and ran the Smithsonian Tropical Research Institute after 2001. Smithsonian officials said Samper's administrative experience proved critical in his appointment. Under Samper's direction, the museum opened the $100 million Behring Hall of Mammals in November 2003, received $60 million in 2004 for the Sant Hall of Oceans, and received a $1 million gift from Tiffany & Co. for the purchase of precious gems for the National Gem Collection.
On March 25, 2007, Lawrence M. Small, Secretary of the Smithsonian Institution and the organization's highest-ranking appointed official, resigned abruptly after public reports of lavish spending.
On March 27, 2007, Samper was appointed Acting Secretary of the Smithsonian. Paul G. Risser, former chancellor of the University of Oklahoma, was named acting director of the Museum of Natural History on March 29.
In May 2007, Robert Sullivan, the former associate director in charge of exhibitions at the National Museum of Natural History, charged that Samper and Smithsonian Undersecretary for Science David Evans (Samper's supervisor) ordered "last minute" changes in the exhibit "Arctic: A Friend Acting Strangely" to tone down the role of human beings in the discussion of global warming, and to make global warming seem more uncertain than originally depicted. Samper denied that he knew of any scientific objections to the changes, and said that no political pressure had been applied to the Smithsonian to make the changes. In November 2007, The Washington Post reported that an interagency group of scientists from the Department of the Interior, NASA, National Oceanic and Atmospheric Administration (NOAA), and National Science Foundation believed that, despite Samper's denial, the museum "acted to avoid criticism from congressional appropriators and global-warming skeptics in the Bush administration". The changes were discussed as early as mid-August 2005, and Dr. Waleed Abdalati, manager of NASA's Cryospheric Sciences Program, noted at the time that "There was some discussion of the political sensitivities of the exhibit."
Although the exhibit was due to open in October 2005, the Post reported that Samper ordered a six-month delay to allow for even further changes. The newspaper also reported that it had obtained a memo drafted by Samper shortly after October 15, 2005, in which Samper said the museum should not "replicate" work by the Intergovernmental Panel on Climate Change. A few weeks later, a NOAA climate researcher advised a superior that the delay was due to "the debate within the administration and the science community over the existence and cause of global warming". During the delay, Samper asked high-level officials in other government agencies and departments to review the script for the exhibit, ordered his museum staff to make additional changes, and rearranged the sequence of the exhibit panels so that the discussion of climate change was not immediately encountered by museum visitors. Shortly before the exhibit opened in April 2006, officials at NOAA and the United States Department of Commerce expressed to their superiors their opinion that the exhibit had been changed to accommodate political concerns. In an interview with The Washington Post in November 2007, Samper said he felt the exhibit displayed a scientific certainty that did not exist, and expressed his belief that the museum should present evidence on both sides and let the public make up its own mind.
The issue became more heated after the press reported that Samper gave permission for the museum to accept a $5 million donation from American Petroleum Institute that would support the museum's soon-to-be-opened Hall of Oceans. Two members of the Smithsonian Institution's Board of Regents (which had final say on accepting the donation) questioned whether the donation was a conflict of interest. Before the board could consider the donation, the donor withdrew the offer.
Risser resigned as acting director of the museum on January 22, 2008, in order to return to his position at the University of Oklahoma. No new acting director was named at that time. Six weeks later, the Smithsonian regents chose Georgia Tech president G. Wayne Clough as the new Secretary. Samper stepped down to return to his position as Director of the National Museum of Natural History.
In June 2008, the Victoria and Roger Sant family donated $15 million to endow the new Ocean Hall at the museum. The museum celebrated the 50th anniversary of its acquisition of the Hope Diamond in August 2009 by giving the gemstone its own exhibit and a new setting. In March 2010, the museum opened its $21 million human evolution hall.
In January 2012, Samper said he was stepping down from the National Museum of Natural History to become president and chief executive officer of the Wildlife Conservation Society. Two months later, the museum announced it had received a $35 million gift to renovate its dinosaur hall, and a month later the Sant family donated another $10 million to endow the director's position. On July 25, 2012, Kirk Johnson, vice president of research and collections at the Denver Museum of Nature and Science, was named Samper's successor effective October 29, 2012. By 2013, as Sant Director, Johnson oversaw a museum with 460 employees and a $68 million budget. A four-year strategic plan was released in 2021. The museum's Mall building was listed on the National Register of Historic Places in 2023.
