View allAll Photos Tagged Problems,
Classic Problem: A farmer needs to cross a river, but his boat can only hold one other passenger or item. He can't leave the grain with the chicken for the chicken will eat the grain. He can't leave the fox with the chicken for the fox will eat the chicken.
How can he manage to get the fox, the chicken, and the sack of grain safely across the river?
Some of my illustrations for "First World Problems", published by Weldon Owen 2013 - www.amazon.co.uk/dp/1616284102
Now, this little Ford Fusion was driving down the road with no problem. It did pass me on the right at one juncture. He has a tinted license plate cover. This is the exact location where I was pulled over by a nice LMPD officer who indicated he could not read my plates. He said there was a glare on it and he could not read it 300 ft. away. (Note - the sun was setting at the time). He said the plate cover had some mud on it.
I asked the nice officer if I could get out of the car so he could show me the problem. He said I could.
As I exited the vehicle he grabbed my arm, twisting it, and slammed me into the car and proceeded to cuff me, while stating, "Is this what you like?". I asked why he chose to do that. He said "Because you moved too slow". No, officer. I expect you to be able to see well, hear well and act professionally, as that is your job which you accept a salary for. Your job is not to rough up, bruise and maim individuals you believe you can for the "sport" of it. You were well aware I was not a threat to you and your partner. "Serve and Protect" - remember?
He then said I was being detained and walked me to the back of my car. He took my purse (fanny pack) with him into the patrol car and sat with it over 30 minutes. He did go through my address book as he commented on it's contents when he returned. I suggested to his partner perhaps this officer might want to invest in a good pair of glasses and hearing aids.
He gave me a ticket for "improper display of registration plates". This occurred on Good Friday.
I then drove to Auto Zone with the plate cover. Auto Zone stated they were legal in Kentucky but they did then replace the plate cover with a clear one at my request.
The man at Auto Zone told me he also had a problem, and then went on to tell me about the unlawful searches on others that have occurred here in Louisville. He said men and boys were being bodily searched, unlawfully, by police officers while on the road. This one was fairly recent: youtu.be/LtQG0JlCORI
I met a nice lady today who told me the same thing happened to her, and many of her Church friends. She says they just pay them and don't attempt to fight them, as they want a peaceful existence. Even though they did nothing wrong and the charge was false.
I am inviting others from law enforcement AND the military to visit Louisville - they are welcome to ride in the back seat of my vehicle, hunkered down, if/when the next violation occurs. Without identifying themselves, of course. Let's see if *they* get roughed up. I'm 5/2 and weigh 115 lbs. I wonder if they would do the same to someone who was a male, 6' weighing 250 lbs.
The above car doesn't seem to be having any problems.
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Update: 16 November 2018
Appeared in court - with the help of an outstanding Pubic Defender (Christopher Schramm) all charges were dropped. The attorney also advised me of my right to institute legal proceedings against LMPD if I so chose.
It is indeed unfortunate those with any type of hearing, auditory processing or language barriers are not able to be aware of what, exactly, their rights are.
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Update: April 14, 2023
In light of the recent horrendous mass shooting here in Louisville, KY this week on April 10, 2023, a good deal of retrospect is due. Sometimes seeing both sides of the fight to survive makes a world of difference. My heart breaks for this community, their families, the deceased but most especially for 26 year old LMPD Officer Nickolas Wilt, a rookie police officer who previously served as an EMT, firefighter, and emergency dispatcher and is now clinging to life today. We have shootings here every day but this one....this one hits home.
To the officers involved in my above encounter with them on April 16, 2018 - I do owe you both my sincerest apologies for what transpired. No harm done and I hope we can all rethink our roles in this world. Life is precious. Value it - I am thankful I am not walking in your shoes and proud that you do. Thank you. I do understand now how unimportant and petty the 04/16/18 incident really was and appreciate the learning opportunity from you all. You are indeed heroes.
Who is Louisville rookie Officer Nickolas Wilt? - www.msn.com/en-us/news/crime/who-is-louisville-officer-ni...
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.
Olá meninas...
