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Imágenes en Flickr y Facebook – 21 de enero de 2014 – Blog – Explicación de las obras
El resumen de noticias del ejercicio anterior nos permite conocer las presentaciones, intervenciones y apariciones del artista en los medios de comunicación, Blogs y redes sociales
Un recopilatorio
Como es habitual, en la segunda quincena del mes de enero, se realiza el resumen de noticias, fotografías y recopilación de vídeos en los que ha aparecido la figura del pintor García Ergüin, el cual se encuentra preparando otros proyectos para el 2014 con motivo de su 80 cumpleaños. Asimismo, los actos de presentación han centrado la atención del pintor, que acudió al homenaje a la figura de Ismael Fidalgo, entre otros. La relación directa del autor con la ciudad de Bilbao ha sido muy estrecha a lo largo de los años, y no sólo por la presentación del Mural de Bilbao, sino por todos los proyectos en los que intervino en el pasado. En la actualidad, centrado en los retratos, retoque de cuadros y obras ya finalizadas, Ergüin ha mostrado su interés en la digitalización de todos sus procesos, así como en el material antiguo, con especial hincapié en los documentos y archivos de audio y vídeo que reflejan sus colecciones, temáticas y colaboraciones. Cerrado el 2013, el inventario digital ya está a disposición de los interesados en la Web y en el canal de Flickr, aunque se irán desarrollando mejoras a lo largo del presente año.
Con la última entrevista publicada en el suplemento de Deia (ON, revista de Ocio, Estilo y Televisión), la figura de García Ergüin desvela una serie de secretos acerca de su arte, obras, pinturas, el centenario del Athletic Club de Bilbao o el estado de las Galerías de Arte, las cuales no pasan por su mejor momento. El arte en sí, quizás desplazado por la crisis y el poco hábito en el coleccionismo de las próximas generaciones, ha sido uno de los debates en las últimas presentaciones de los informes sobre un mercado que desea recobrar otras etapas más felices, donde la compra, venta y la acción de descubrir a nuevas promesas centró la mirada en la década de los cincuenta del siglo pasado.
Sin decir que no se presta atención a las novedades, tendencias o pintores noveles, el siglo XXI ha descubierto en la Era Digital, Internet y la comunicación en tiempo real una forma de llegar al interesado y lector, el cual carece de ese momento para acudir a actos o eventos, al menos en la gran ciudad. Por otro lado, 2013 supuso un buen momento para la consolidación de la trayectoria profesional de Ergüin que participó en la presentación del Mural de Bilbao, así como en la representación de varias obras en directo. Los encargos realizados, las entrevistas y el futuro homenaje, con la vista puesta en la posibilidad de crear una antológica de las distintas temáticas abordadas, serán claves en los ejercicios 2014 y 2015.
Medios
La mayor parte de los medios de comunicación, bloggers, revistas de arte y especializadas han manifestado y elogiado la disponibilidad de un pintor que ha participado desde 1960 en exposiciones individuales, desde la ciudad de Bilbao, Madrid, San Sebastián, Bermeo, Zaragoza, Barcelona, Santander, Méjico D.F, Houston, Nueva York, Aachen, Múnich, Postdam o Ginebra, entre otras. Como se recoge en la página web numerosos museos cuentan con obra de Ergüin desde el principio. Los bodegones, paisajes, exteriores, murales, toros y el segundo nivel, quizás una pintura más avanzada, como fueron las playas, la colección Espacios y las obras que representan los musicales en los que intervino (Ópera Carmen, Manon, La Bohème) han logrado captar la atención de la prensa nacional e internacional. Los dossieres de prensa del pasado, las entrevistas y el cuidado en la realización de los catálogos y libros editados dejaron una huella que permiten observar el recorrido profesional y la consecución de los objetivos marcados.
Futuro
La antológica es una manifestación extraordinaria o algo digno de ser destacado. Sin duda, una persona que lleva 60 años en la pintura y viviendo los primeros años con la bolsa de viaje y con las ganas de buscar la luz, el color y su hueco en lo que se puede considerar el mercado hace que empuje a otros artistas al análisis de una vida de sacrificio y disciplina. De esta manera, la entrevista que Ergüin concedió el 7 de enero de 1991 en el programa Encuentros de RNE significó el paso por numerosas galerías de arte, las cuales hoy en día forman parte de un pasado. En el futuro más inmediato, los proyectos se suceden y, como iremos informando, se preparan diversos eventos a partir del mes de marzo de 2014 que permitirán difundir el legado artístico y cultural de la figura de Ignacio García Ergüin.
Entrevista revista ON:
static.deia.com/docs/2014/01/17/on180114_25273.pdf
Fuente de información:
-Archivos de Iñaki García Ergüin.
-Medios de comunicación.
Para más información
Ignacio García Ergüin
Web: garciaerguin.es
Facebook: facebook.com/garciaerguin
Twitter: twitter.com/garciaerguin
Flickr: flickr.com/photos/garciaerguin
YouTube: youtube.com/inakigarciaerguin
Google Plus: plus.google.com/108846756574271829051
Vimeo: vimeo.com/garciaerguin
Saw another representation featuring the US Constitution, I felt the Bill Of Rights to be a more accurate depiction. So I put together this poster featuring my gun permit in the background. Sometimes I like to pull it out, dust it off and reread it. Wish our leaders in Washington would do the same.
