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Not a great picture, I know, but it's mostly here just in case it's a useful shot to illustrate articles on... I don't know, luggage handling and stuff.
Hi all. Sorry i haven't been posting anything lately but im still have problems with my computer.
Problems:
Cannot see any of my photos (only upload).
Cannot see anyone else's photos.
Cannot see my photostream.
Cannot see anyone else's photostream.
Cannot see groups.
I can though see my homepage and my recent activity pages so thankyou to those people who have added me as a contact. ^_^
My computer should be fixed in about a week give or take a few days and then i shall be catching up on my 365 day project.
Thanks!
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...
Nevil Cardozo
Is this picture shows that If you are experiencing an Instagram login problem, it could be due to a variety of issues. You may have forgotten your password or username, your account may have been hacked or disabled, or there may be a technical issue with the app or website. To resolve the issue, try resetting your password, contacting Instagram support, or checking for any app updates or server issues.visit: (howsocialfeed.com/instagram-login-problem/) for more information.
Bad weather is here again and the car has been sitting since just before Christmas. So I figured it to be as good a time as any to fix something that was really irking the crap out of me…the sun visors.
All of the 79-85 Eldorado’s with light up mirrors (which most had) unfortunately have a problem with visorus saginitus. The visor is held up by a small winged plastic bushing-it wraps around the chrome visor arm, and locks into the plastic visor body with the winged part. This little plastic thing gets brittle over time and starts to crack, losing its grip on the stationary rod. This starts as an issue where they droop a little bit when the car has been sitting in the sun on a summers day but eventually gets bad enough that it happens at all temperatures and will just flop down with bumps in the road.
To my knowledge there’s no replacements for this winged bushing and even if there were I don’t know how you would go about replacing it with the way it’s installed on the visor arm. GM evidently saw the problem as the arm and bushing were revised in 1984 to be bigger but evidently to no avail-the passenger visor on my car sagged from the time I had bought the car and I had held it in place with a nail wedged into the metal trim surrounding the window that had to be removed when you wanted to use it…this didn’t compute with the fairer sex, so it’s safe to say eventually I’m going to find all of those finishing nails that have gone missing over the past couple of years the hard way…
My driver’s side visor was free of this problem but I just didn’t use it as I was afraid it would start doing the same thing. So I set to work finding a real fix
These popped up for sale on ebay, red visors from an ’87 DeVille. They looked like a winner, same general shape, same color and in good condition. After a couple of messages to get an idea on size, I ordered them. However, when they arrived, they were neither the bright red shown in the pictures, nor in as good of repair. They definitely needed to be reupholstered to be used. I gave them a dry run before wasting any more money, and they had a couple of other issues. The first was a different electrical connector which was no biggie. The second was much bigger, that they could only be used to block sun going forward. Trying to move it to the side caused them to either drop or raise at a 45 degree angle.
I figured this was caused by the design of the mount which is heavily angled. So there wasn’t much I could do about it. Until my ebay suggestions came up with visors from a Buick Reatta for sale-the same general style as the DeVille, but with a flat type of mount similar to the OEM Eldorado!
Now the guy wanted over 100 dollars for these and after my blunder with the DeVille visors I wasn’t about to sink that type of change in a maybe. So I headed over to the Reatta AACA message board to see if anyone had a dogged set of visors with good mounts that they wanted to sell, and the first post in the for sale section happened to be by a fella who was parting out a complete Reatta! Score!
I emailed the guy and he explained that the car was in a junkyard local to his house. A real gentleman, he was able to get the visor arms for free and didn’t even charge me the ride up from Florida. Thanks Mike! The car in question had a burgundy interior so the arms would need to be sprayed dark carmine to work for me. After cleaning and priming, SEM aerosol made quick work of that.
Unfortunately when they were removed from the Reatta, this condom thing that wraps around a metal bushing shredded, but I was able to basically replicate it with heat shrink tubing
The arms are easily removed from the visors when uninstalled from the car. Simply rotate the arm into the mirror side of the visor (as if you were pushing the visor back up into the roof) until it clicks and then yank it out. Install it into the new visor in the same position. I did some tests for proof of concept and when it seemed like I was on the right track, I got to work. Or at least to spending money. I ordered carmine foam-backed headliner material (Sunbrite 1872 for those interested, it was a great match) and headliner adhesive (which I ended up not needing for this job)
The visors themselves are like a clamshell and probably harder to crack open than a turnip. After enough brute force, a hammer, and a screwdriver, I was able to get them open (see the color difference as compared to the ebay picture above)
The material around the visor ended up not being glued to the face of it, only tucked tight and hot glued from the factory. I decided to do the same thing (So I have to write off the spray adhesive until I do a new headliner). I carefully removed the old fabric and made a template out of the new material
(should anyone do this in the future, it’s much more simple and less risky to only cut the general shape of the template out, you can cut the hole for the mirror and sun shade later)
The visors themselves also needed some help. The “ears” at the ends were super fatigued and loose, so I mixed up some resin and fiberglass to shore them up.