Tô meio preguiçosa pra postar fotos, acho que esse é o problema de fotos atrasadas, acabo não lembrando a sensação de quando usei o esmalte, sei lá...kkkkkk
Bom, o Pitaya é a coisa mais fofa, me senti com unhas de ovinhos de codorna...não sei se ele tá com a cor original, mas o meu não é branco puro não, tem um tom levemente esverdeado/acinzentado, bem levinho mesmo . De todos os pulguinhas que usei até hoje esse foi o que eu mais curti, tem glitters de vários tamanhos, consistência perfeita, super fácil de esmaltar e achei uma graça. Dessa coleção foi o que mais me encantou mesmo, não gosto dos neons e o vermelho não curti muito, tanto que nem fotografei quando usei...
Não lembro quantas camadas usei, mas acho que foram 02 e TC Ideal Transparente. Rolou um Up que depois eu posto...
É isso... Bjos
01x Prime nivelador Mohda
02x Pitaya
01x TC Ideal transparente
Here is Arriva Buses Wales VDL Cadet CX04 AXW 2480 is seen at the Bangor bus station as it's operating the route 4A to Llangefni but this one has problems with the front destination board which is not working properly, then they send another bus as 2480 is returning to depot.
ON THE ROAD
terça-feira, 25 de janeiro de 2011
De como as coisas melhoram....
Estavamos doidos para sair do Deserto de Atacama, no Chile, onde tivemos todos aqueles problemas. A Gio melhorou e pegamos a estrada de volta no sábado. Deixamos para trás San Pedro, que é simpática, poeirenta e cheia de jovens mochileiros e uns desbundados bichos-grilo. Mas não senti falta de água e estivemos em 2 hoteis. Um na chegada, tarde da noite devido aos acontecimentos, o Don Raul, mais caro. Depois nos mudamos para o Chiloe, mais barato bom e simpático. Na frente dele passa um canal que traz água do degelo, segundo me disse a dona. Mas não é usada para consumo.
As meninas se comportaram bem na viagem, dormiram quase o tempo todo. Na passagem por Jama, entrada na Argentina, a mais de 4000 m, Gio vomitou de novo. Mas chegamos bem em Jujuy, sábado a tardinha. Estamos só escolhendo restaurantes e hoteis que aceitam cartão de crédito, pois me sobraram o Master e o American. Ficamos no hotel Internacional, bem na esquina da Catedral. No domingo liguei para o Amex para pedir um código e assim poder sacar dinheiro no crédito. Terei que pagar taxas, mas pelo menos posso me capitalizar no momento para sair dessa situação. Finalmente, ligando para o Brasil e falando com o Amex, consegui sacar. Pagamos o hotel e - pé na estrada!
Fomos rumo a Formosa, pela RN81, para tentar entrar por Clorinda/Asunción. É um baita trecho: 940 km. A estrada é formada por longas retas, como é característico de todas as estradas do norte da Argentina, dentro das planícies da Pampa. O problema da primeira metade do longo trecho são os rebanhos soltos. São bois, cavalos, cabras e burricos. E é semi-desértico de almas e cidades. O GPS dava o horário de chegada: 23:05, e tinhamos saido de Jujuy aí pelas 13 hs. Víamos grandes nuvens para o leste, a direção da nossa proa. O dia acabou e, já mais perto de Formosa, pegamos um pouco de chuva. O único incidente foi que atropelei um gambá. Peguei ele bem no meio e as meninas viram. Já estavam me acusando de ser assassino de dezenas de rãs e sapos que pulavam pela estrada. E antes já havia pegado um passarinho que bobeou na minha frente. Mas não houve nada com o carro.
Chegamos em Formosa no horário previsto. Todos cansados e com fome. Paramos no bolicho do Chicho, ou algo assim. Pedi pizza pra todos e pollo con purê para Gio. Depois, peregrinação para hotel e finalmente banho e cama, aí pelas 2 da manhã. Ficamos em um hotel 1/2 estrela, o San Martin, na avenida 25 de mayo,por 185 pesos (77 reais) os quatro. Formosa é muito simpática, com a avenida principal ligando o porto do rio Paraguay com a grande praça San Martin, de 4 hectares. Gostei da cidade...
