On the marketplace.

by Alfredo Fernandes

Alfi Art Production, Divar

41st Tiatr Competition A group Of Kala Academy supported by TAG

13.10.2015

more here

joegoauk-tiatr.blogspot.in/2015/10/41st-tiatr-competition...

Rocking Chiar and Sewing machine clothesline

Maybe the problem wasn't worded correctly? Maybe my Sprite is just too creative for math tests?

 

This is from a Math Mammoth placement test.

It's a busy market and so the clear space between me and the bench is only ever momentary. I usually come home with a few shots like this which are usually discarded. This week I've kept one to use for my Random project. And it you have read this far, well done. :D

everything's blue

in this world

the deepest shade of mushroom blue

all fuzzy

spilling out of my head

-NIN

the piece we are holding is very long...do you see where it is located? the bangs/fringe whatever you want to call it, is BEHIND the long pieces in front.

 

Kozy's bangs are this way too...just not as drastically! her bangs have all kinds of lengths where they shouldn't be. i will never understand the madness behind this method!

A fox couple in the back yard of my mom's house in Indiana. They had a little trouble and got "stuck" while mating, but separated and spent time together in the yard before going their separate ways.

really? no problem? not even mild concern? at a sailing regatta, Kiel Germany.

This quilt was made entirely from my 'too hard to sort' bucket. All my multi coloured, big prints scraps thrown together. www.tickleandhide.com/2013/06/fabric-fast-experiment-1-pr...

what the actual fck?!1

A recumbent with the roof

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.

Popular Photography magazine, June 1958

experimentations reflecting on how to creatively expand my primary research, using different medias. PVA, stitching, burning and monoprints.

More complex they become. But, simple are the solutions, of course once they are solved ...

GRD2 lens problem

Guys, I need your help. There's something bothering me about this drawing, but I don't know exactly what... I just can't seem to get the right feeling and so..

You may not all know how to draw, but as photographers you know how to look at things. So, tell me.

#frustration

Photo is by Sophia Alexis.

www.flickr.com/photos/sophiaalexis/7342786206/in/photostream

the problem with back to back to back snowstorms is what to do with the snow in parking lots. took this while stopped at a traffic light near town hall yesterday. notice the bench?? am thinking it will be a couple of weeks before it is fully accessible again........

 

the temps hit the mid/upper 40s and lots of ppl were enjoying the weather after 16 days of below freezing-- day and night :) the sky was blue and it was neat being out of the house!!!

 

ANSH scavenger5 "nature taking over"

The only access (with an HGV) to the yard where the matador chassis lay was a slippery muddy track and an axle deep lake. No chance was the EC12 going to have in driving down here so it was a job for my ex Bradford/WYPTE Matador. Here it looks down the track it was going to have drive thru, it did it no problems!! Proper off roading!!

akeyphoto.com

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Fujifilm X Pro-1 Fujinon 35mm 1,4

Karon beach Thailand 2016

23-07-2015 - Knot a problem

 

Fuji Provia 100F (RDPIII) shot at EI 100

Color slide film in 120 format shot at 6x6

Cross-processed

 

Large version at: emulsive.org/photography/knot-a-problem-fuji-provia-100f-...

 

Filed under: #Medium_format, #Photography

Gravity can do that to you. Especially on black

 

My blog.

Conscious this was delayed in release shipping problem maybe

I do not have any problems with sleeping but when I fall asleep, I have this new problem of squeezing my teeth so badly that my jaw aches when I wake up. I guess It is time to dig into the deeps of some Freudian ideas

Downtown drug problems

Airlie Conference Center.

Pete became paranoid, afraid of catching the virus that was causing havoc in the city. He wore his gas mask day and night, but it was too little, too late. The madness had already begun.

 

Pentax 645D

Pentax 67 105mm

Pentax 67 to 645 adapter

 

Lighting - Charcoal Grey background. Gridded spots zoom reflectors with red and blue filters. Strobes not fired just used the modeling lights. Light in the eyes done with a tiny.LED flashlight

   

Chris Willson

 

www.travel67.com

 

travel67.wordpress.com/

 

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A fleeting visit on Sunday as I was here mainly to look for Hawfinches. But it such a fine church, and with history linking it to Jane Austen, whose brother is buried here and the memorial a thing that people come from over the world to see.

 

Another dull day, but bright and airy in the church, which I entered after it was opened in preparation for the eleven o'clock service.

 

As I was having computer problems last time I was here, some were unedited so are blurry, so all the better to redo some and post those.

 

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A simple, well-cared-for church which has an extremely complicated building history. The nave and western half of the chancel are Saxon in date, although there are no surviving architectural details of this period. Early in the twelfth century a northern tower with small apsidal chapel was added to the north of the nave. This has recently been restored and its round headed windows may be clearly seen. From the same period dates the remarkable stone carving of an archbishop that is now displayed in the chancel. It may be Archbishop Theobold (d. 1162) or Becket (d. 1170) and could have formed part of a tomb in Canterbury Cathedral. The church was restored by William Butterfield in the 1860s. His is the nice rood screen (painted by Gibbs) the angular font of Devonshire marble and the design for the east window. The screen is supported on thin columns so as not to destroy the congregation's view of the High Altar which the Victorians held so dear, although it is definitely in the medieval tradition. Fine Minton tiles were put in the sanctuary - the medieval tiles gathered up and carefully placed on the window-sill to preserve them. The twentieth century has done much to build upon Butterfield's restoration, including the fine south aisle east window by C.E. Kempe and Co. Ltd of 1923.

 

www.kentchurches.info/church.asp?p=Godmersham

 

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LOCATION: The church is situated close to the River Stour at c. 115 ft. above O.D. just south of the now - demolished (1955) Godmersham Court Lodge. This is in the gap where the river cuts through the North Downs.

 

DESCRIPTION: I have written a very full history of this church (published in Arch Cant 106 (1988), 45-81), which includes a full description of the fabric, so only a summary is needed here.

 

The earliest part of the church is the nave and western half of the chancel, which have quoins of Roman bricks and ferruginous sandstone. This is almost certainly the church mentioned in Domesday Book, but whether it was built just before, or just after, the Norman Conquest in uncertain.

 

In the early 12th century, a west door was inserted (blocked in 1865) and three rounded-headed windows were put into the north side of the nave. A north transept chapel (with apsidal east end) and tower was also constructed at this time. Though heavily restored in 1865-6, this still continues its hemidome over the apse. The arch into the east end of the nave was blocked in the later Middle Ages.

 

By the end of the 12th century a new south aisle and arcade had been added to the nave, but this was destroyed after the Reformation. The fine mid-12th century font (similar to that at Westwell) was also destroyed, but a few fragments of it are walled up in the west doorway.

 

In the mid - 13th century, at about the time when the fine new Court Lodge to the north was built, the chancel was extended to the east and given three fine new lancets, as well as a sedilia. There are some fine capitals, columns and bases on the inside of these features (The sedilia also has a moulded trefoil head).