Research in the museum is divided into seven departments: anthropology, botany, entomology, invertebrate zoology, mineral sciences, paleobiology, vertebrate zoology.
The NMNH represents 90% of the Smithsonian Institution’s collections and forms one of the largest, most comprehensive natural history collection in the world. The Smithsonian gives an approximate number for artifacts and specimens of 146 million. More specifically, the collections include 30 million insects, 4.5 million plants preserved in the Museum's herbarium, and 7 million fish stored in liquid-filled jars. The National Collection of Amphibians and Reptiles has more than tripled from 190,000 specimen records 1970 to over 580,000 specimen records in 2020. Of the 2 million cultural artifacts, 400,000 are photographs housed in the National Anthropological Archives. Through off-site active loan and exchange programs, the museum's collections can be accessed. As a result, 3.5 million specimens are out on loan every year. The rest of the collections not on display are stored in the non-public research areas of the museum and at the Museum Support Center, located in Suitland, Maryland. Other facilities include a marine science center in Ft. Pierce, Florida and field stations in Belize, Alaska, and Kenya.
The museum is estimated to hold more than 5000 Native American remains that have not been repatriated. Some of these may belong to the Seminole Tribe of Florida.
One collection of nearly a million specimens of birds, reptiles, and mammals kept at the museum has been maintained by the Biological Survey unit of the U.S. Geological Survey. This division had started in 1885 as an economic ornithology unit of the Agriculture Department. Clarence Birdseye and Clinton Hart Merriam had worked in this organization. As of February 2018, the unit's funding is planned to be cut, and it is not clear what would happen to the collection.
Washington, D.C., formally the District of Columbia and commonly called Washington or D.C., is the capital city and federal district of the United States. The city is on the Potomac River, across from Virginia, and shares land borders with Maryland to its north and east. Washington, D.C., was named for George Washington, a Founding Father and first president of the United States. The district is named for Columbia, the female personification of the nation.
Washington, D.C., anchors the southern end of the Northeast megalopolis, one of the nation's largest and most influential cultural, political, and economic regions. As the seat of the U.S. federal government and several international organizations, the city is an important world political capital. The city had 20.7 million domestic visitors and 1.2 million international visitors, ranking seventh among U.S. cities as of 2022.
The U.S. Constitution in 1789 called for the creation of a federal district under the exclusive jurisdiction of the U.S. Congress. As such, Washington, D.C., is not part of any state, and is not one itself. The Residence Act, adopted on July 16, 1790, approved the creation of the capital district along the Potomac River. The city was founded in 1791, and the 6th Congress held the first session in the unfinished Capitol Building in 1800 after the capital moved from Philadelphia. In 1801, the District of Columbia, formerly part of Maryland and Virginia and including the existing settlements of Georgetown and Alexandria, was officially recognized as the federal district; initially, the city was a separate settlement within the larger federal district. In 1846, Congress returned the land originally ceded by Virginia, including the city of Alexandria. In 1871, it created a single municipality for the remaining portion of the district, although its locally elected government only lasted three years and elective city-government did not return for over a century. There have been several unsuccessful efforts to make the district into a state since the 1880s; a statehood bill passed the House of Representatives in 2021 but was not adopted by the U.S. Senate. Designed in 1791 by Pierre Charles L'Enfant, the city is divided into quadrants, which are centered around the Capitol Building and include 131 neighborhoods. As of the 2020 census, the city had a population of 689,545, making it the 23rd-most populous city in the U.S., third-most populous city in the Southeast after Jacksonville and Charlotte, and third-most populous city in the Mid-Atlantic after New York City and Philadelphia. Commuters from the city's Maryland and Virginia suburbs raise the city's daytime population to more than one million during the workweek. The Washington metropolitan area, which includes parts of Maryland, Virginia, and West Virginia, is the country's seventh-largest metropolitan area, with a 2023 population of 6.3 million residents.