Antes do 1/2 dia saimos rumo a Clorinda. Para passar ao Paraguay há 2 caminhos: balsa ou ponte, que é um pouco mais distante. Decidí pela balsa e estavamos quase lá quando um membro da valorosa gendarmeria me parou dizendo que a balsa estava bloqueada pelos comerciantes e que talvez pela ponte dessem passagem aos carros chicos. Perguntei se eram os comerciantes de lá ou de cá e ele respondeu que eram os de cá. Então seguimos pela ponte. Na chegada, uma confusão de caminhões parados. Os carros foram passando até que Na chegada, uma confusão de caminhões parados. Os carros foram passando até que chegamos em um grande terminal também confuso, onde um homem me indicou estacionar e segui-lo. Me indicou um guichê e eu não sabia se estava na Argentina ou Paraguay. Entreguei ao do guichê os papéis da migração argentina e fui para outro guichê, este paraguaio. Me pediu as certidões de nascimento das meninas e minha certidão de casamento. Me pediu também o certificado de vacina (?). É claro que eu não tinha nada disso. Ele fez uma cara meio contrariada e disse para eu esperar um pouco. Voltou depois e me passou um papel da migração, com minha entrada e as das meninas, dizendo que havia conseguido dar um jeito. Me pediu 100 pesos como propina. Dei, e dei mais uns 8 pesos, que era o que eu tinha de trocados, ao cara que me acompanhou nos guichês. Que formas de ganhar dinheiro...
Finalmente chegamos em Asunción e estamos muito bem instalados no hotel Sabe Center, a 104 dólares a diária para os quatro. Amanhã (25/1) cruzaremos os trezentos e picos km's do Paraguay até Foz do Iguaçu, onde pretendo fazer a revisão de 30000km da Tucson enquanto descansamos em um hotel.
Jorge Antonio Degrazia Sarturi
I took a Night Photography class sponsored by Desert Botanical Garden and taught by Ryan Parra - a photography professor at Mesa Community College and Arizona State University. I learned a lot and practiced a lot. I really feel that I had improved significantly by the end of the class. One big problem with classes like this is keeping other photographers out of the frame.
This is detail from the sculpture titled Polyhedras.
Geometry is universal across cultures and religions, across the globe, and even across the planets.
dbg.org/events/light-bloom/2024-10-12/
www.youtube.com/watch?v=FFelgzzzQqg
LIGHT BLOOM by HYBYCOZO is a limited-time exhibit where nature and light converge. This mesmerizing display invites you to explore the Garden transformed by stunning geometric light installations that illuminate the beauty of the desert landscape in a new way. As the sun sets, LIGHT BLOOM comes to life, casting intricate shadows and vibrant hues across the Garden. Wander the trails and let the enchanting installations transport you to a magical realm where the natural world meets the abstract.
HYBYCOZO is the collaborative studio of artists Serge Beaulieu and Yelena Filipchuk. Based in Los Angeles, their work consists of larger than life geometric sculptures, often with pattern and texture that draw on inspirations from mathematics, science, and natural phenomena. Typically illuminated, the work celebrates the inherent beauty of form and pattern and represents their ongoing journey in exploring the myriad dimensions of geometry. HYBYCOZO is short for the Hyperspace Bypass Construction Zone, a nod to their favorite novel (The Hitchhikers Guide to the Galaxy) and was the title of their first installation in 2014. They continue to create under this name. In the novel earth was being destroyed to make way for a bypass. It lead Serge and Yelena to ask what it means to make art at a time where the earth’s hospitable time in the universe may be limited.
dbg.org/meet-the-artists-behind-light-bloom/
Q: Walk us through your creative process?
A: The focus of our creative process is to explore the intricate interplay between geometry, light, space and to inspire contemplation, wonder and a sense of place among our audiences. Geometry and pattern-making serve as the backbone of our creative expression. It is the framework through which we navigate the complexities of form, proportion and spatial relationships. Patterns, both simple and complex, have a profound impact on our perception and understanding of the world. They possess the ability to evoke a sense of order, balance and aesthetic pleasure. Pattern making and geometry offer us a means of storytelling and communication. These patterns serve as conduits for deeper exploration, provoking introspection and contemplation to uncover the underlying symbols embedded within the human psyche.