Once the visor bodies were sound, I had to come up with a way of re-joining the clamshell. I have no idea how GM did this in the first place but super glue doesn’t work. After a lot of searching I found out that these are likely made of Polyethylene. I bought this 3M DP8005 adhesive which claimed to bond it and tested it on a junk visor-seemed to do the trick. You need a special mixing tip in addition to this and I also had to get a gun that it fits into.
With that solved, I started hot gluing the material onto the visors. I had never done anything with headliner material before aside from stapling them up when they started sagging and I was really surprised with how compliant it was. In that, it basically looked factory with no runs or wrinkles despite not having a clue what I was doing.
Then, I bonded the two halves back together. Each one had to sit like this for a day, and early signs seem like it worked. Hopefully the adhesive will hold, time and temperature will tell.
Here’s a comparison of the original visors with the DeVille replacements. Mirrors swapped without issue. I also had to swap the power connector, meaning I had to cut the crimped on connector at the mirror end from the old visors and install in the new ones. Delphi 12020347 is the connector part, there’s no room inside the assembly for a butt connector (and I hate using them unless I have to)
And here they are installed!
The only complication on the install is that the plastic visor arms bolt in a slightly smaller bolt pattern than the originals. You can take any 2 of the 3 holes but not all 3 at once. Fortunately there’s plenty of meat to drill into to make another hole.
I’m sure a lot of people are reading this right now and saying I should have just stuck with the nail but in reality it wasn’t that bad. It might seem like a mess but everything above is a “worse possible scenario” in that I got fleeced on the visors I bought and had to change color, structurally repair them, rehab the Reatta visor arms, then bond them back together. If you’re fortunate enough to have a 79-85 E body with an interior color the same as an 85-88 Deville, and can get the visors from it, the only thing you need do is get a set of Reatta visor arms and swap them out (and obviously your electrical connector from your 79-85). They’re really close in size as far as fit, and look factory with the exception of the sunshade. You could delete that when reupholstering, but I always liked them.
It seems like GM changed all their lighted visor designs to basically the same thing in the late 80’s downsized cars. So there might very well be more vehicles than just Reattas that have the flat plastic visor arm. As far as longevity, I’ll definitely keep everyone posted but I will say that I’ve never really seen any of the “newer” Cadillacs or Buicks experiencing visor problems. The whole metal bushing with condom setup also feels much more sturdy then the OEM 79-85 stuff.
Oh, and on the bright side, I’ll only have to wear these puppies at night now.
Girl dropouts are a major problem fighting poverty in Malawi, as giving girls and women a better position and better education remains maybe the best way of all to bring change and a better future to Malawi.
At Matunduzi school we saw how the IM-funded project GESI addressed one of the causes of girl dropouts - girls falling behind in their studies due to problems doing their homework due to all the tasks they are asked to do at home.
At Matundizi school, and dozens of similar school, new reading techniques have been introduced and teachers educated in new pedagogical skills.
The reading class seen on these photos were engaging and active to the extreme... Not the least I loved seeing how much space the girls demanded, they were not rated below boys and not discriminated.
Having trained on different reading techniques by GESI, teachers at the school have used the methods to supplement primary school curriculum. One STD 2 teacher introduced supplementary readers from old curriculum books to enhance a reading culture. Through such, most pupils in Standard 2 have acquired Chichewa (Malawis majority language) reading mastery. A rare occurrence in primary schools rocked by myriad challenges.
Meanwhile, on a regular basis, mother groups, that are also getting support and organizational advice from GESI, meets with girls at the school to discuss issues for their retention and achievement. ‘We feel obliged to support our girls so that they should not experience the difficulties we have now due to lack of education.”
Mother group members raise funds for need girls, they give advice and they visit parents who withdraw their girls from schools.
Girls Education Support Initiative (GESI), is funded by IM and run by Malawian NGO Creccom. GESI is an integrated approach to address challenges facing girl children through community mobilization including meeting girls’ post-primary education cost.