The city hosts the U.S. federal government and the buildings that house government headquarters, including the White House, the Capitol, the Supreme Court Building, and multiple federal departments and agencies. The city is home to many national monuments and museums, located most prominently on or around the National Mall, including the Jefferson Memorial, the Lincoln Memorial, and the Washington Monument. It hosts 177 foreign embassies and serves as the headquarters for the World Bank, the International Monetary Fund, the Organization of American States, and other international organizations. Many of the nation's largest industry associations, non-profit organizations, and think tanks are based in the city, including AARP, American Red Cross, Atlantic Council, Brookings Institution, National Geographic Society, The Heritage Foundation, Wilson Center, and others.
A locally elected mayor and 13-member council have governed the district since 1973, though Congress retains the power to overturn local laws. Washington, D.C., residents are, on the federal level, politically disenfranchised since the city's residents do not have voting representation in Congress; the city's residents elect a single at-large congressional delegate to the U.S. House of Representatives who has no voting authority. The city's voters choose three presidential electors in accordance with the Twenty-third Amendment.
The District of Columbia was created in 1801 as the federal district of the United States, with territory previously held by the states of Maryland and Virginia ceded to the federal government of the United States for the purpose of creating its federal district, which would encompass the new national capital of the United States, the City of Washington. The district came into existence, with its own judges and marshals, through the District of Columbia Organic Act of 1801; previously it was the Territory of Columbia. According to specific language in the U.S. Constitution, it was 100 square miles (259 km2).
The district encompassed three small cities: Alexandria, formerly in Virginia, Georgetown, formerly Maryland, and the deliberately planned central core, the City of Washington. Both the White House and the United States Capitol were already completed and in use by 1800 as called for by the 1791 L'Enfant Plan for the City of Washington, although the city was not formally chartered until 1802. Beyond those cities, the remainder of the district was farmland organized by the 1801 Act into two counties, Washington County, D.C., on the Maryland side, and Alexandria County, D.C., on the Virginia side, encompassing today's Arlington County, Virginia, and the independent city of Alexandria.
The district was governed directly by the U.S. Congress from the beginning. Alexandria City and County were ceded back from the federal government to the commonwealth of Virginia in 1846, in a process known as retrocession, anticipating the 1850 ban on slave trading (but not slavery) in the district.
Washington and Georgetown retained their separate charters for seventy years, until the District of Columbia Organic Act of 1871. That act cancelled the charters of the towns and brought the entire area within the district borders under one district government, ending any distinction between "the District of Columbia" and "Washington", making the two terms effectively synonymous.
Main article: History of Washington, D.C. § Establishment
Congress determined, in the Residence Act of 1790, that the nation's capital be on the Potomac, between the Anacostia River and today's Williamsport, Maryland, and in a federal district up to 10 miles square. The exact location was to be determined by President George Washington, familiar with the area from his nearby home and properties at Mt. Vernon, Virginia.
Its trans-state location reflected a compromise between the Southern and Northern states. Virginia lobbied for the selection, an idea opposed by New York and Pennsylvania, both of which had previously housed the nation's capital. Maryland, whose State House was older than that of Virginia, and like Virginia a slave state, was chosen as a compromise. At Washington's request the City of Alexandria was included in the district, though with the provision that no federal buildings could be built there. The new capital district was at about the center of the country.
About 2/3 of the original district was in Maryland and 1/3 in Virginia, and the wide Potomac in the middle. The future district was surveyed in 1791–92; 24 of its surviving stone markers are in Maryland, 12 in Virginia. (See Boundary Markers of the original District of Columbia.) Washington decided that the capital's location would be located between the mouth of the Anacostia River and Georgetown, which sits at the Potomac's head of navigation.
As specified by Article One of the United States Constitution, in fact as one of the enumerated powers of section 8, Congress assumed direct administrative control of the federal district upon its creation by the District of Columbia Organic Act of 1801. There was no district governor or executive body. The U.S. House created a permanent Committee on the District of Columbia in January 1808, and the U.S. Senate established its counterpart in December 1816. These committees remained active until 1946. Thus the U.S. Congress managed the detailed day-to-day governmental needs of the district through acts of Congress—an act authorizing the purchase of fire engines and construction of a firehouse, for instance, or an act to commission three new city streets and closing two others in Georgetown.