Após observá-lo atentamente, percebi que pela atitude, tez de pele, este homem alto e magro, quase me permitia contar a história dele. A ele que chamei "Capitão Cook", por tudo o que me transmitiu em breves momentos.
De semblante bem marcado pela vida errante e ao relento, Cook fez com que o destino o trouxesse a Portugal, numas daquelas férias de sonho, sob o nosso apetecivel Sol.
Tanto gostou, que se apaixonou e ficou, trocando o frio britânico, pelo calor português.
Todavia, esta não foi infelizmente a melhor escolha, como prova eis a sua condição actual.
Com parcos haveres, aspecto descuidado, barba e cabelo esquecidos há muito e que quase escondem um olhar vazio, naquele rosto cor de lagosta cozida, de tanto Sol apanmhar.
Cook passa o seu eterno tempo ocupadissimo, na esplanada de um restaurante de fast-food, na zona de Belém.
Durante as suas buscas incansáveis entre um caixote do lixo e outro, de restos do mais famoso refrigerante do mundo e que ainda têm gelo, nos copos de papel, deixados pelas muitas pessoas que por ali passam, o capitão encontrou entre tantos restos, um daqueles monóculos de brinquedo, que são oferecidos na compra de um menu infantil. Imediatamente a luz de um sorriso surgiu em seu rosto. Talvez o primeiro em muitos dias tão iguais a tantos outros.
Qual o meu espanto, quando Cook se sentou na mesa mesmo em frente aquela onde eu me sentara e de forma amistosa e quase mimica, o nosso amigo me propôs um duelo de lentes, já que antes me vira de máquina fotográfica nas mãos.
Ali estivemos durante algum tempo, de lentes apontadas um para o outro, tirando, cada um á sua maneira, proveito daquele momento maravilhoso para ambos.
No final do desafios, nenhum de nós saiu derrotado, porque Cook divertiu-se a olhar-me pelo mocóculo, enquanto se sentia com a importância merecida e eu fiquei com uma história para vos contar, ilustrada por uma imagem, que ficará eterna, esperando que todos gostem...
Dear captain Cook
Thank you so much, for the history you never told me...
Best wishes from your friend
Agostinho Russo
Lisbon, 13th November 2011
Dec. 16, 2015. East Boston, MA.
City Life/ Vida Urbana held a holiday procession and rally at which over 100 people gathered at 29 Paris St. (the church that has provided refuge to Maverick St. tenants who were forced out of their homes when a wall collapsed and have not been able to move back in.) The candlelight procession walked to Maverick Sq. for an alternative tree lighting ceremony. Many tenant associations placed decorations on what they are calling a "Justice Tree." Each decoration will give the name of the tenant association and what they want for the holidays - "Just Cause" protections from eviction." Just Cause Eviction is a proposed City of Boston home rule petition supported by a coalition of 35 groups. This would make it illegal to use current no-fault eviction laws to evict homeowners after foreclosure or to clear out buildings without cause. It would permit use of the no-fault process to enforce a large rent increase only after one mediation is held. Without such a law, City Life leaders and tenant organizers are afraid that working class people, in particular tenants of color, will be forcibly driven out of their Boston homes because rents are rising so rapidly.
© 2015 Marilyn Humphries
With a permit with the San Francisco visitors convention bureau I was allowed to drive my car onto the pier for a shot that no other car company has been able to get. I was being interviewed by the www.onlyinsanfrancisco.com/escape & the SF visitors Bureau.
May 19th, 2009
San Francisco, CA
The Warming Hut
Photo by Andres Acosta using my Nikon D80 with telephoto lens.
Photos by Miller Taylor.
October 2014 CreativeMornings/Raleigh event (global theme: Crossover) with guest speaker Sean Wilson.
Sean Lilly Wilson is Fullsteam Brewery’s owner and Chief Executive Optimist. Prior to launching Fullsteam in 2010, he founded and led both Pop The Cap and Permit Beer, two beer lobbying organizations that have opened up economic markets to North Carolina’s craft beer industry. He holds both an MBA and Master of Public Policy from Duke University. In both 2012 and 2013, Sean was a James Beard Foundation semi-finalist in the category of Outstanding Wine, Beer, or Spirits Professional. Find him on Twitter (@fullsteam) or at Fullsteam’s family-friendly, dog-friendly tavern: 726 Rigsbee Avenue in Durham, N.C.
Special thanks to our host The Cookery and sponsors CompostNow, Counter Culture Coffee, who generously provided us with complimentary coffee, and Pie Pushers, who provided the tasty breakfast snacks.
Aputure Gigtube Wireless es un dispositivo que permite visualizar y disparar remótamente una cámara de fotos. La conexión se puede efectuar directamente mediante cable o bien de forma inalámbrica. Ideal para fotografía de naturaleza en donde el fotógrafo no puede estar cerca de la cámara. En operativa inlámbrica permite la transmisión a una distancia aproximada de hasta 100 m (según condiciones). Se compone de dos partes cláramente diferencias:
El visor y disparador remoto. Dispone de una pantalla TFT LCD de 3,5" de 230.000 pixels y de los controles necesarios para disparar y configurar remotamente. Por la pantalla se visualiza la misma imagen que se mostraría en el visor de la cámara. La pantalla dispone de tapa con viseras laterales para evitar reflejos de luz. Pulsadores varios para el control del dispositivo, así como para el disparo remoto de la cámara. El disparador remoto permite operativa de media pulsación (auto-enfoque y auto-calibrado), pulsación total (disparo) y pulsación larga (modo bulb u operativa de programado de velocidad de obturación).