A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.
Q: What inspired the concept of LIGHT BLOOM?
A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.
Desert Botanical Garden has an incredible collection of plants and cacti arranged in a beautiful park setting.
"Think the desert is all dirt and tumbleweeds? Think again. Desert Botanical Garden is home to thousands of species of cactus, trees and flowers from all around the world spread across 55 acres in Phoenix, Arizona."
Desert Botanical Garden
DBG HYBYCOZO Light Bloom
Hahah I saw this sick Aventador pulling out of the Westfield Promenade in Woodland Hills. White is starting to get old but they are still great to see. Please leave feedback. Comments and Favs are always appreciated!! :) I wasn't sure what to post tonight so I just put up this Aventador lol
I'm finally starting to realize that there's a problem. But what can I do about it? What's a girl to do?
Approaching people to ask for a photograph has never been a problem with me. Though sometimes there are people who may appear a tad more 'edgy' & thus I personally would advise that even though they would make a great photo, it's not worth the trouble.
This cool TATTOO ARTIST at AMERICAN BODY ART in PARIS just blew me away with my perceived idea about how he would handle being asked to pose for a photograph!
As one can see by his appearance, he certainly does not look like a soft gentle puppy. It turned out, he really was a wonderful, charming, as well as, sexy & suave guy!
I saw him from a distance, he was sitting on a 'leopard-skin'- print chair and smoking a cigarette, staring off into the distance. It was a break for him and it was a much needed rest from a busy day.
"May I take YOUR photo, please?", I meekly asked in French, which he interpreted as, 'please take MY photo!". (Since , ADDA DADA is the king of the 'selfies', I surely do not need anyone taking MY photo. ) "No. NO. I'd like to take YOUR photo.", I retorted.
He smiled, with the 'why would you want a photo of me?" look. Clearly, as you can see in my photo, he's a unique and cool character . "You'd make a great photo!"
Which made him smile, say OK, and he started to get up and pose.
"No, please just as you are. You're perfect."
That made him smile even more so.
I asked about a couple of his tattoos. He loves Jimi Hendrix so that is his first and still favorite tattoo. Each tattoo had its own story and he explained their little story.
He learned his craft in Spain, but with the economy, he came to Paris. He's doing fine at the AMERICAN BODY ART studio in Paris which, he proudly stated, has studios in the USA.
He really was cool explaining all his tats and I talked about my one and only tattoo.
"Well, its been 40 years since you had that one, don't you think you're ready for the next one? Come back and see me, OK." , he chuckled.
And you know. I will.
A link for the group page;
This picture is #8 in my 100 STRANGERS PROJECT (Flickr group). Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
I haven't done much night photography so although there are obvious problems with the sharpness of the stars (especially along the right of the image - can anyone help explain this?), I am still pleased with the result.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
With the end of the conflict in Africa in early 1974, the Portuguese Armed Forces went through a reorganization and shifted their focus back from counter-insurgency to honoring Portugal's commitments to NATO and preparing for a possible conflict in Europe against the Warsaw Pact. The Portuguese Air Force's F-86F Sabre and G.91 fighters were considered to be outdated in both the air defense and ground attack roles to face Soviet forces in the European operations theater. Furthermore, only a few Sabre fighters were actually in service due to problems with the engines and lack of spare parts.
After the revolution Portugal faced financial problems and the new government didn't see the modernization of the armed forces as a priority. As such the Air Force counted on the support from the United States through the military assistance programs and the offsets and compensations for the use of the Lajes Air Base. In June 1974 the Air Force Chief of Staff, General Manuel Diogo Neto, informed the US Military Assistance Advisory Group (MAAG) in Lisbon of the interest in acquiring one F-5E Tiger II squadron and one F-4E Phantom II squadron, as well as T-38A Talon and T-41, to replace the T-33 Shooting Star and the DHC-1 Chipmunk, respectively.
The United States’ NATO delegation was worried about Portugal's capability in contributing to NATO operations and felt that the intention to purchase either the F-4E Phantom II or the F-5E Tiger II to replace the F-86F Sabre was inappropriate, given that the USA felt that the A-7D Corsair II or the A-4N Skyhawk provided a better platform for the Portuguese role in an eventual conflict with the Warsaw Pact, which was to mainly protect the Atlantic Ocean resupply routes from the United States to Europe.