The five component parts of the district operated their own governments at the lower level. The three cities within the district (Georgetown, the City of Washington, and Alexandria) operated their own municipal governments, each with a continuous history of mayors. Robert Brent, the first mayor of the City of Washington, was appointed directly by Thomas Jefferson in 1802 after the city's organization that year.
The remaining rural territory within the district belonged either to Alexandria County D.C., (district land west of the Potomac outside the City of Alexandria, formerly in Virginia) or to Washington County, D.C., (the unincorporated east side, formerly in Maryland, plus islands and riverbed). Both counties operated with boards of commissioners for county-level government functions. Both counties were governed by levy courts made of presidentially appointed Justices of the Peace. Prior to 1812, the levy courts had a number of members defined by the president, but after that Washington County had 7 members. In 1848, the Washington County levy court was expanded to 11 members, and in 1863 that was reduced by two to nine members.
The language of the establishing act of 1801 omitted any provision for district residents to vote for local, state-equivalent, or federal representatives.
This omission was not related to any constitutional restriction or, apparently, any rationale at all. Legal scholars in 2004 called the omission of voting rights a simple "historical accident", pointing out that the preceding Residence Act of July 16, 1790, exercising the same constitutional authority over the same territory around the Potomac, had protected the votes of the district's citizens in federal and state elections. Those citizens had indeed continued to cast ballots, from 1790 through 1800, for their U.S. House representatives and for their Maryland and Virginia state legislators. James Madison had written in the Federalist No. 43 that the citizens of the federal district should "of course" have their will represented, "derived from their own suffrages." The necessary language simply did not appear in the 1801 legislation.
The prospect of disenfranchisement caused immediate concern. One voice from a public meeting in January 1801, before the bill's passage, compared their situation to those who fought against British taxation without representation in the Revolutionary War—20 years prior. Despite these complaints the bill went into effect as written. Given exclusive and absolute political control, Congress did not act to restore any of these rights until the 1960s. The district still has no voting representation in Congress, and the decisions of its long-sought local government established in 1973 are still subject to close congressional review, annulment, and budget control.
Residents of Alexandria saw no economic advantage from being in the District. No federal buildings could be built on the south side of the Potomac, nor did they have representation in Congress. Some resistance was expressed immediately. One leading figure in the fight to retrocede through the 1820s was Thomson Francis Mason, who was elected mayor of Alexandria, D.C., four times between 1827 and 1830. Also Alexandria was a center of the profitable slave trade – the largest slave-trading company in the country, Franklin and Armfield, was located there – and Alexandria residents were afraid that if the District banned the slave trade, as seemed likely, this industry would leave the city.
To prevent this, Arlington held a referendum, through which voters petitioned Congress and the state of Virginia to return the portion of the District of Columbia south of the Potomac River (Alexandria County) to Virginia. On July 9, 1846, Congress retroceded Alexandria County to Virginia, after which the district's slave traders relocated to Alexandria. The district's slave trade was outlawed in the Compromise of 1850. The penalty for bringing a slave into the district for sale, was freedom for the slave. Southern senators and congressmen resisted banning slavery altogether in the District, to avoid setting a precedent. The practice remained legal in the district until after secession, with the District of Columbia Compensated Emancipation Act signed by Lincoln on April 16, 1862, which established the annual observance of Emancipation Day.
The District of Columbia Organic Act of 1871 created a single new district corporation governing the entire federal territory, called the District of Columbia, thus dissolving the three major political subdivisions of the district (Port of Georgetown, the City of Washington, and Washington County) and their governments. By this time the county also contained other small settlements and nascent suburbs of Washington outside its bounded limits, such as Anacostia, which had been incorporated in 1854 as Uniontown; Fort Totten, dating at least to the Civil War; and Barry Farm, a large tract bought by the Freedmen's Bureau and granted to formerly enslaved and free-born African Americans in 1867.