 

In 1363 a new Chantry chapel of St Mary was built on the south-east side of the nave, but this too was demolished after its abolition as a Chantry at the Reformation (The final traces were removed when the family pew extensions were built in the early 18th century).

 

In the later 14th century a piscina, various new two-light windows were put into the chancel, as well as some new oak stalls (on the ends of three of these were carved TCP Ann. Dom. 1409). These were recorded in the early 18th century, but have long since disappeared.

 

The west window in the nave, and the surviving crown-post roof probably date from the 15th century. The fine three-light window towards the east end of the north side of the nave probably dates to the early 16th century. A new north doorway into the chancel was perhaps also built at this time.

 

The doors into the Rood stair at the north-east corner of the nave (now blocked) can also be seen. These were perhaps also made in the later 15th century when a new loft was built (fragments of the screen - now gone - were found in the West gallery in 1865).

 

In the 1720's the south side of the nave was rebuilt in brick, and the earlier south aisle disappeared and two new brick family pews (over vaults) were built projecting southwards over the side of the former chantry chapel. All of this, however, was swept away in 1865. Various drawings of these before 1865 are available). Two new diagonal buttresses to the chancel were also built at about that time, which survive, as well as a west gallery in the nave and west and north porches (demolished 1865).

 

As we have seen, a very major restoration of the church took place in 1865-6 under William Butterfield. A new south aisle, porch and south transept were built, as well as an organ - chamber south of the chancel. Much earth was dug away from the western and southern sides of the church at this time. The vicar and instigator of this work (Revd. Walter Field) made very useful notes and sketches of the state of the church before the restoration (in the parish records). Most of the windows were restored at this time, and the north (chancel) and west doorways were blocked after their 'mean' porches were removed. The top stage of the tower was rebuilt in brick with a flint external face, and a pyramid roof on top. There was also a new chancel roof and screen (painted 1875), and many new pews (to re-place the box ones), as well as a new pulpit and font.

 

BUILDING MATERIALS (incl. old plaster, paintings, glass, tiles etc.):

Flint rubble (with ferruginous sandstone and Roman brick quoins) is used for the earliest church with Caen stone dressings from the early 12th century. Some Reigate stone was used for jambs, etc., in the 13th century chancel extension. There is also some Ragstone for later windows.

 

Red brick was used for 18th century repairs and buttresses (and the family pews), and the large amounts of Bath stone was used for the 1865-6 repairs, restoration, Saisle, etc.

 

EXCEPTIONAL MONUMENTS IN CHURCH:

Bas-relief figure of Archbishop (12th cent.) on S. wall of chancel, put here in 1933. It came from the neighbouring Court-Lodge, but was probably originally from Canterbury.

 

1516 brass of W. Geoffrey on S. wall of chancel.

 

R. Bun memorial (1682) on N.E. side of nave, and T Knight (1894) by Shout in S. aisle.

 

CHURCHYARD AND ENVIRONS:

Size & Shape: The churchyard of c. 1½ acres is a rough square around the church, extending down to the river on the east.

 

Condition: Good

 

Boundary walls: c. 19th cent. stone & brickwalls around it.

 

Building in churchyard or on boundary: Small 19th cent. shed on boundary immediately N. of the tower with Medieval gravelmarker reused in gable.

 

Ecological potential: Good

 

HISTORICAL RECORD (where known):

Earliest ref. to church: Domesday Book, 3,13.

 

Evidence of pre-Norman status (DB, DM, TR etc.): Paid 28d, Chrisin in D.M.

Challock was a chapel-of-ease to Godmersham.

 

Late med. status (vicarage/appropriation): Vicarage with formal appropriation to the Priory in 1400 (the vicarage was endowed from 1380).

 

Patron: Canterbury Cathedral Priory (given by Archbishop in c. 1037) till Dissolution, then, from 1546, the Dean and Chapter of Canterbury.

 

Other documentary sources: For wills, (Test. Cant. (E. Kent 1907), 136-8. They mention various lights, the Roodloft, 'Holy Cross before the door' etc. For the Chantry of St. Mary, see Kent Chantries (ed. A Hussey) Kent Records XII (1932-6), 131.

 

See also Hasted (2nd ed. 1799), 328-32.

 

ARCHAEOLOGICAL RECORD:

Reused materials: - Roman bricks.

 

Finds from church\churchyard: Some Roman bricks and pottery found by the Revd. S G Brade-Birks. One discoid grave-marker still exists to the S. of the church, by the path. Old hand-bells were also found in the churchyard in 1865.

 

Finds within 0.5km: Grave-marker found in Court Lodge excavation to N.

 

SURVIVAL OF ARCHAEOLOGICAL DEPOSITS: Good. The chancel floor was apparently just covered up in 1865-6.

 

Outside present church: ? Quite good, but disturbed in 1865-6.

 

RECENT DISTURBANCES\ALTERATIONS:

To structure: In 1986 the c. 1687 bell-frame was removed from the tower (this is now stored at the Canterbury Archaeologist Trust). In 1992 the later N-S cross wall in the N. apsidal chapel was demolished.

 

To graveyard: None (but shed in churchyard to be restored as W.C. in 1993).

 

Quinquennial inspection (date\architect): Feb. 1989 - George Denny.

 

ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:

The church and churchyard: Despite very heavy restoration work in 1865-6, there are important remains here of an 11th century church with added north tower/transept with apsidal chapel of the early 12th century. Also an extended mid - 13th century chancel.

 

The wider context: Apsidal chapels in Kent parish churches are a very rare survival, as is the unique 12th century bas-relief now in the chancel.

 

REFERENCES: T. Tatton-Brown, 'The parish church of St. Lawrence, Godmersham: a history' Arch. Cant. 106 (1988), 45-81.

 

Guide Book: None, though there was one by an early long-serving vicar S G Brade-Birks (1930-77).

 

Plans & drawings: Plans before + after 1865-6 restorations, and 1865 sketches of church are in the parish records - see art. by Tim Tatton-Brown above.

 

DATE VISITED: 21/12/92 REPORT BY: Tim Tatton-Brown

 

www.kentarchaeology.org.uk/01/03/GOD.htm

 

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GODMERSHAM

LIES the next parish south-westward from Chartham, and is written in antient records, Godmersham, and in Domesday, Gomersham.

 

IT LIES in the beautiful Stour valley, a situation healthy and pleasant to the extreme, the river Stour glides through it from Ashford, in its course towards Canterbury; Godmersham house and park are the principal objects in it, both elegant and beautiful, the Ashford high road encircles the east side of the park, along which there is a sunk sence, which affords an uninterrupted view of the whole of it, and adds greatly to the beauty of this elegant scene, and leads through the village of Godmersham close to it, the whole village which contains about twenty houses, belongs to Mrs. Knight, excepting one house, as does the greatest part of the parish, excepting the lands belonging to the dean and chapter of Canterbury. There are about twenty more houses in the parish, and about two hundred and forty inhabitants in all. The church, and vicarage, a neat dwelling, pleasantly situated, stand at a small distance from the village, on the left side of the road, with the antient manor-house near the former, close to the bank of the river; the meadows in the vale are exceeding fertile, the uplands are chalk, with some gravel among them, the hills rise high on each side, those on the west being the sheep walks belonging to Godmersham-house, the summits of which are finely cloathed with wood, at proper intervals; the opposite ones are the high range of uninclosed pasture downs of Wye and Braborne. Among these hills, in the eastern part of the parish, is the seat of Eggerton, situated in a wild and bleak country of barren lands and flints.