By 1976 the Northrop F-5E Tiger II had become the sole preferred aircraft by the military command, which believed that this aircraft could be supplied by The Pentagon at a lower cost through the Military Assistance Program (MAP) and the Foreign Military Sales (FMS). To this end, Portugal leased Northrop T-38A Talon jet trainers, as part of the "Peace Talon" program, to establish and provide supersonic-capable lead-in fighter training and to eventually provide operational conversion.
Later in March 1976, a camouflage scheme for the F-5 was published in the Diário da República, stirring public awareness and political pressure. Nonetheless, at the time the FAP had already started analyzing the acquisition of the A-7 Corsair II as an alternative to the F-5, per the suggestion of the United States. This led to the acquisition of 30 A-7A Corsair II for 49 million dollars. But even with the A-7 taking precedence, the FAP continued interest in acquiring the F-5 for the air defense role and as a proper replacement for the outdated F-86F Sabre.
As such, a delegation was sent to Norway in July 1979 to evaluate F-5A/B aircraft of the Royal Norwegian Air Force. This offer was turned down, since the offered 11 F-5As turned out to require considerable repairs due to cracks found in the airframe. Furthermore, the FAP was particularly interested in twin-seat F-5 fighters, but the RNoAF did not plan on retiring any of its F-5B aircraft at that time. In November 1984, the United States offered four F-5As with spare engines to Portugal, but this offer was also declined, since the aircraft had already logged over 3,000 flight hours and needed thorough repair, too. In the same year, the RNoAF made a new offer of 15 to 20 F-5A/Bs, but this time the FAP declined, once more due to the airframes’ age and poor condition.
Unable to purchase any F-5 in decent condition, the FAP studied in the meantime the procurement of other second-hand fighters like the French Mirage IIIs or the SAAB 35 Draken. Negotiations with France, even though the preferred partner and with the intention to procure Mirage V fighter bombers, too, went nowhere. Eventually, a deal with Sweden could be settled in 1985 and the Saab 35 was chosen as the FAP’s new air superiority fighter.
The Draken had been developed during the 1940s and 1950s to replace Sweden's first generation of jet-powered fighter aircraft, the Saab J 29 Tunnan and, later, the fighter variant (J 32 B) of the Saab 32 Lansen. Fully developed in Sweden, the Draken was introduced into service with the Swedish Air Force in 1960 under the designation J 35 (the prefix J standing for “Jakt”, meaning “pursuit”). Early models were intended purely to perform air defense missions and the type was considered to be a capable dogfighter for the Cold War era. Later models were technically very advanced and the J 35 underwent a constant development that led to a long line of variants with several upgrades.
By the 1980s, the Swedish Air Force’s Drakens had largely been replaced by the more advanced Saab 37 Viggen fighter, while the introduction of the more capable Saab JAS 39 Gripen fighter was expected in service within a decade, although delayed. Many J 35s of earlier versions, primarily the D type as well as some early J 35 F, were therefore mothballed and/or offered for sale. Takers were Finland and Austria, some Draken also sold to private operators in the United States. A dedicated export version for Denmark, rather a strike aircraft than an interceptor, was built, too.
The FAP was interested in the J 35 F, since these aircraft were the most modern Draken variant at the time and the relatively young airframes promised a long service life. An initial batch of eight aircraft – six single seaters plus a pair of two-seat trainers – was leased by Portugal and delivered in 1986. These were effectively refurbished former Swedish Saab J 35 F interceptors and Sk 35 C trainers. Internally at Saab, the Draken versions for Portugal were designated Saab J or Sk 35 XP (“X” for export and “P” for Portugal), but this designation was not adopted officially.
For Portugal, the machines were stripped off of specialized Swedish equipment and instead outfitted with NATO-compatible avionics and other updates like the Hawé mods I & II on the P/S-01/011 radar sets to improve its resistance to ECM. In contrast to the Swedish Saab J 35 F, the avionics that were necessary to deploy the Rb 27 and Rb 28 missiles (Hughes AIM-4 Falcon with radar and IR guidance) were removed and the second gun reinstalled. The J 35 F’s IR sensor under the nose was retained and a Sherloc radar warning system of French origin, as well as chaff/flare dispensers, were added, too.