The complexities are enormous and intertwine poverty and male dominated culture and put restraints on girls’ education.
IM and Creccom has pledged to promote girls education and fight these constraints.
Photo and copyright: Erik Törner, IM Individuell Människohjälp www.manniskohjalp.se
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...
Diptesh Harmalkar
I purchased some Hasegawa Mirror Finish tape, but I'm having a real trouble trying to get it to apply nicely to the domed eye. I've gone through several cut outs and shapes but nothing has been good enough, this photo was the closest I got. GOnna keep trying though, I'm desperate for that chrome eye
Kaa-Booooom !
And We're Back From Canada =( !
Oh .. Em .. Gee !
Definitely One Of The BEST DAMN TRIPS I've Been To, If Not The BEST !
Everyone Over There, I'm Gonna Miss You SO MUCH !
Anyway ! I Miss Flickr Too .. So It's Kinda Good To Be Back ..
Oh And BTW .. I'm ALONE !
TOTALLY ALONE In Qatar !
Everyone's Out Traveling =P
And I'm Staying " HOME ALONE ! "
It's Fun I Guess xP ! But Can I Handle A Whole Month ?
We'll Just Have To Wait And See ^^" !
,
,
Cheers
The Bando de Kvar membership held one of its occasional forays into downtown Toronto to inflict its concept of street photography upon the populace. The title comes from the address, as indicated by the 99, on Jarvis Street and the artistic addition of the word, all caps, PROBLEMS. A little digging on the building history revealed it was built in 1898 and became the Mary Macfarlane Hotel following the death of her husband, Malcom Macfarlane, and she continued to operate it until it was sold just prior to the 1929 stock Market crash. In the 1960s the area had run down significantly and was even part of a red-light district. Gotta love going down rabbit holes. Any way, the tagging on the brick and the 99 PROBLEMS caught my eye as I was passing so, of course, I captured a frame. – JW
Date Taken: 2025-07-12
Date PP: 2025-07-31
(c) Copyright 2025 JW Vraets
If you are interested in prints or licensing of any of my images, DM me with a brief description of what you may be looking for.
Tech Details:
Taken using hand-held Nikon D800 fitted with an AF-S Nikkor 24-120mm VR 1:4.0 lense set to 50mm, ISO110 (Auto ISO), Daylight WB, Matrix metering, Shutter Priority Mode, f/4.0, 1/250 sec. with an EV-0.33 exposure bias. PP in free Open Source RAWTherapee from Nikon RAW/NEF source: Set final image size to 9000px wide, level image, apply Tone Mapping at default levels, set Exposure Compensation to EV-013 to darken slightly overall, Use the Tone Curve 2 tool in Parametric mode to brighten the Highlights, increase Contrast and Chromaticity in L-A-B mode, slightly increase Vibrance, brighten slightly overall using the Exposure Compensation tool, sharpen, save. PP in free Open Source GIMP: use the Colour Balance tool to shift the Cyan-Red channel slightly to Cyan and get rid of a bit of a red colour cast, use the Brightness/Contrast tool to slightly boost both Brightness and Contrast, use the Hue-Saturation Brightness tool to increase the brightness and contrast of the red channel, sharpen, save, scale to 6000 px wide, sharpen, save, add fine black-and-white frame, add bar and text on left, save, scale image to 3100 px wide for posting online, sharpen very slightly, save.
Small rooms always present problems and this one was no exception. 2.5 x 3.5 metres with a semi pitched roof. Some home made rigid fibreglass panels and corner traps had already been installed. Low frequency problems were treated with 2 x BT120/80 bass traps with BT600/150 bass traps sitting on top. Ceilings were also treated with BT600/150 x 8. This is a good example of what sometimes is required. The two black panels in the middle are rigid fibreglass panels that were originally in the corners
A moment of stillness in a universe of chaos. The Three-Body Problem tells us that stability is an illusion—every system is one small perturbation away from unpredictability.
When you focus on problems, you'll have more problems. When you focus on possibilities, you'll have more opportunities. #problems #possibilities #opportunities
I have a problem and i cannot figure out how to solve this.
attached to my stopshot i have 2 flashguns (Nikon Speedlight SB600 and a Yongnuo YN-560II Advanced) both at 1/64 and both connected with pc sync cable. as you can see i got some ghost at the falling drop, something i don't have using or the nikon or the yongnuo alone.
is it becose they are 2 different brands (and should look for another yongnuo) or because they are connected after eachother and shoud i use a splitter with same length of cable?
btw yellow is Nikon and Bleu is Yongnuo
This young gull has caught a Striped Burrfish, a kind of porcupine fish, which are covered in small spines. If burrfish are as nasty to swallow as they are to step on, he's in for a rough time.