Receptor inalámbrico que se conecta directamente a la cámara de fotos. El receptor dispone de visor para la configuración del canal de comunicación y la visualización de la señal. Si se requiere, es posible fijar este receptor en el zócalo del flash de la cámara. Opera en las bandas 2,4 GHz y 433 MHz.
Incluye
Módulo visualizador y disparador remoto (124 x 78 x 30 mm).
Módulo receptor inalámbrico con antena orientable.
Cinta para el módulo remoto.
Baterías Li-On de 3.7 V y 1200 mAh para el receptor y el módulo remoto (2 unidades).
Cable de conexión a cámara des de el módulo receptor o el módulo remoto.
Cable USB cargador.
Adaptador de 220 VAC a USB 5 VDC.
Adaptadores (2 unidades).
Compatibilidad (Puede ser compatible con más modelos)
Canon EOS 600D (T3i), 60D, 550D, 500D, 1000D, 450D.
Puede comprarlo en : www.cablematic.com/producto/Gigtube-DSLR-Wireless-ViewFin...
Permits have been filed for an eight-story mixed-use building at 37-22 30th Street in Astoria, Queens. Located between 37th and 38th Avenues, the lot is between the 36th and 39th Avenue subway stations, served by the N and W trains. Arthur Klansky of Ashlar Mechanical Corp. is listed as the owner behind the applications.
The proposed 70-foot-tall development will yield 20,642 square feet, with 17,640 square feet designated for residential space and 3,002 square feet for manufacturing space. The building will have 14 residences, most likely condos based on the average unit scope of 1,260 square feet. The concrete-based structure will also have a cellar and seven enclosed parking spaces.
Further info: newyorkyimby.com/2025/01/permits-filed-for-37-22-30th-str...
PNS Permit >> Dhanalakshmi >> Ms Menon >> >> Dhanalakshmi >> Thuruthel >> ST Basil >> Thuruthel
KL 8 L 3807 >> KL 8 AS 485 >> KL 08 AY 2332 >> KL 8 BC 3807
Item No. 16 C8/28039/10R Agenda:-
To consider the application for renewal of regular permit in respect of Stage Carriage KL 08 AS 485 operating on the route Kodungallur- Palakkad via SN Puram, Moonupeedika, Kakkathuruthy, Irinjalakuda, Thrissur, Vadakkanchery NH and Alathur NH , Palakkad as LSOS valid till 27/04/2010
Applicant:-Sri. Eldhose, S/OKurian, Padinjapurath House, Vazhukkumpara, Thrissur
--------------------
Item No.6 No.C4-72215 /2009
Agenda :
To consider the Joint application for allowing transfer of regular permit in respect of stage carriage KL 8 L 3807 operating on the route Kodungallur – Thrissur - Palakkad so as to transfer the permit from the name of the permit holder to the name of the transferee.
Applicants
1. Sri. P K Sivadas, Pazhayi House, Nadavarambu, Thrissur
2. Smt. T Ashadevi, W/o M S Premkumar, Manamel House, M s M Transports, Konathukunnu
-------------------
Item No.148 C4/73383/2015/R
Agenda :
To seek concurrence from sister RTA,Palakkad for renewal of permit in respect of stage carriage KL-08 BC 3807 regular permit on the route KODUNGALLUR - PALAKKAD Via. Panangad, S N Puram, Mathilakam, Perinjanam, Moonnupeedika, Kakkathuruthy, Irinjalakuda, Oorakam, Thrissur, Mannuthy N H, Pattikkad, Vaniampara, Vadakkenchery NH, Alathur, Kannannur, CoyalmannamNH As LSOS valid upto 27.04.2015
Applicant : Sri. Baiju Joseph,s/o Joseph,Thuruthel house,Chuvannamannu P O,Thrissur.
Permit Number :5/1007/1999
Permit Owner:JAIMON JOSEPH
Permit Owner Address: KOOTTUMALAKKUNNEL HOUSE, MANJOOR P.O. KOTTAYAM.
Permit Valid From:24/04/2015
Permit Mobile: 9495313535
KAIPUZHAMUTTU 04:36 am
KOTTAYAM 05:16 am - 05:20 am
THALAYOLAPARAMBU 06:36 am
VYTTILA HUB 07:40 am
VYTTILA HUB 08:31 am
THALAYOLAPARAMBU 09:35 am - 09:38 am
KOTTAYAM 10:54 am
KOTTAYAM 11:28 am
THALAYOLAPARAMBU 12:44 pm
VYTTILA HUB 01:48 pm
VYTTILA HUB 04:00 pm
THALAYOLAPARAMBU 05:04 pm
KOTTAYAM 06:20 pm
KOTTAYAM 06:41 pm
KAIPUZHAMUTTU 07:21 pm
CHERTHALA 07:51 pm
CHERTHALA 07:57 pm
KAIPUZHAMUTTU 08:25 pm
Wedding of Rob and Edith Keel, at Domaine Mas Auroux, Chemin des Verriers, Montpellier, France, 4 Jne 2011.
Copyright © ‘H’ Photography (www.hphotography.co.uk)
All Rights Reserved.
Not be used without prior permission from the Copyright Holder. This image must not be syndicated or transferred to other systems or third parties. Storage and archiving is not permitted. Any unauthorised use or reproduction of this image will constitute a violation of copyright.