 

At the southern boundary of the parish, on the Ashford road, is the hamlet of Bilting, part of which is in Wye parish. There was a family of this name who once resided here, as appears by their wills so early as 1460. Richard Mocket, gent. of Challock, died in 1565, possessed of the manor of Biltyng-court, in Godmersham, which by his will he directed to be sold. At length this estate of Bilting came into the possession of the Carters. Thomas Carter, gent. of Bilting, second son of George Carter, gent. of Winchcombe, died possessed of it in 1707, s.p. After which it at length came to his nephew Thomas Carter, gent. of Godmersham, who dying in 1744, left two daughters his coheirs, the eldest of whom Mary, marrying Mr. Nicholas Rolfe, of Ashford, he became in her right possessed of her father's estate at Bilting. After which it became the residence of Mrs. Jane, the sister of the late Mr. Knight, and after her death in 1793, of Thomas Monypenny, esq. who afterwards removing from hence sold it in 1797, to Mr. Richard Sutton, who now resides at it.

 

There is no fair, nor is there any one alehouse within this parish.

 

From the high road above-mentioned, which runs along the lower side of the western hills there is a most pleasing view over the valley beneath, in which the various beautiful objects of both art and nature combine to make it the most delightful prospect that can be imagined.

 

BEORNULPH, king of Mercia, in the year 822, gave Godmersham to Christ-church, in Canterbury, to the use of their refectory and cloathing, at the request of archbishop Wlfred, L.S.A. that is, Libere sicut Adisham, endowed with the same liberties and privileges that Adisham, which had been given to that church, originally was. But it appears afterwards to have been wrested from the church, and to have been again restored to it by archbishop Egelnoth, who made a new grant of it in the year 1036, having purchased it of duke Sired, for seventy-two marcs of pure silver, for the use of the monks in Christ-church; in whose possession Godmersham remained at the taking the general survey of Domesday, in which it is entered as follows, under the general title of Terra Monachorum Archiepi, i.e. the lands of the monks of the archbishop, as all the lands belonging to the monastery of Christ-church were.

 

In Feleberg hundred, the archbishop himself holds Gomersham. It was taxed at eight sulings. The arable land is twelve carucates. In demesne there are two, and sixty villeins, with eight cottagers, having seventeen carucates. There is a church, and two servants, and one mill of twenty-five shillings, and twelve acres of meadow. Wood for the pannage of forty hogs. In the time of king Edward the Confessor, and when he received it, it was worth twelve pounds, now twenty pounds, and yet it pays thirty pounds.

 

In the 7th year of king Edward I. the prior claimed a fair here, on the day of St. Laurence, which was allowed; and king Edward III. in his 38th year granted to the prior another fair here on the Thursday and Friday in every Whitsun-week, together with a market to be held here on a Tuesday weekly. In the 10th year of king Edward II. the prior obtained a charter of free-warren for this manor; about which time it was, with its appurtenances, valued at thirty-six pounds. The priors of Canterbury frequently resided at the manor-house here, which appears by the present state of it to have been a mansion large and suitable to their dignity. Prior Chillenden, at the latter end of king Richard II.'s reign, made large additions and repairs here, as did prior Sellyng in that of Edward IV. The house is situated on the bank of the river, a small distance northward from the church. It appears to have been a very large mansion formerly. The old hall of it is yet remaining, with the windows, door-cases, and chimney of it, in the gothic stile. Over the porch, at the entrance of the house, is the effigies of the prior, curiously carved in stone, sitting richly habited, with his mitre and pall, and his crosier in his left hand, his right lifted up in the act of benediction, and his sandals on his feet. This, most probably, represents prior Chillenden, above mentioned, who had the privilege of wearing those ornaments, granted to him and his successors by pope Urban, and repaired this mansion as before related. In which state this manor continued till the dissolution of the priory in the 31st year of king Henry VIII. when it came, with the rest of the possessions of the monastery, into the king's hands, who in his 37th year, granted the manor, rectory, and advowson of Godmersham, in exchange for other premises, to the dean and chapter of Canterbury, in pure and perpetual alms, at the yearly rent of 10l. 1s. 8d. (fn. 1) being then valued at 80l. 11s. in exchange for which they gave the king seven valuable manors in this and other counties; Canterbury college, in Oxford, and other premises, a scandalous bargain of plunder, like most others of the king's making; and yet in the deed it is said to have been made through his most gracious favor. Since which this manor has remained part of their possessions to the present time.

 

The court-lodge, with the demesne lands of this manor, are let to Mrs. Coleman, who resides in it, on a beneficial lease, but the manor itself, with the profits of the courts, &c. the dean and chapter retain in their own hands. A court baron is regularly held for it.

 

THE MANORS OF FORD AND YALLANDE were antiently part of the inheritance of the family of Valoigns, one of whom, Robert de Valoigns, died possessed of them and much other land in this neighbourhood, in the 19th year of king Edward II. and in his descendants they continued till the latter end of king Edward III.'s reign, when Waretius de Valoigns leaving by his wife, daughter of Robert de Hougham, two daughters his coheirs, one of them, married to Thomas de Aldon, entitled her husband to these manors as part of her inheritance; and in this name of Aldon they continued for some space of time. At length they became the property of Austen, or Astyn, as they afterwards spelt their name, and they continued possessors of it, till Richard Astyn, gent. of West Peckham, conveyed them, with all lands and tenements called Halton, in Godmersham and other parishes, to Thomas Broadnax, gent. late of Hyth, though there were descendants of that family, who wrote themselves gentlemen, remaining here in the beginning of king George I.'s reign, as appears by their wills in the prerogative-office. He afterwards resided at Ford-place, as his descendants, possessors of these manors, afterwards did, without intermission, to Thomas Broadnax, esq. (fn. 2) who in the 13th year of king George I. anno 1727, pursuant to the will of Sir Thomas May, and under the authority of parhament, changed his name to May, and in 1729 kept his shrievalty here. In 1732 he rebuilt this seat, and in 1738, pursuant to the will of Mrs. Elizabeth Knight, widow of Bulstrode Peachy Knight, esq. (who was her second husband, her first being William Knight, esq. of Dean, in that county); and under the authority of another act, he again changed his name to Knight, and in 1742 inclosed a park round his seat here, afterwards called Ford park, which name it seems since entirely to have lost, this seat and park being now usually called Godmersham-park. Thomas May Knight, esq. beforementioned, died here, far advanced in years, in 1781, a gentleman, whose eminent worth is still remembered by many now living; whose high character for upright conduct and integrity, rendered his life as honorable as it was good, and caused his death to be lamented by every one as a public loss. He married Jane, eldest daughter and coheir of William Monk, esq. of Buckingham in Shoreham, in Sussex, by whom he had several children, of whom only four survived to maturity, Thomas, his heir, and three daughters, who died unmarried. Thomas Knight, esq. the son, succeeded his father in estates, and was of Godmersham, the seat and park of which he greatly improved. He married Catherine, daughter of Dr. Wadham Knatchbull, late prebendary of Durham, and died in 1794, s.p. leaving her surviving. He bore for his arms, the coat of Knight, vert, a bend fusilly, in base, a cinquefoil, argent, quartered with nineteen others; the second being, Broadnax, or, two chevronels, gules, on a chief of the second, three cinquefoils, argent; and the third, May, gules, a fess between three billets, or. By his will Mr. Knight gave this seat, with the park, the manors before-mentioned, and the lands belonging to it, to his widow Mrs. Catherine Knight, for her life, with remainder to Edward Austen, esq. of Rolling-place. She afterwards resided here, but removing to the White Friars, in Canterbury, she gave up the possession of Godmersham house and park to Edward Austen, esq. before-mentioned, who now resides at it.