The newly restructured district government provided for a governor appointed by the president for a 4-year term, with an 11-member council also appointed by the president, a locally elected 22-member assembly, and a five-man Board of Public Works charged with modernizing the city. The first vice-chair of that Board of Public Works was real-estate developer Alexander Robey Shepherd, the architect and proponent of the consolidating legislation. From September 1873 to June 1874, Shepherd would serve as the second, and final, governor of the District.
The Seal of the District of Columbia features the date 1871, recognizing the year the district's government was incorporated.
Overall, I'm pretty pleased with this. I do wish i could use string in LDD to finish everything, but alas, pretending will have to do.
I'm fairly pleased with the design. The boom is a bit thicker than I would have liked at this scale, but I still think it turned out okay.
This is an unusual side zip design with high collar, ideal for hairdressing. It is a very lightweight nylon with a lovely sheen and slinky feel. Unfortunately the makers tag is missing. I would guess it dates from about 1968 - 1970 ish.
I pretend I clean a salon and they let me have this old overall and I wear some of my cheap jewellery because it seems like such a posh job.
Margolies, John,, photographer.
Overall, Jungle Golf, Myrtle Beach, South Carolina
1985.
1 photograph : color transparency ; 35 mm (slide format).
Notes:
Title, date and keywords based on information provided by the photographer.
Purchase; John Margolies 2010 (DLC/PP-2010:191).
Credit line: John Margolies Roadside America photograph archive (1972-2008), Library of Congress, Prints and Photographs Division.
Please use digital image: original slide is kept in cold storage for preservation.
Forms part of: John Margolies Roadside America photograph archive (1972-2008).
Subjects:
Miniature golf--1980-1990.
United States--South Carolina--Myrtle Beach.
Format: Slides--1980-1990.--Color
Rights Info: No known restrictions on publication. For more information, see "John Margolies Roadside America Photograph Archive - Rights and Restrictions Information" www.loc.gov/rr/print/res/723_marg.html
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Margolies, John John Margolies Roadside America photograph archive (DLC) 2010650110
General information about the John Margolies Roadside America photograph archive is available at hdl.loc.gov/loc.pnp/pp.mrg
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/mrg.02660
Call Number: LC-MA05- 2660
Took this photo of a Seattle waterfront scene. In the distance is Mt. Ranier. In front are Safeco Field, CenturyLink Stadium, the Big Wheel, and the Seattle Aquarium. I did not notice Ranier until I looked more closely and did my best to make it more visible.
The Seattle Aquarium is a public aquarium opened in 1977 and located on Pier 59 on the Elliott Bay waterfront in Seattle, Washington, USA.
The Seattle Great Wheel is a giant Ferris wheel at Pier 57 on Elliott Bay in Seattle, Washington. With an overall height of 175 feet (53.3 m), it was the tallest Ferris wheel on the West Coast of the United States when it opened on June 29, 2012.
CenturyLink Field is a multi-purpose stadium in Seattle, Washington, United States. It serves as the home field for the Seattle Seahawks of the National Football League (NFL) and Seattle Sounders FC of Major League Soccer (MLS).
Safeco Field (originally rendered SAFECO Field and sometimes referred to as Safeco) is a retractable roof baseball stadium located in Seattle, Washington. The stadium, owned and operated by the Washington-King County Stadium Authority, is the home stadium of the Seattle Mariners of Major League Baseball (MLB) and has a seating capacity of 47,476 for baseball.[6] It is located in Seattle's SoDo neighborhood near the western terminus of Interstate 90. (Wikipedia)
Piranha class scoutship
Ship has three decks, top one with supplies and computers, middle (main) is cockpit and third is airlock with helmets and oxygen tanks.
More pictures on Brickshelf
CWIND SWORD
High Speed Craft.
MMSI: 235108046
Call Sign: 2IAE5
Flag: United Kingdom [GB]
AIS Vessel Type: High Speed Craft
Length Overall x Breadth Extreme: 22m × 6m
Launched 2014.
CWind Sword is a resin-infused composite catamaran. The vessel’s versatile payload and ability to undertake multiple tasks at the same time – crew transfer, refuelling, workboat and rescue duties.