Urban sprawl or tropical paradise? Florida sometimes just cannot seem to decide where to draw the line. Speaking off drawing the line, this image shows where the line exists. There is no development permitted in the area to the left in this shot.
Valparaiso 05 Junio 2023
Proyecto de ley, iniciado en moción, que modifica la ley N° 18.290, de Tránsito, para permitir acreditar requisitos de idoneidad física y psíquica para renovar la licencia de conducir no profesional, mediante certificado otorgado por prestadores institucionales acreditados, por los años 2023 y 2024. MODIFICACIONES DEL H. SENADO.
Boletín No 15647-15.
Plazo de la urgencia: 11.06.2023.
ORDEN DEL DÍA
SUMA URGENCIA
1. Proyecto de ley, iniciado en mensaje, que modifica la ley N° 21.325 para ampliar el plazo de detención para la materialización de las expulsiones administrativas. PRIMER TRÁMITE CONSTITUCIONAL. Informe de la Comisión de Gobierno Interior, Nacionalidad, Ciudadanía y Regionalización. Diputado informante, el señor Bernardo Berger.
Boletín No 15879-06.
Plazo de la urgencia: 13.06.2023.
DISCUSIÓN INMEDIATA
2. Proyecto de ley, iniciado en mensaje, que consolida el sistema de reconocimiento y promoción del desarrollo profesional docente como único sistema general de evaluación y fortalece los procesos de inducción y acompañamiento. PRIMER TRÁMITE CONSTITUCIONAL. Informes de las comisiones de Educación y de Hacienda, rendidos. Discusión pendiente.
Boletín No 15715-04.
Plazo de la urgencia: 11.06.2023.
Este proyecto contiene disposiciones de quórum calificado.
DISCUSIÓN INMEDIATA
3. Proyecto de ley, iniciado en moción, que modifica la Ley de Alcoholes respecto de las sanciones administrativas. INFORME DE COMISIÓN MIXTA.
Boletín No 12643-06.
Plazo de la urgencia: 07.06.2023.
SIMPLE URGENCIA
4. Proyecto de ley, iniciado en mensaje, para reconocer el acceso a internet como un servicio público de telecomunicaciones. SEGUNDO TRÁMITE CONSTITUCIONAL. Informe de la Comisión de Obras Públicas, Transportes y Telecomunicaciones. Diputado informante, el señor René Alinco.
Boletín No 11632-15.
Plazo de la urgencia: 28.06.2023.
Este proyecto contiene disposiciones de ley orgánica constitucional.
5. Proyecto de ley, iniciado en moción, que modifica la Ley General de Urbanismo y Construcciones y el Código Sanitario para incorporar el principio precautorio y la participación ciudadana en las decisiones de autoridades administrativas facultadas para disponer el retiro de industrias y similares que causen daños y o molestias a la población. PRIMER TRÁMITE CONSTITUCIONAL. Segundo Informe de la Comisión de Vivienda, Desarrollo Urbano y Bienes Nacionales, rendido. Discusión pendiente.
Boletín No 14683-14.
6. Proyecto de ley, iniciado en moción, que establece la obligación de instalar mudadores en baños de hombres y mujeres en los recintos de uso público. PRIMER TRÁMITE CONSTITUCIONAL. Segundo Informe de la Comisión de Mujeres y Equidad de Género. Diputada informante, la señora Erika Olivera.
Boletín No 15119-34.
7. Proyecto de ley, iniciado en moción, que modifica la ley N° 14.908, sobre abandono de familia y pago de pensiones alimenticias, para regular los efectos del incumplimiento del régimen de relación directa y regular establecido. PRIMER TRÁMITE CONSTITUCIONAL. Informe de la Comisión de la Familia. Diputada informante, la señora Ana María Gazmuri.
Boletín No 15138-18.
Fotos: René Lescornez A.
Sloth at Bogarin Nature Trail, La Fortuna, Costa Rica
PERMISSION TO USE: Please check the licence for this photo on Flickr. If the photo is marked with the Creative Commons licence, you are welcome to use this photo free of charge for any purpose including commercial. I am not concerned with how attribution is provided - a link to my flickr page or my name is fine. If used in a context where attribution is impractical, that's fine too. I enjoy seeing where my photos have been used so please send me links, screenshots or photos where possible. If the photo is not marked with the Creative Commons licence, only my friends and family are permitted to use it.
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.
Since the state of Illinois passed the new CCW bill and residents begin to apply for permits, political fallout from this legislation has continue to build. Below you’ll see snippets of an article posted on the CBS Chicago site detailing a “warning” from the Chicago Police...
gun-holster.net/chicago-police-superintendent-concerned-n...
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In a recent move, Florida has lowered the driving age to six. Parents must assist if the young driver is unable to reach the pedals.
Building a sand castle during the last Family Beach Olympic Games of the season on the beach of the Carousel Hotel on 118th Street, Thursday, Aug. 29, from left, are Jessica, 13, Samir, Jenna, 10, and Nemeen Naoum of New Jersey.
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ST Joseph Permit
Item No. 34 No. C9/82879/2011/R
Agenda : To consider the application for renewal of regular permit in respect of Stage Carriage KL 08 AA 5250 on the route Government College Kuttanellur - Tirur , Via Thrissur , Kunnamkulam , Edappal ,Kuttippuram As LSOS valid
till 18.07.2011.