 

EGGARTON is another manor, situated on the opposite side of the river, at the south-east boundaries of this parish, among the hills, near Crundal. It was antiently the estate of the noble family of Valence, earls of Pembroke. Aymer de Valence, earl of Pembroke, held this manor at his death in the 17th year of king Edward II. He died s.p. and John, son of John de Hastings, by Isabel his wife, one of the earl's sisters, and John, son of John Comyn, of Badenagh, by Joane, another of his sisters, were found to be his coheirs; and upon the division of their estates, John de Hastings the son seems to have become wholly possessed of it. He died s.p. next year, leaving Joane, wife of David de Strabolgie, earl of Athol, and Elizabeth her sister, sisters and coheirs of John Comyn, of Badenagh, his next of kin. David de Strabolgie, earl of Athol, before-mentioned, died possessed of this manor, as appears by the inquisition taken after his death, in the 1st year of Edward III. leaving it to his son of the same name, who in the 7th year of Edward III. by deed settled it on his kinsman Sir Henry de Hills; which gift was confirmed by the countess his widow, in the 20th year of that reign. Gilbert de Hills, who lies buried in this church, with the marks of his figure in armour on his grave-stone, was a person of eminence in the age in which he flourished, and from him and Sir Henry de Hills, issued many worthy successors, who were proprietors of this manor till the reign of queen Elizabeth, when it was sold to Charles Scott, esq. eldest son of Sir Reginald Scott, of Scotts-hall, by his second wife. His grandson Thomas Scott, esq. of Eggarton, left a son Thomas, who died s.p. and a daughter Dorothy, married to Mr. Daniel Gotherson, who in her right at length became possessed of this manor, (fn. 3) though not without several contests at law by some collateral claimers to it. He afterwards sold it to Sir James Rushout, bart. who had been so created in 1661, and bore for his arms, Sable, two lioncels passant, guardant, within a bordure engrailed, or. He died in 1697, and by his will devised it to trustees, to sell for payment of his debts, which they accordingly soon afterwards did, to Peter Gott, esq. of Sussex, whose arms were, Per saltier argent and sable, a bordure counterchanged. His descendant Maximilian Gott, esq. resided at Eggarton, where he died in 1735; upon which this manor, with the rest of his estates in this county and in Sussex, came to his three sisters, Elizabeth, Mary, and Sarah; and on the death of the former, the two latter became entitled to the whole fee of it, as coparceners; Mrs. Sarah Gott usually residing at this mansion of Eggarton. Mary Gott died in 1768, and by will devised her moiety of her estates to Henry Thomas Greening, gent. of Brentford, in Middlesex, who afterwards, by act of parliament, assumed the name of Gott. Sarah Gott, the other sister, died at Eggarton, in 1772, and by will devised her moiety of her estates to the children of William Western Hugessen, esq. of Provender, deceased, to be equally divided between them. (fn. 4) Mr. Hugessen left three daughters his coheirs, of whom the two surviving ones, Dorothy, was afterwards married to Sir Joseph Banks, bart. and K. B. Mary, to Edward Knatchbull, esq. now Sir Edward Knatchbull, bart. who in their wives right became entitled to one moiety of this estate, they afterwards, together with Henry-Thomas Gott, esq. before-mentioned, possessor of the other moiety, joined in the sale of the entire property of this manor to Thomas Knight, esq. of Godmersham, who purchased it for the residence of his sister Jane, since deceased. He died in 1794, s. p. and by his will gave this seat, with the estate and manor, to Edward Austen, esq. before-mentioned.

 

Charities.

MARTIN MAYE, yeoman, of Godmersham, ordered by will in 1614, that his executors should pay to Thomas Scott, gent. and five others therein mentioned, 100l on condition that they should enter into a bond of 200l. to his executors, to settle 8l. per annum towards the maintenance of twenty of the poorest persons householders, in Godmersham, that from time to time should be there dwelling; which sum should be a perpetual payment of 8s. per annum to each of them. This charity is now vested in Mrs. Knight.

 

THOMAS SCOTT, ESQ. of Canterbury, by will in 1635, devised the house which he lately built in Godmersham, and ten perches of land adjoining to it, to such poor persons, born and living in Godmersham, as the heirs of his body, and for want of such heirs as the right heirs of his kinsman, Sir Edward Scott, K. B. should nominate from time to time, for ever. And if such heirs should neglect such nomination, for the space of three months, then that the churchwardens for the time being, should nominate in their room; and if they or he should fail to nominate, within one month, then that the archbishop of Canterbury should in such case nominate from time to time. And he willed one other house, with its appurtenances, which he had lately built in Godmersham, adjoining to that before limited, and 10 perches of land adjoining, in like manner as the other before-mentioned, with like nomination and limitation; and so from time to time for ever. This charity is now lost.

 

THOMAS CARKERIDGE. of Maidstone, by will in 1640, devised all those lands and tenements which he bought in Wye, Godmersham, and Crundal, to William Cooper and his heirs for ever, he paying out of them 6l. per annum, to the overseers of the poor of the parish of Wye, 3l. and to the overseers of the parish of Godmersham. the other 3l. for ever; and he willed that this 6l. should be every year bestowed to cloath four poor widows, two of Wye, and two of Godmersham; and if there were not such poor widows, then to cloath other poor women, each of them to have five yards and an half of good country kersey, to make a petticoat and a waistcoat, and so much lockram or other country cloth as would make every of them two smocks, and every of them a pair of hose and a pair of shoes. And he willed that this cloth and other things be given to those poor women the first Thursday in November every year; with power to distrain in any of his lands lying in Wye, Godmersham, and Crundall, &c. until the same should be paid accordingly.