In Portuguese service, the machines were called Saab 35 FP and TP and dubbed “Dragõe”. The fighters’ main armament were, beyond the internal 30 mm cannons, AIM-9 Sidewinders. Typically, a pair of these missiles was carried under the wings, together with a pair of 500 l drop tanks under the fuselage, since the Draken had no in-flight refueling capability and just a range of 1.120 km (696 mi) in clean configuration and with internal fuel only. The machines retained a secondary strike capability, though, with iron bombs of up to 1.000 lb caliber, napalm tanks and unguided missiles in pods. The trainers were unarmed but could carry an optional single 500 l drop tank on a ventral hardpoint.
The leased aircraft batch arrived in bare metal finish, but, due to the country’s proximity to the open sea, they quickly received an overall coat with a grey anti-corrosive lacquer. They were allocated to Esquadra 201 "Falcões" at Monte Real air base, where they replaced the last operational F-86F’s. They were officially allocated to an interceptor role, but effectively they were primarily used for conversion training, together with the T-38’s which had been based at Monte Real since 1977, too.
With enough trained Draken crews at hand, a second batch of former Swedish Draken (this time twelve single seaters plus two more trainers) was bought and delivered in 1987, the machines from the initial leasing batch were eventually bought, too. This small fleet was split between Esquadra 201 and 103 (the latter at Beja air base), so that the FAP could now field two fully operational interceptor squadrons. Upon arrival, the new machines received a tactical camouflage with toned-down national and the J 35s from the initial batch were re-painted accordingly.
The ongoing process of the modernization of the Portuguese Air Force also included the launching of the SICCAP/PoACCS (Portugal Air Command and Control System) project, which was a pioneer in adopting the new architecture and concept of the NATO ACCS, being intended to replace Portugal’s old SDA air defense system. As part of these project, the air surveillance and detection units were re-equipped, including the reception of new radars and the air control center at Monsanto was enhanced. The Saab 35 FPs became an integral part of this system, so that interceptors could be guided from the ground towards potential targets.
This scenario did not last long, though: The end of the Cold War caused the Portuguese Air Force to accompany the shift of the focus of the Portuguese Armed Forces from a conventional war in Europe against the Warsaw Pact forces to the international peace enforcement missions. The FAP started to participate in a number of missions by itself or in support of missions led by the Army and the Navy, but the Saab 35s were not involved since they remained, due to their small number, dedicated to Portugal’s air space patrol and defense.
With the arrival of the first F-16 Fighting Falcon in 1994, the Saab 35s, as well as the FAP’s A-7 Corsair IIs, were gradually retired and fully replaced until 1998.
The last Saab 35 in Swedish service was retired in 1999, the last Saab 35 Draken was withdrawn from military use in Austria in 2005 – 50 years after the type first flew. However, several aircraft still fly today in private operators’ service.
General characteristics:
Crew: 1
Length: 15.35 m (50 ft 4 in)
Wingspan: 9.42 m (30 ft 11 in)
Height: 3.89 m (12 ft 9 in)
Wing area: 49.2 m2 (530 ft²)
Airfoil: 5%
Empty weight: 7,865 kg (17,339 lb)
Gross weight: 11,000 kg (24,251 lb)
Max takeoff weight: 11,914 kg (26,266 lb)
Powerplant:
1× Svenska Flygmotor RM6C (license-built Rolls Royce Avon with Swedish afterburner)
turbojet engine, 56.5 kN (12,700 lbf) thrust dry, 78.4 kN (17,600 lbf) with afterburner
Performance:
Maximum speed: 2,450 km/h (1,520 mph, 1,320 kn) at 11,000 m (36,089 ft)
Maximum speed: Mach 2
Range: 1.120 km (605 nmi; 696 mi); clean, internal fuel only
Ferry range: 2,750 km (1,480 nmi; 1,710 mi) with four external 500 l drop tanks
Service ceiling: 20,000 m (66,000 ft)
Rate of climb: 199 m/s (39,200 ft/min)
Wing loading: 231.6 kg/m² (47.4 lb/ft²)
Thrust/weight: 0.7
Takeoff roll: 800 m (2,625 ft)
Armament:
2× 30 mm AKAN M/55 ADEN cannon with 100 rounds per gun
4× hardpoints with a capacity of 2,900 kg (6,393 lb); typical interceptor ordnance:
2× 500 l ventral drop tanks and 2× AIM-9 Sidewinder under the wings
The kit and its assembly:
This what-if model came as a spontaneous idea when I browsed through the WWW for inspiration. I stumbled upon the history of the Portuguese Air Force and the fact that it did not operate any dedicated interceptor for 15 years – this task was taken over by the PAF’s A-7s(!) until the F-16 arrived in the Nineties This gap offered a lot of whiffing potential, and I had actually considered to build a whiffy FAP Mirage III for some time, since I knew that this was, together with the F-5, the favored type. However, there was also serious consideration of the Saab 35 as potential fighter alternative, too!