Applicant : Sri . Venkatesan L, Saranya Nivas, P.O. Poonkunnam, Thrissur
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Item no ( 85 ) C9/24239/2008/R
Agenda:
To consider the joint application for the transfer of regular permit in respect of S/C KL 8 AA 5250 on the route Kuttanellur Government College – Kuttippuram – Edappal From the name of the applicant No. 1 to the Name of the second applicant.
Applicants:
(1) Roy Geo Mathew, Santhi Bhavan, Mundur, Thrissur
(2) L Venkitesan, Saranya Nivas, Punkunnam, Thrissur
Meadow in the grounds of Hampton Court Palace
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A demolition permit was recently issued for the 1891 residence in Lincoln Park. The previous owner - a former state representative and senator who served prison time for accepting $147,000 for a no-work job - sold the property in 2017 for $1.635 million.
Demolition permit issued post-Gustav, Within HCDRC Jurisdiction
What a great house! It appears to be rough around the edges only because the lot is being maintained. The house is gutted and is a prime candidate for renovation in a block of Broadmoor that has been fully restored! We talked to the neighbor, who would love to see this property redeveloped., Will it become an urban prarie if the house is demolished? A diamond in the rough, this house screams for an eager renovator!
Owner Information
Owner INTERURBAN HOUSING CORP
Property Description SQ 168 LOT 20 S GAYOSO 38X115 1716-18 SO GAYOSO ST DU-W TAX SALE 12/03
Sale Information
Sale Date 12/23/2003
Sale Price $1,205.00
Sale Type N/A
Tax Bill 614354916
British postcard in the Picturegoer Series, London, no. 480a. Photo: First National.
American comedian Joe E. Brown (1891-1973) is dearly remembered for his portrayal as Osgood Fielding III in Billy Wilder's Some Like It Hot (1959), in which he utters the famous punchline "Well, nobody's perfect". With his amiable screen persona, comic timing, and enormous elastic-mouth smile, Brown was one of the most popular American comedians in the 1930s and 1940s, with successful films like A Midsummer Night's Dream (1935), Earthworm Tractors (1936) and Alibi Ike (1935).
Joseph Evans Brown was born in Holgate, Ohio, in 1891 (according to IMDb 1892). One of his proudest claims was that he was perhaps the only kid whose parents encouraged him to run away with the circus. In 1902, the 10-year-old Brown joined a circus tumbling act called the Five Marvellous Ashtons, with whom he started his vaudeville career. He toured in burlesque in an acrobatic act, and also briefly played semi-professional baseball. His avid interest in baseball inaugurated a lifelong association with that sport which would include his participation in the National Vaudeville Artists ball team, his part-ownership of the minor league Kansas City Blues, and his providing pregame 'colour' for the televised New York Yankees games of the 1950s (Joe's son Joe L. became manager of the Pittsburgh Pirates in 1955). On the verge of leaving vaudeville for Broadway in 1919, Joe discovered that Actors' Equity had called a strike; with very little hesitation, he grabbed a sign and joined the picket line. In 1920, Brown finally made it to Broadway as a comedian in the all-star review Jim Jam Jems. He went on to star in such New York productions as Captain Jinks and Twinkle Twinkle. In 1927, he began his film career in the short comedy Twinkle, Twinkle (1927). Uncharacteristically he appeared in turgid melodramas like Crooks Can't Win (George M. Arthur, 1928) until he was signed by Warner Bros. in 1929.
Joe E. Brown became a favorite with child audiences and shot to stardom after appearing in the first all-color all-talking musical comedy On with the Show (Alan Crosland, 1929). He starred in several lavish Technicolor Warner Brothers musical comedies including Sally (John Francis Dillon, 1929), Hold Everything (Roy Del Ruth, 1930), Song of the West (Ray Enright, 1930), and Going Wild (William A. Seiter, 1930). In his popular Warners vehicles, Joe E. Brown alternated between playing naive young men who made good despite impossible odds, or brash braggarts who had to be taken down a peg or two. His trademark was his huge mouth, cavernous grin, and drawn-out yell. Joe's best films were those in which he was permitted to display his athletic prowess, such as his 'baseball trilogy' Fireman Save My Child (Lloyd Bacon, 1932), Elmer the Great (Mervyn LeRoy, 1933) and Alibi Ike (Ray Enright, 1935). Personally selected by Max Reinhardt to play Flute in the lavish Warners adaptation of William Shakespeare's A Midsummer Night's Dream (Max Reinhardt, William Dieterle, 1935), Brown easily stole the show from such formidable competition as James Cagney, Olivia de Havilland, Victor Jory, and Mickey Rooney. Another hit was Earthworm Tractors (Ray Enright, 1936). During his Warner years, Brown and his wife began sponsoring promising college athletes: among Joe's proteges were UCLA football star (and later producer) Mike Frankovitch, and Olympic contestant (and future politician) Ralph Metcalfe. After ending his Warners contract in 1936, Brown starred for independent producer David Loew in When's Your Birthday? (Bob Clampett, Leon Schlesinger, 1937) and The Gladiator (Edward Sedgwick, 1938). In 1939, Brown testified before the House Immigration Committee in support of a bill that would allow 20,000 German Jewish refugee children into the US. He later adopted two refugee children.