 

JOHN FINCHE, gent. of Limne, by will in 1707, devised his messuage, tenement, and lands, containing 36 acres, in Bilting, and his messuage and tenement, and seven acres of land, and 9 acres of woodland, in Wye, Godmersham, and Crundall, and all those his six cowshares, lying in a meadow called Laines, between Ollantigh and Tremworth, in Wye and Godmersham, and a piece of meadow-ground called Temple-hope, adjoining, in Wye and Crundall, to the ministers, churchwardens, and overseers of the parishes of Wye and Godmersham, and their successors for ever, in trust, that the minister, &c. of Wye, and their successors, should dispose of the rents and profits of that land which lay in Wye, as is therein mentioned; and that the minister, &c. of Godmersham, and their successors, should dispose of the rents and profits of that land, with its appurtenances in Godmersham and Crundall, to six of the poorest and eldest people of Godmersham, or any other, half-yearly for ever. But that there should be paid out of the rents and profits of his last-mentioned lands, 40s. yearly upon Christmas-day for ever, without any deduction, to poor people of the like sort, being men; that is to say, 20s. to each of them yearly for ever. And further, that if any of the trustees, the ministers, &c. of these parishes, should at any time alter, contradict, or misapply these charities, or the rents and profits of the estates, that then the devise to such parish, the minister, &c. of which had so done, should cease and determine. And he willed that none of the said charities should be distributed to any other poor, but such as should be members of the church of England, as then by law established. This charity is now of the annual produce of 24l. 1s. 6d. and produces on an average 18l. per annum.

 

The present alms-houses in Godmersham-street, were erected by the father of the last Thomas Knight, esq. on the ground before devised to the parish. The building contains dwellings for eight poor people.

 

There is a school here, for reading and writing, supported by the voluntary benefaction of Mrs. Knight, in which about 20 children are daily taught.

 

The poor constantly relieved are about nineteen, casually as many.

 

THIS PARISH is within the ELESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

The church, which is dedicated to St. Laurence, is a plain building, consisting of a body and a chancel, having a square low tower on the north side of the body, on which was formerly a steeple. There are five bells in it. The chancel is large and handsome. There were formerly eight stalls in it. On three of the upright end-boards of these stalls were these letters and date:P/TC An. Dom. 1409, in memory of Thomas Chillenden, prior A. D. 1409, for the use of the prior and monks of Christ church, when they came to reside at their manor here, and the other clergy who might be present at divine services, the like as they had usually in other churches where they had manors. On the south side of the church was formerly a chantry, which was dedicated to St. Mary, as appears by the will of William Geffrye, chaplain of it in 1517, who directed to be buried in it on the south side. It was suppressed in the 1st year of king Edward VI. There was a house and garden belonging to it in Godmersham-street. This chantry has been rebuilt, and is now made use of as two large pews, for the use of the owners of the mansion-houses of Ford and Eggarton. Underneath these pews, which are raised considerable higher than the level of the pavement, are vaults for the owners of these houses. In that of Eggarton lie many of the Hilles's, Scotts, and Gotts; and in that of Forde, several of the Broadnax's. The two monuments now against the south wall of the body of the church, for Thomas Carter and James Christmas, were formerly in the chantry, on the pulling down of which, they were removed hither. In the body of the church, near the steeple, is another vault for the Broadnax's, which is quite full, and the entrance closed up; and in the body of the church there are several grave-stones of them, the inscriptions of which are gone. In the church-yard, close to the wall of Mr. Knight's pew, is a small vault, built by the late Mr. Knight's father, in which he lies, with his wife and daughter Anne; and leaving only room for one more in it, in which his son was afterwards buried.

 

The church of Godmersham, with the chapel of Challock annexed to it, was antiently an appendage to the manor of Godmersham, and as such was part of the possessions of the priory of Christ-church, in Canterbury, to which it was appropriated in the 21st year of king Richard II. anno 1397, with the king's and pope's licence, towards the support of the fabric of their church, to which archbishop Arundel consented; for which the prior gave up to him the advowson of the two churches of St. Vedast and Amand, and St. Michael, Crooked-lane, London. (fn. 5) After which the rectory and advowson of the vicarage of this church remained with the priory of Christ church till its dissolution, in the 31st year of Henry VIII. when they were, with the manor of Godmersham, and the rest of the possessions of that priory, surrendered into the king's hands, where they remained till the 37th year of that reign, when the king granted the manor, rectory, and advowson of the vicarage of Godmersham, as has been already mentioned, to the dean and chapter of Chanterbury, in exchange for other premises, with whom the rectory remains at this time. But the advowson of the vicarage of Godmersham, with the chapel of Challock appendant to it, is now in the patronage of his grace the archbishop of Canterbury.

 

In the year 1254, Hugh de Mortimer, rector of this church, confirmed the exemption of the manor of Godmersham, belonging to the prior and convent of Christchurch, from the payment of small tithes arising from it; with a saving to the right of his successors.

 

Before the appropriation of this church archbishop Sudbury had in 1330, endowed a vicarage here, which with the chapel of Challock, is valued in the king's books at 9l. 3s. 9d. and the yearly tenths at 18s. 4¼d. It is exempt from the jurisdiction of the archdeacon.

 

¶In 1640 here were communicants two hundred and forty-three, and it was then valued at fifty pounds. In 1649 the parsonage was valued at one hundred and twenty pounds per annum.

 

There is a pension of ten pounds to the vicar yearly paid out of the parsonage.

 

www.british-history.ac.uk/survey-kent/vol7/pp319-332

Sex Problem @ The Nicollet, Minneapolis, MN - January 27th, 2016

I discuss them on my new blog, secondlizzie.wordpress.com/2015/04/13/what-is-wrong-with-... .

problem catur 3 langkah mati

PROBLEMA :

Se cere rezolvarea rostului din pardoseala.

REZOLVARE:

Pentru acoperirea rostului trebuie tinut seama de urmatoarele date:

– Dimensiunea rostului este de 100mm

– Traficul va fi pietonal

– Miscarea este de 50mm.

Pentru dimensiunea data si incarcarea care trebuie...

 

www.hidroplasto.ro/rosturi-pardoseala.html

Adler's planetarium

Choose the best alternative:

1) I haven't an objective wide enough

2) the subject i too BIG

3) I am too close

4) stitching several photos is frustrating

5) anything else, pls describe.

Same difficult problem, two slightly different ways of tackling it..

I have been going here since it opened!!

Luther, Katie and I had a good session down there this evening..

Luther and Katie were doing great!