I found this idea so weird/exotic that I decided to build a Draken in FAP colors. The kit is the Hasegawa model, in a Revell re-boxing. I also considered the vintage Revell Saab 35 (a mold from 1957!), but after I saw the kit in a current re-boxing from Polish company Akkura, I took the chance of a reasonably priced Hasegawa kit instead. While the Akkura kit is crisply molded, it would take a lot of work to create a satisfactory “modern” Draken from it. I also had a Heller kit in store (my personal favorite), but I did not want to “sacrifice” it for this project.
The Hasegawa/Revell kit was basically built OOB. The kit is a simple, straightforward affair, with fine recessed engravings and good fit, but it’s IMHO far from extraordinary. It also has its flaws: the dashboard is totally blank, any instruments have to be created by yourself or taken from the decal sheet. There are ejection marks on the wheels and the landing gear covers, and the fit quality of some areas (e .g. the seam between the fuselage and the afterburner section) calls for PSR. The two-piece canopy is thin, very clear and fits well, the landing gear is sufficiently detailed – including the interior of the main landing gear wells.
For the FAP version I did not change much; I just replaced the seat (which OOB looks fine, I just wanted “something else”), added a radar warning antenna to the fin’s tip and chaff dispensers around the tail section, all carved from styrene profiles.
Unfortunately, the Revell re-boxing just comes with a pair of launch rails and underwing pylons, but no AA weapons at all. That’s acceptable for the anniversary machine that you can build from the kit, but leaves the other option, a grey, Swedish J35 H, without any ordnance.
The drop tanks on my build are OOB, together with their ventral hardpoints, and I added a pair of decent AIM-9J Sidewinders from a Hasegawa air-to-air weapon set for a suitable interceptor ordnance. The launch rails were recycled from the kit: they are actually missile rails with attachment points to mount them under the air intakes. The rails were separated and then attached to the OOB underwing pylons, this worked very well.
Painting and markings:
The livery was not an easy choice. Initially I favored a uniform pale grey livery with blue squadron markings, inspired by the late F-86s of FAP 51 squadron, but found this, despite being a plausible look for an interceptor, to look quite boring. For the same reason I rejected an Austria-style “Hill II” scheme or a light-grey USN-inspired “Compass Ghost” livery. The Hellenic “Ghost” wraparound scheme was another potential option, but I recently used something similar on another whif build (the Catalonian L-159 ALCA), and it would not have a typically Portuguese Cold War look.
Keeping in style with the FAP’s livery fashion during the Eighties, I rather settled upon a USAF SEA scheme, which was carried by many PAF aircraft during the Eighties, e .g. the A-7P, the G.91, and their replacement from 1993 onwards, the Alpha Jet. Instead of a wraparound version for ground attack aircraft, I rather gave the Draken light grey undersides.
The camouflage pattern itself was improvised, since I did not want to copy an existing delta wing aircraft (e.g. the USAF’s F-102 or F-106 SEA pattern, or the Belgian Mirage Vs). The basic colors are Humbrol 75 (Bronze Green; the authentic tone is FS 34079, but this lacks IMHO contrast to the lighter green), 117 (FS 34102) and 118 (FS 30219) from above, and Humbrol 28 (FS 36622) underneath.