By the early 1940s, Joe E. Brown's pictures were strictly in the 'B' category, though some of them, notably his brace of co-starring assignments with comedienne Judy Canova, had glimmers of the old Brown magic. He worked tirelessly entertaining troops in all corners of the world during World War II; their enthusiastic response enabled Brown to overcome the death of his son, Captain Donald Evans Brown, in a training accident. After the war, Brown devoted most of his energies to stage work. In 1948, he was awarded a Special Tony Award for his work in the touring company of Harvey. On-screen he played Captain Andy in Show Boat in the MGM remake of Show Boat (George Sidney, 1951) with Ava Gardner. In 1961, he reprised the role on stage. He added television to his long list of accomplishments in the 1950s and 1960s. Most of Joe E. Brown's final film appearances were cameo roles, such as in Around the World in 80 Days (Michael Anderson, 1956), and It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963). The outstanding exception was his portrayal of daffy millionaire Osgood Fielding III in Some Like It Hot (Billy Wilder, 1959). Fielding falls for Daphne, played by Jack Lemmon in drag. At the end of the film, Lemmon takes off his wig and reveals to Brown that he is a man, to which Brown brings down the house by uttering the film's classic punchline: "Well, nobody's perfect." Brown began having heart problems in 1968, after suffering a severe heart attack and underwent cardiac surgery. He died from arteriosclerosis in 1973 at his home in Brentwood, Los Angeles, California, three weeks before his 82nd birthday.
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
É permitido aos usuários copiar partes do conteúdo de sites, mas apenas para uso pessoal e não-comercial. Outros tipos de uso, como reprodução, MODIFICAÇÃO, distribuição, transmissão ou exibição em outros sites, são geralmente proibidos.
Ao utilizarem as fotos deixem meus créditos da seguinte forma:
Fotos Rock Campinas - www.rockcampinas.com.br
blog Rock Campinas/ - www.rockcampinas.zip.net
On March 14th 2020 Madrid shut down due to Covid 19, 7 weeks later we were finally permitted to go out for walks under certain conditions one of these was not to go more than one kilometre from our houses. This album contains the photos I took during this time.
The Auditorio Nacional de Música (National Auditorium of Music) is a complex of concert venues located in Madrid, Spain and the main concert hall in the Madrid metropolitan area. It comprises two main concert rooms: a symphonic hall and a chamber music hall.
Resident artists
The resident orchestra at Auditorio Nacional is the Orquesta Nacional de España, although it is also the main venue for the symphonic concerts of the Orquesta Sinfónica de Madrid and the Community of Madrid Orchestra.
The Auditorio Nacional is the main venue for guest orchestras performing in Madrid.
Facilities
The Auditorio’s main concert hall is the Sala Sinfónica (Symphonic Hall) which seats 2,324. The seats in the Main Hall are situated around the concert stage, following the tradition of the modern European concert halls, in the "vineyard configuration”. The hall also houses a large pipe organ.
The smaller hall is the Sala de Cámara (Chamber Hall). This hall has 692 seats.
The Auditorio also has a small Sala General del Coro (General Choir Hall), with 208 seats, and several rehearsal and practice rooms.
History
Before the construction of the Auditorio, Madrid did not have a proper and modern concert hall, and symphonic concerts usually happened at the Teatro Real and other theatres in Madrid.
The building was designed by the architect José María García de Paredes, and built as part of the Programa Nacional de Auditorios (National Auditoriums Program).
The Auditorio Nacional was inaugurated on October 21, 1988.
Wikipedia
El sistema automatizado permite que los representantes de 28 tipos de establecimientos sujetos a control y vigilancia sanitaria puedan acceder de manera ágil, transparente y oportuna a la obtención del Permiso de Funcionamiento mediante la página web de ARCSA www.controlsanitario.gob.ec
Este permiso tiene vigencia de un año y debe ser tramitado hasta el 15 de julio. El usuario deberá presentar el croquis del establecimiento junto con el permiso otorgado por el Cuerpo de Bomberos o Licencia Metropolitana Única para el Ejercicio de Actividades Económicas (LUAE), en el caso de los establecimientos ubicados en el Distrito Metropolitano de Quito, el cual será válido hasta abril de 2014.
Valparaíso 18 de Abril de 2023.
Comisión Constitución.
Con el propósito de:
1.- Destinar la primera hora de la sesión a continuar la tramitación del proyecto de ley, iniciado en mensaje, que “Regula el funcionamiento, organización, funciones y atribuciones de la comisión para la fijación de remuneraciones a que alude el artículo 38 bis de la Constitución Política de la República” (boletín N° 14.819-07), con urgencia simple.
2.- Destinar la segunda hora de la sesión a la presentación de los proyectos de Reforma Constitucional que permiten el retiro de fondos previsionales de cuentas de capitalización individual, boletines N°s 14.909-07; 14.910-07; 14.912-07; 14.915-07; 14.917-07, y 14.886-07.
Fotos:- Johanna Zárate P.
The Queen at Pinewood studios with Ontario Premier Dalton McGuinty, is NOT AMUSED. She does not want to put on the 3d glasses to view the screen and has to be convinced. It was so obviously staged for us, the media, who were of course ready to pounce on it because the British media had let us know in advance what was to occur. The Queen did not want to be made a spectacle of (!) and possibly didn't like that the diamond encrusted 3D glasses made especially for her also were also branded "Pinewood Studios" on the side.
This must be a lady in waiting beside her, for who else would be permitted to put something in the Queen's handbag and then close it for her? It appeared to be a blue cloth of some sort in the larger view. July 5, 2010. Queen's visit © Linda Dawn Hammond / IndyFoto.com 2010
In India, it seems very much important to have a National permit, or any other kind of government approval for virtually any business you run...