 

History -

"The Foundry Climbing Centre in Sheffield was the UK's first dedicated indoor climbing centre. Opened in 1991 it was designed, by climbers, to suit everyone from beginner to expert. It offers walls up to 13m high and lead/top rope climbs with 150 routes and bouldering"

 

"We at The Foundry provide climbing facilities for people of all ages and abilities. We have over 75 lead routes, 75+ top rope routes, 7 Autobelays, 100+ boulder problems and training and gym facilities"

www.foundryclimbing.com/

Love problem solution is the best way to solve your troubles, who is in this world don't have any love problem we help you get your love back by our love problem solution expert. Love problem solution is the best help for you to get your love life back. +91-9876706621

 

www.astrologeramansharma.com/love-problem-solution/

Cambridge England

UHA Untersuchungshaftanstalt des Ministeriums für Staatssicherheit in the former DDR - Berlin Hohenschönhausen

 

For great photographs and the low down on the G20 Summit, Protests and Demonstrations visit www.ravishlondon.com/g20

 

The world faces a problem: recession and a spiraling fall in trade. The Economist puts it like this, “Trade is contracting again, at a rate unmatched in the post-war period. This week the World Trade Organisation (WTO) predicted that the volume of global merchandise trade would shrink by 9% this year. This will be the first fall in trade flows since 1982. Between 1990 and 2006 trade volumes grew by more than 6% a year, easily outstripping the growth rate of world output, which was about 3% (see chart 1). Now the global economic machine has gone into reverse: output is declining and trade is tumbling at a faster pace. The turmoil has shaken commerce in goods of all sorts, bought and sold by rich and poor countries alike.” According to the Economist, “The immediate cause of shrinking trade is plain: global recession means a collapse in demand. The credit crunch adds an additional squeeze, thanks to an estimated shortfall of $100 billion in trade finance, which lubricates 90% of world trade.”

According to the Guardian, “On Thursday 2 April Gordon Brown is going to host the G20 summit in London. Leaders from 22 countries will be at the summit. The G20 is an organisation for finance ministers and central bankers, who in the past met once a year to discuss international cooperation in finance. There are 19 countries who are members: Argentina, Australia, Brazil, Canada, China, France, Germany, India, Indonesia, Italy, Japan, Mexico, Russia, Saudi Arabia, South Africa, South Korea, Turkey, the United Kingdom and the United States. The 20th member is the European Union, which is represented by whichever country holds the EU presidency (currently, it's the Czech Republic). These countries represent 90% of global GDP, 80% of world trade and two thirds of the world's population. The IMF and the World Bank also attend G20 meetings, although technically the London event isn't a normal G20 meeting.”

This G20 meeting will be for the leaders of all G20 countries. According to the Guardian the policy agenda developed by the last G20 meeting “did not in fact go much beyond pre-existing international initiatives that had recently been developed in more technocratic international bodies.” According to the Guardian, “On the London summit website, the British government has explained what it hopes to achieve. At the summit, countries need to come together to enhance global coordination in order to help restore global economic growth. World leaders must make three commitments:

• First, to take whatever action is necessary to stabilise financial markets and enable families and businesses to get through the recession.

• Second, to reform and strengthen the global financial and economic system to restore confidence and trust.

• Third, to put the global economy on track for sustainable growth.

Gordon Brown has argued that the world must avoid protectionism. According to the Economist, “The World Bank says that, since the G20 leaders last met in November in Washington, DC, 17 of their countries have restricted trade. Some have raised tariffs, as Russia did on second-hand cars and India did on steel. Citing safety, China has banned imports of Irish pork and Italian brandy. Across the world, there has been a surge in actions against “dumping”—the sale of exports, supposedly at a loss, in order to undermine the competition. Governments everywhere are favouring locally made goods.” The Economist also says, “Kei-Mu Yi, an economist at the Federal Reserve Bank of Philadelphia, argues that trade has fallen so fast and so uniformly around the world largely because of the rise of “vertical specialisation”, or global supply chains. This contributed to trade’s rapid expansion in recent decades. Now it is adding to the rate of shrinkage. When David Ricardo argued in the early 19th century that comparative advantage was the basis of trade, he conceived of countries specialising in products, like wine or cloth. But Mr Yi points out that countries now specialise not so much in final products as in steps in the process of production.”

Protectionism in itself sounds bad – but it is a policy option available and used in all political economies – including the most liberal. Protectionism can also lead to a more self-sustainable economy, and can lead to the internal development of an economy, which means the economy is less reliant and dependent on external sources of finance. Development will be slower, but it can be more secure and sustainable. It is likely that if countries do operate protectionist policies it will be a short-term opportunist and populist response to workers and unions, but it could be seen as an alternative economic model of development. It worked in Brazil and Argentina during the 1960s and 1970s for a while, until a more neo-liberal and external finance model was preferred.

The Brazilian President Luiz Inacio Lula da Silva was reported on Channel 4 News to have told Mr Brown the crisis was caused by "white blue eyed people". This overtly racist remark has been noted, but there has been no visible backlash. It is interesting how the whole agenda about racism never applies to the dominant one, i.e. you can racially slur white people, and white people with blue eyes without anyone batting an eye lid, whereas if you racially slur other ethnic groups you can find yourself battered. I find this state of affairs deeply offensive to the human race in general, and very patronizing to those groups who don’t come from the dominant ethnic group (i.e. its almost to say the whole anti-racist thing is a way of patting you on the head and saying there, there – because when it comes to racism we don’t really give a shit – see the way we couldn’t give a f*** if you slur our own dominant white ethnic group).

The reality is that the summit will represent a reshuffling of position, support and dependencies between the world’s twenty richest countries. Spectators are expecting China to come out feeling puffed up and proud, given that China has faired relatively in recent years, or so we are led to believe. Meanwhile national demonstrations seem to be focusing our attention to the fact that a different way of working is needed. In fact it will be work as usual – the question is who will come out on top.

In anticipation of the G20 summit a demonstration was held in London. 10,000 were predicted to attend the demonstrations. The police reported 35,000. I was there at the demonstration and I don’t believe I saw 35,000 people walk past Big Ben – and I saw it from start to finish. As one commentator, on the Guardian observed, “Apart from the small contingent of student SWP calling 'One solution, Revolution' and about 20 anarchists making noise the spirit was generally depressed and lacking any anger or sense of direction.” Cognitator joked, “Perhaps the police were adding their number to the protesters. As opposed to taking them away as per usual.”

According to the Guardian, “The Put People First march yesterday was organised by a collaboration of more than 100 trade unions, church groups and charities including ActionAid, Save the Children and Friends of the Earth. The theme was "jobs, justice and climate" and the message was aimed at the world leaders who will be gathering for the G20 summit here this week.”

The march started on the Embankment. When I arrived there I walked around desperately finding somewhere where I could have a piss for free. I tried Starbucks and Costa Cofee, but they seemed to have no toilets, I even tried the stamp collectors fayre a subterranean culture of badly dressed old people, with poor eyesight and even worse posture, which was momentary distraction from my full bladder, but which did not provide the answer to my pressing problem as the toilet door was locked and for staff only. Stephen Moss writing for the Guardian said, “Westminster is not a great place for someone like me, who has a weak bladder, to go on a march. The public loos there cost an outrageous 50p a go. The Socialist Worker magazine-seller next to Embankment tube station is on to this in a flash. "50p to have a piss – a lesson in capitalism," he is soon shouting. Later, I'm pleased to see someone has punched a hole in the wooden sign advertising the price.” In the end I walked all the way to the National Portrait Gallery where you can always be assured a good quality toilet seat.