A large ventral section was, typical for the J 35, left in bare metal, since leaking fuel and oil would frequently eat away any paint there. The section was painted with Steel Metallizer (ModelMaster) and later treated with Matt Aluminum Metallizer (Humbrol).
Internal details like the cockpit and the landing gear were painted with the help of Swedish and Austrian Saab 35 reference pictures. The cockpit tub was painted in a dark, bluish green (Humbrol 76) with grey-green (Revell 67) side walls. A piece of paper tissue covers the cockpit’s back wall, since the kit leaves a visible and rather ugly seam there, which is only partly hidden behind the seat.
The landing gear and its respective wells were painted with Humbrol 56 (Aluminum Dope), parts of the struts were painted in a bright turquoise (a mix of Humbrol 89 and 80; looks quite weird, but I like such details!). The front wheel received a dark green mudguard (Humbrol 30), the same color was also partially used on the extended emergency current generator. Missiles and launch rails were painted in gloss white (Humbrol 22).
As per usual, the model received a light black ink wash and some post-shading in order to emphasize the panels and dramatize the surface. Some extra weathering was done around the gun ports and the jet nozzle with graphite.
For markings I used the contemporary A-7Ps as benchmark: they were minimal, there were even no squadron markings or other decorations, and I think they even lacked roundels on their wings!
I gave the Draken slightly more markings: The small FAP roundels come from a PrintScale A/T-37 sheet, the fin flashes are from a TL Modellbai sheet and the tactical codes belong to a Japanese T-4 trainer. Most stencils were taken from the Revell OOB sheet, which also includes decals for the reddish sealer around the cockpit windows.
I didn’t want to leave the Draken without any squadron marking, though, so I gave it a blue band on top of the fin, as a reminiscence of the FAP 51 squadron’s markings, the former final F-86 operator which became 201 squadron in the early Eighties. These were simply done with layered white and blue decal stripes.
Finally, the model was sealed with matt acrylic varnish (Italeri), except for the black radome, which received a sheen varnish coat.
A relatively simple whif project, since the model was mostly built OOB with just minor cosmetic changes. However, despite its exotic operator, the USAF South East Asia scheme suits the Draken well, the whole thing looks disturbingly convincing!?
It’s also a kind of tribute build for “Sport16ing”, apparently a great fan of my what-if builds who frequently re-posts pictures and background stories (with kind permission to do so!) at deviantart.com.
Oh-oh, my left leg stocking top is much lower than my right one. This is embarrasing and totally unaccepteble!
After a discussion about ball heads and tripods with Cassidy Photography this week, I recalled that I was missing a small travel 'pod' for hiking/biking, air travel. So, I got a killer deal on a new Zomei F678. (now replaced by the Q/Z 669 models)
Similar to the MeFoto offerings, but 1/4 the price. It has excellent build quality and features. 14.5" folded, 60.5" extended. It has one shortcoming, it can't get any lower than this without inverting the column. But I don't want to invert. I've been spoiled by my favorite Manfrotto 190D, which comes with a short center column attachment. I discovered that a very similar K&F Concepts version does include a 100mm stubby column to attach the ball head to, but wasn't included with the Zomei.
Hmmm, what to do? To the drawing board.
Maple seedlings crawled their way past the engine block of this old dump truck, popped the hood, and became a wood lot. My mom said the only reason men are alive is for lawn care and vehicle maintenance. Looks like this crew was off fishing for a while. Problems worthy of attack prove their worth by hitting back.
Daisy decided Sonny needed some company. This is what happens when mom and dad aren't home.. they do have their own beds and it wasn't cold outside so I don't know why Daisy decided to crowd Sonny.. poor Son
Labourer walking towards oncoming traffic as he takes market produce across the street. Bacolod City, Philippines.
Crested tit at my large pine cone set up in the Highlands. These birds are fantastic to photograph and hopefully get some very soon again.
There is a problem with her earrings, it seems too loose.
Ash how is your Nikki earrings?
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Update: Ok Nikki earrings are supposed to be like this! I am keeping this pic in case other people are wondering about it.