A un mes de implementarse el programa BonoGas, que permite financiar la instalación interna de gas natural en los hogares, especialmente de escasos recursos económicos, se han beneficiado más de 300 familias de Lima y el Callao con esta medida.
Así lo anunció, el ministro de Energía y Minas, Gonzalo Tamayo Flores, en la inauguración de las primeras conexiones domiciliarias con este combustible, financiadas por BonoGas, ubicadas en el distrito de San Juan de Miraflores. Explicó que desde que se inicio este programa, a inicios de octubre, hay alrededor de 8,000 inscritos. De ellos, 1,500 ya están en proceso de conexión.
Con esta iniciativa, que se enmarca dentro de los 100 primeros días de gestión, el Gobierno busca impulsar la masificación del uso del gas natural no solo en Lima sino también en el interior del país a través de diversos proyectos que están próximos a culminar.
Cabe indicar que, para las familias con ingresos bajos, el financiamiento con BonoGas será al 100%. En tanto, a los hogares con ingresos medios-bajos se les financiará el 75% y los de ingresos medios el 50% en 10 años.
Durante la visita que realizó a los hogares que ya cuentan con dicho combustible, Tamayo Flores estuvo acompañado del presidente del Organismo Supervisor de la Inversión en Energía y Minería (OSINERGMIN), Jesús Tamayo Pacheco.
También informó que se está terminando de definir el diseño del BonoGNV, que financiará la conversión de vehículos a gas natural, lo que permitirá reducir el consumo de gasolina y gas licuado de petróleo (GLP). “Esta medida es consistente con las metas de sostenibilidad y el uso de las fuentes de energía abundantes del país”, refirió.
Tamayo Flores indicó que se usarán los fondos disponibles, que son cerca de 600 millones de soles, para la ejecución de obras de electrificación rural. A diciembre del 2016 se espera llegar al 81% de cobertura, la meta al 2021 es alcanzar el 99% de acceso universal del servicio de energía eléctrica.
Otra medida adoptada en los primeros 100 días, fue la reducción de las tarifas eléctricas, especialmente para las zonas rurales del interior del país, así como la revisión de los procedimientos administrativos, eliminando 16 trámites, que restaban agilidad y eficiencia al portafolio, refirió.
A pair of courting Northern Mockingbirds in Eaton Canyon Park. We watched as the male spent 15 minutes trying to convince the female that he was the right bird for her. Quite a show: singing, flying and strutting. Did not stay for the final outcome.
Best viewed large, if time permits.
Fairview Chancellorsville at Night Civil War Cannon Astrophotography (taken by permit with the Fredericksburg NPS) CWT13BF
Permit Number :KL55/94/2000
Permit Owner:MR.JUDY KISHORE
Permit Owner Address: JUBY NIVAS, (PADIYATH), VADAKARA P.O. VAIKOM.
Permit Valid From:11/08/2015
KOTTAYAM 07:40 am
THALAYOLAPARAMBU 08:56 am
VYTTILA HUB 10:00 am
VYTTILA HUB 11:40 am
THALAYOLAPARAMBU 12:44 pm
KOTTAYAM 02:00 pm
KOTTAYAM 02:39 pm
THALAYOLAPARAMBU 03:55 pm
VYTTILA HUB 04:59 pm
VYTTILA HUB 05:59 pm
THALAYOLAPARAMBU 07:03 pm
KOTTAYAM 07:20 pm - 08:19 pm
Permit Number :4/12/2006
Permit Owner:SUNEESH V S
Permit Owner Address: ACHOOS PATTANAKKAD P O
CHERTHALA ALAPPUZHA
ARTHUNKAL - CHERTHALA BUS STAND - VYTTILA - KALOOR
Las familias del Cauca le siguen apostando a un modelo de desarrollo rural que les permita olvidar el conflicto armado y superar la pobreza extrema.
En el Coliseo de Almaguer, cerca de 800 personas se unieron al mercado campesino, para el lanzamiento del programa “Familias Rurales”, enfocado en las comunidades y en los hogares más vulnerables de los municipios de Almaguer, La Vega y Argelia.
Prosperidad Social y la Organización de las Naciones Unidas para la Alimentación y la Agricultura (FAO), se unieron con el objetivo de desarrollar una intervención rural para la inclusión social y productiva de las familias rurales para la construcción de paz, mediante encuentros con la comunidad cada semana, visitas a los hogares para acompañar y fortalecer los procesos individuales, promover la sostenibilidad del trabajo en el ámbito rural y la reconstrucción del tejido social.
La Subdirectora de Programas y Proyectos de Prosperidad Social, Kelly Sarmiento, manifestó durante el evento que “reconocer al campesino como actor fundamental del desarrollo territorial es asegurar que la paz sea duradera, por eso en Almaguer estamos trabajando para que este proyecto siga y se amplíe a más familias, para que puedan comercializar su productos y para que puedan recuperar la infraestructura que perdieron por el conflicto. Así podremos superar pobreza de manera sostenible“.
El Mercado campesino fue la vitrina para exponer la variedad de productos agrícolas de esta región enclavada en el macizo colombiano. También incluyó una muestra gastronómica del Cauca con una muestra de preparación de recetas que promueve hábitos de vida saludable.
Este programa se desarrolla a través de cuatro componentes que incluyen proyectos productivos asociativos, procesos de seguridad alimentaria y nutricional, fortalecimiento del capital humano y social, e iniciativas de impacto comunitario.