The Guardian continued, “The marchers, estimated at 35,000 by police, accompanied by brass bands and drummers and a colourful assortment of banners and flags, walked the four miles from Embankment to Hyde Park, where speeches from comedian Mark Thomas and environmental campaigner Tony Juniper, and music from the Kooks, made for a party-like atmosphere.”

The Guardian reported, “A group of fewer than 200 anarchists joined the march and were kept isolated and surrounded by police. Chants of "Burn the bankers!" were the closest anyone came to any show of aggression.’ Yes I witnessed this, it was clear that the anarchists, dressed in black, some of them with scarves covering their faces, generally looked cool as fuck, like some post-nuclear vigilante gang, their black signifying the dark depressing reality from which humanity starts, and the point from which they wish to depart. Whether the police presence was heavy is debatable but they certainly had a line of police accompanying them, whereas no other group were honored with such a presence. Of the anarchists Stephen Moss says, “I fall in with some anarchists halfway through the march – a delightful young Greek called Alex and an Italian, who is happy to talk about Bakunin, but is, I sense, a little suspicious of me. The anarchists march together – with the police flanking them in a way they don't with the rest of the march – and I am intrigued that they never shout slogans or bang drums. Their mission is a serious one.” Moss goes on, “Alex tells me a reporter from the Sunday Times has already approached him to ask why anarchists wear masks. "Work it out for yourself – you're a journalist," he'd told him. "People always ask why we wear masks; they never ask about our ideology," he complains. In essence, that ideology is: power corrupts; all elites will be corrupt; so government should be by the people, for the people – a mass movement of the type they claim is emerging in South America. Hezbollah is also mentioned favourably, a movement they see as developing organically. "Organic" is a key word for anarchists, and it would save a lot of aggro and bad press if they were called organicists rather than anarchists.” Good point. But who wants to be called an organicist? And in any case everything is organic really – its just that some organisms develop in a way we or anarchists done like and some do. To call anarchists, organic is to miss the point, anarachists are like Christian, they dream of a reality which transcends human nature as it is and known. Structure, corruption, self-interest and greed underpin all human activity – the question is not how we can do away with it, but how can we manage it in a fair way.

Stephen Moss wrote about the variety of organizations on the march. He said, “Socialist Worker has a three-point strategy: "Seize their wealth," "Stamp out poverty," "End all wars." Sounds good, but I can't work out exactly who "their" refers to. The Socialist party is hot on slogans, colder on the mechanism by which they are put into practice. The likely outcome to the current crisis still appears to be government by Etonians.” Most of these movements are nothing to do with instituting political change. The people involved in them do not want to genuinely change things. Instead what these groups function as is self-help groups for people, for whatever reason, feel that they have been wronged in life, probably at a personal level, and feeling quite hopeless about their personal wrongs, they want to transpose their personal woe on to a faceless, unintelligible other – the government, the state, the capitalist, the rich and the greedy. Its not so much that socialist workers and anarchists want to change things, they know they are completely ineffectual, and too screwed up and traumatized, too aggressive, unintelligent and incapable of engaging people into a different way of organizing; they just want to shout out to people ‘we hurt’. Fair enough.

The TUC don’t seem to be turning up to do anything more than saying ‘there there’ to threatened workers, and stating the downright bloody obvious to the government. Their message is “The importance of this summit cannot be underestimated. Unemployment and deprivation will grow massively over the next two years unless governments work together. People need to know that there is an international solution to this crisis. If the summit suggests that there is not, many will turn to nationalist and protectionist politics with all that implies for the global economy and world peace.” Mind you they do go on to say that, “But while the immediate response to the crisis will be at the forefront of the leaders' minds, the unprecedented Put People First coalition shows there is a huge appetite for a new economic direction. Thirty years of the increasing dominance of the neo-liberal agenda has got us into this mess. The summit must show that the next 30 years need to be about a renewed era of economic growth based on a much fairer share of the proceeds. One that is environmentally sustainable and one that does not end in the burst of yet another financial bubble.” But what are they really saying? Nothing much.

There is of course something about how all of this is just about having a laugh, getting a kick, getting an emotional fix. There’s something very similar to the way that some of the more violent groups get ready for a rumble with the police and football hooliganism. Football hooligans are much more honest about the emotional kick they get from fighting. The protestors pretend that they are doing it for the people. Whatever the so called reasons, it is clear that a lot of protestors enjoy confrontation. They are much more focused on the enemy and combating the enemy than they are on creating peaceful societies. So Stephen Moss makes the interesting observation, “When the march eventually gets to Hyde Park, the anarchists refuse to join the "TUC bureaucrats" for the official rally and hold their own open-platform meeting at Speakers' Corner, dominated by elderly men in hats who talk less about Bakunin than about beating up the BNP and confronting the police on the streets of Whitechapel. It's all a bit depressing (and expletive-filled – I take serious exception to the denunciation of "Oxbridge cunts"), though I like the fact that the elderly men refuse even to use a megaphone – only the ordinary human voice is organic enough.” The media and police have both hyped the April 2009 marches as like the possible end of the British way of life, of democracy, of capitalism. Nothing could be further from the truth, but its like we all want to will it to happen – we all are looking for excitement – war may be bad but peace is fucking boring – I once read.

The Guardian also reported, “Thomas told the Observer he believed the protest marked "the start of a grassroots movement". He added: "This is a moment. This is the first time people have had a chance to come out on to the streets in a big way." But this is nonsense. This was just an opportunity for a plethora of groups, amongst whom there are more differences, and the only thing that can unite them is a general concern for jobs, justice and climate, which incidentally are three themes that unite most of the country, and all the main political parties, to catch the government at a weak moment, and hope to build up support for whatever cause they have, on the back of the anger and desperation amongst people at this time.

The protest ended up in Hyde Park. I didn’t go, it was too cold and rainy, and although I did aim to walk there via a short-cut through Victoria, I ended up taking refuge in Westminster Cathedral, where I saw another procession, of Catholic priests and altar boys, who were holding a service for the Union of Catholic Mothers. I listened to the Catholic priests, they sounded much more happy and at peace with themselves and their surroundings, than the rankerous socialist bile spitting leaders.

People are blaming the bankers, but there is in actual fact no-one to blame for this. The this needs to be qualified too. The ‘this’ is the fact that people are loosing their jobs, consumption will have to be reduced. It is ironic that it is precisely that people are facing the prospect of lower consumption that they are out on the streets protesting against greedy bankers, it is not so much the greed of the bankers that people resent, so much as the increased consuming power of the bankers that they are envious of. The bankers are not to blame for working within a system, which promoted risky investments, a system which was encouraged and deregulated by politicians who realized that whilst the bubble was growing there were huge financial gains to be made from encouraging bankers to reap the rewards both for themselves but through the state through taxation, and politicians who were encouraged by the people who voted them in, who probably formed the majority of people marching in demonstration and protest today, who voted in the governments believing the deregulation of banks not to be a serious enough issue to vote against a government for, and realizing that even if it was a risk, whilst the bubble was growing, they were happy enough to see their elected government ensuring that the country got a share of the pie. We all contributed to this fucking mess – if you can call it a mess – its only a mess for those who no longer have jobs and cannot consume so much – by voting in the government, who deregulated the banks and encouraged the lending of our money several times over to riskier and riskier ventures which in actual fact were not producing anything of material benefit, but were instead relying on house prices going up and up, as more people poured their money into it. Now we are in deep shit, because Gordon Brown has poured what little remaining money we have, and we have on credit into the black hole – it has simply disappeared.