Este proyecto tiene un período de intervención de un año y tres meses, de los cuales ya se han ejecutado ocho meses, atendiendo a los campesinos de las veredas más pobres, que hacen parte de la estrategia Red Unidos, o beneficiarias de Más Familias en Acción, o personas con un puntaje en el Sisben menor a 36,83.
Los 1.500 hogares vinculados al proyecto en el departamento del Cauca, están divididos en Almaguer con 750, La Vega 450 y Argelia con 300 familias, invirtiendo en cada hogar más de $6 millones sumando en total $10 mil millones aproximadamente.
Para la ejecución de este proyecto se tuvo en cuenta los municipios afectados por el conflicto armado, lo que convierte a “Familias Rurales” en una metodología que aporta al desarrollo social, el empoderamiento de las comunidades y desarrollo de proyectos productivos sostenibles que mejoran la generación de ingresos para los hogares participantes y por ende su calidad de vida. / Ago. 11, 2017. (Fotografía Oficial Prosperidad Social / Joel González).
Esta fotografía oficial del Departamento Administrativo para la Prosperidad Social está disponible sólo para ser publicada por las organizaciones de noticias, medios nacionales e internacionales y/o para uso personal de impresión por el sujeto de la fotografía. La fotografía no puede ser alterada digitalmente o manipularse de ninguna manera, y tampoco puede usarse en materiales comerciales o políticos, anuncios, correos electrónicos, productos o promociones que de cualquier manera sugieran aprobación por parte del Departamento Administrativo para la Prosperidad Social.
Prosperidad Social Página Web / Twitter / Facebook / Youtube / Instagram
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El Gobernador del Estado, Carlos Lozano de la Torre, al encabezar la Firma
del Convenio y la ceremonia de instalación de la Comisión Estatal para la
Prevención Social de la Violencia y la Delincuencia, sostuvo que
Aguascalientes se ostenta ya en la vanguardia nacional con programas y
proyectos exitosos que han permitido, con el compromiso de empresarios,
trabajadores y gobierno, que durante los primeros 26 meses de su
administración se haya generado tres veces más empleo que en los últimos
doce años.
Acompañado por Roberto Campa Cifrián, Subsecretario de Prevención y
Participación Ciudadana de la Secretaría de Gobernación, dijo que
Aguascalientes refrenda su compromiso con el país y el Plan Nacional de
Prevención Social de la Violencia y la Delincuencia, alineando sus
políticas públicas con el esfuerzo del Presidente Enrique Peña Nieto y con
plena disposición de seguir fortaleciendo la estrategia de seguridad
pública y prevención social que consolidan el empleo permanente y las
inversiones.
El Jefe del Ejecutivo estatal detalló que con la instalación de la Comisión
Interinstitucional en el estado de se cumple con los lineamientos
normativos establecidos por la federación en esta política pública de
prevención social, y está integrada por todas las áreas del Gobierno del
Estado, así como por el Ayuntamiento capital, las diferentes delegaciones
federales, el Grupo de Industriales, el Consejo Coordinador Empresarial y
la Universidad Autónoma de Aguascalientes.
Añadió que tras la firma del Convenio Específico de Adhesión para el
Otorgamiento de Apoyos a las Entidades Federativas, el estado de Aguascalientes
podrá recibir hasta casi 30 millones de pesos del Gobierno Federal para
realizar las acciones establecidas en el Programa Nacional y Estatal de
Prevención Social de la Violencia y la Delincuencia.
En sus intervenciones, la Alcaldesa del Municipio de la capital, Lorena
Martínez Rodríguez, y el Presidente del Consejo Coordinador Empresarial,
Miguel Ángel Godínez Antillón, reconocieron la aportación y el trabajo de
los gobiernos federal y estatal en la consolidación de programas y
proyectos que inciden de manera positiva en la conformación de una sociedad
equilibrada y justa.
Por su parte, la Presidenta del Sistema DIF estatal, Blanca Rivera Rio de
Lozano, destacó que la administración de Carlos Lozano de la Torre ha
proporcionado todas las facilidades para generar estrategias eficaces para
contrarrestar problemáticas sociales y familiares, como lo es la Casa del
Adolescente, ejemplo nacional e internacional que ha reconformado criterios
y generado proyectos que serán replicados en otras entidades.
En su oportunidad, Roberto Campa Cifrián, Subsecretario de Prevención y
Participación Ciudadana de la Secretaría de Gobernación, dijo que
Aguascalientes ha permitido, con su experiencia y capacidad de respuesta en
estos temas, avanzar de manera significativa en la confección de proyectos
de integración social de gran envergadura que beneficiarán a todo el país.
"El Programa Estatal reforzará y consolidará las acciones que desde hace
dos años se han emprendido en materia de cohesión comunitaria; formación de
cultura ciudadana; legalidad y paz; protección; prevención de la violencia
familiar y de género; atención integral a los jóvenes; promoción del
autoempleo y la capacitación laboral; así como la prevención y atención
integral de las adicciones", detalló
Finalmente, Carlos Lozano de la Torre dijo que es importante solicitar la
comprensión del Gobierno Federal para que las estrategias, acciones y
políticas del Plan Nacional de Prevención Social alcancen a los once
municipios de Aguascalientes, donde la entidad ha respondido a la confianza
de la federación con proyectos concretos y de amplio beneficio social.
“México está en movimiento, y todo Aguascalientes tiene la voluntad de
aportar su trabajo e iniciativas al cumplimiento de los grandes objetivos
nacionales”, concluyó.
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