There are some people who are saying the bankers should pay for the crisis they created. It doesn’t work like that – it works by people putting their money into a bank – and entrusting the bank to invest it wisely. Where the bank looses the money – the original investor looses the money. This creates a motivation on behalf of the investor to invest wisely, e.g. on the basis of what we know right now investing in Barclays rather than Lloyds TSB or the Royal Bank of Scotland. However reality begins to change once one’s livelihood is threatened – now it is solely the banker’s responsibility to have invested the money wisely, the public who invest their money into the banks are seen to be helpless, powerless twits, whose securities should have been looked after by a paternalistic and caring banking sector. So for example, according to Fox New, “Berlin police estimated that around 10,000 people gathered in front of the capital's city hall and more than 1,000 in Frankfurt, Germany's banking capital, for similar demonstrations under the slogan: "We won't pay for your crisis." Its not a crisis – its just that there are now lots of personal crises – the public didn’t bother to check whether their banks were investing their money properly or wisely and now they are paying for it. But the banks aren’t responsible for this – they really aren’t.

We have two problems. The first was created by the fact that banks lent out our money several times over – so we thought the country was several times as wealthy as it actually was. This led to inflationary pressures especially in the housing market – where the same money was lent to several different people – all investing in housing leading to unrealistic housing prices. We now realize we have a fraction of the wealth we thought we had. This creates deflationary pressures – i.e. where everyone has less money prices are reduced. This problem can be solved by creating a soft deflationary landing to a level where the price of labor and goods reflects the value of the money we have not the value of the money we have and we loaned. This means everyone has to accept lower wages – we can either do this peacefully based around a consensus and agreement between corporations, banks, trade unions or governments – or we can do it aggressively – letting perfectly good companies whose workers refuse to take pay cuts go to the wall – and then watch as millions of unemployed people try to reform and reorganize new companies and enterprises.

 

The second problem is that banks are no longer making such risky investments – so they are not looking to lend their money on to others – which means there is less money to be lent to people – which means less activity and less economy. We have to get used to less activity – but at least the activity will be invested in activities which are genuinely producing material benefit for people – not leading to an apparent generation of wealth – which is the artificial effect of lending x amount of money to people ten times, making it seem that we are ten times as rich as previously – when actual fact we are equally as wealthy – but with prices ten times as high. We should have also let the banks go to the wall – and started again with a heavily regulated banking sector – which was not allowed to lend out peoples’ money irresponsibly. No-one wants to have to feel the pain from this – i.e. the rich bankers who keep their pensions and bonuses, the people who have banked with them who want to keep their savings, and the businesses who are funded by the banks who want to hang on to their business and jobs. So what Gordon Brown is doing, is in the name of the people, funneling money into the banking system, paying for the debts, and thus, keeping the bankers sweet, keeping the investors sweet, keeping the businesses sweet. Who looses out? All of us – the poor! They never really had anything to loose in the first place, however whilst Gordon Brown borrows money to give to the banks so they can lend to businesses and pay bankers bonuses and salaries, we move a step closer to becoming bankrupt – i.e. not being able to borrow any more money because no-one believes we can pay it back. Once we become bankrupt, social services and welfare will be cut.

According to Gaby Hinsliff, “Many economists believe a recovery now requires bursting that artificial bubble and rebalancing the economy so that Chinese consumers are encouraged spend a little more - reducing America's trade deficit - and Americans a little less. Malloch Brown suggests Britons, too, will need to relearn the art of saving.”

According to the Guardian, “But Scotland Yard is expecting a greater challenge on Wednesday 1 April, dubbed "Financial Fools Day", with a series of protests aiming to cause disruption in the Square Mile and elsewhere.” The Guardian says, “On 1 April an alliance of anti-capitalist groups called G20 Meltdown is organising a carnival headed by "Four Horsefolk of the Apocalypse", which will converge in front of the Bank of England. Anarchists are planning to target the second day of the summit at ExCel. Other groups mounting demonstrations include Climate Camp, the Stop the War Coalition, and Government of the Dead. An alternative summit will be held a few hundred yards from the ExCel centre at the University of East London.”

The alternative G20 summit website provides the following manifesto: Can we oust the bankers from power? Can we get rid of the corrupt politicians in their pay? Can we guarantee everyone a job, a home, a future? Can we establish government by the people, for the people, of the people? Can we abolish all borders and be patriots for our planet? Can we all live sustainably and stop climate chaos? Can we make capitalism history? YES WE CAN!

According to the Daily Telegraph, “The G20 conference will lead to a London "lockdown" next week, with parks, roads and businesses closed to keep world leaders safe, Government officials are warning.” The media are really building this up, as an attempt to build readership and sell advertising. Its interesting how a force created by the desire to advertise and promote consumption causes papers to distort and promote a threat and confrontation to the very system upon which it is built. The Daily Telegraph article continues, “Protesters with armed with buckets and spades are among several thousand people who are planning to bring chaos to the heart of central London.Last night it emerged that City workers were being advised to "dress down" next week to avoid drawing attention to themselves.”

To anyone really wanting revolution bear in mind these words from Stephen Moss, “Changing society is hard, and usually starts with a split in the elite. The English civil war and the French revolution both began with a fissure in the governing classes; their falling-out created the space for populist movements to develop. For a grassroots movement to effect change is enormously difficult. It was only possible in Russia in 1917 because of the devastation wrought by war.”

The reality of the demo was perhaps best summer up by ‘one789’ who said, “My experience of the demo, in talking to people and observing, is that no one had any real clue of why they were there. They recognise 'blame the bankers' to be futile and a distraction, think capitalism 'is rubbish' and 'want change', but say nothing beyond that.I at least expected a high degree of frustration and anger, but more than anything what came across was disillusionment and confusion. But then, that's what you get I suppose from such a middle-class yummy-mummy bleeding-heart rally.”

As rabbit95 said, “Be glad we live in a society free enough to protest and where, apart from the police possibly taping your presence at such a demo, there will be no comeback.”

www.g20.org/

www.londonsummit.gov.uk/en/summit-aims/summit-progress/

www.altg20.org.uk/

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www.economist.com/opinion/displaystory.cfm?story_id=13362027

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www.guardian.co.uk/commentisfree/2009/mar/28/g20-protest

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www.guardian.co.uk/politics/2009/mar/25/g20-q-a

news.google.co.uk/news?q=G20+summit+London+2009&oe=ut...

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For great photographs and the low down on the G20 Summit, Protests and Demonstrations visit www.ravishlondon.com/g20