Main Topic: Problem Solving Quotes
Related Topics: Problem, Level, Consciousness, Creation
No problem can be solved from the same level of consciousness that created it.
Author: Albert Einstein
Quotation Reference:
www.braintrainingtools.org/skills/no-problem-can-be-solve...
14 June 2011. O'Hare Airport, Chicago.
Sign on door to "Image Operator Room" (where the pictures from the so-called "nudatron" scanners are displayed) at the TSA checkpoint at O'Hare Airport:
Image Operator Room
ATTENTION!
No electronic devices or personal items allowed.
Only authorized item: TSA-issued radio
Your safety is our priority
I presume there's also a "No harmful radiation permitted here" sign on the business end of the machine. If so, I feel safer already.
No emulsions were harmed in the making of this image.
L1001783-crop
I have a rather frustrating problem with my sound. When I turn the volume up, the slider falls back down to zero, all by itself.
I've replaced drivers to no avail. I've uninstalled so much software that my computer feels naked. The problem persists.
This is extremely frustrating.
You've got to love those moire patterns though...
[Update: I'd like to extend a special welcome to those who landed up here after doing a search on the word "naked" - I hope the disappointment wasn't too great...]
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2023. Italian Minister Sangiuliano & the Uffizi Gallery - "American families spend $10-20,000 to come to Italy, will now pay $25 for a Gallery ticket - Not a problem!" Italian News Sources (10/01/2023). wp.me/pbMWvy-3BS
Foto: The Uffizi Galley of Florence & American Tourists: Alex Mucci & Eva Menta, Italian Influencers – visiting the Gallery, posing ‘Semi-Nude’ while being photographed among the Works of Art. Source: Courtsey of the Uffizi Galley of Florence (late Oct. 2022); in: RARA 2022.
www.flickr.com/photos/imperial_fora_of_rome/52620903640
1). ROME - Uffizi ticket prices in high season will rise to €25 from 1 March. WANTED IN ROME (10/01/2023).
The Uffizi in Florence will raise the price of individual tickets in the high season to cope with rising costs in the energy and construction sectors, the gallery said on Tuesday.
The new cost of tickets in the high season - from 1 March to 30 November - will be €25 instead of the current €20.
Foto: The Uffizi Galley of Florence & American Tourists: Foto of the Uffizi Galley & Italian Minister Sangiuliano. Source: Courtsey of the Uffizi Galley of Florence (late Oct. 2022).
www.flickr.com/photos/imperial_fora_of_rome/52620470391
However for early morning visitors during the high season there will be a discounted ticket price of €19 between 08.15 and 08.55.
The cost of tickets for Palazzo Pitti and the Boboli Gardens, which are part of the Uffizi Galleries complex, remain unchanged.
Seasonal and family passes also remain unchanged as does the €12 ticket price to visit the Uffizi during the low season (1 December to 28 February).
The increase in high-season ticket prices was decided by the Uffizi board of directors, and approved by the regional directorate of museums of Tuscany and Italy's culture ministry.
Foto: The Uffizi Galley of Florence & American Tourists: Foto of the Uffizi Galley with Chiara Ferragni – Italian Influencer & Eike Schmitt – The Gallery Director. During Schmitt’s tenure – numerous Italian and Foreign Influencer are paraded among the Galley for Italian and International publicity. Courtsey of the Uffizi Galley of Florence & the La Repubblica (late July 2022).
www.flickr.com/photos/imperial_fora_of_rome/52620903390
"I think it's right, we have to adapt to European standards", culture minister Gennaro Sangiuliano told reporters at Pompeii on Tuesday in response to a question on the increase of the Uffizi ticket prices and the possibility that other Italian cultural sites will follow suit.
"On average, the large European sites cost more" - Sangiuliano said - "I think that the increase also responds to a so-called "moral" question: for an American family that spends €10-20 thousand to come to Italy, paying €20 for a ticket is something that can be done".
Foto: The Uffizi Galley of Florence & American Tourists: Foto of the entranceway leading into the Uffizi Galley – Americans tourists, Italian and foreign vistors are greeted by illegal vendors selling fake Italian luxary goods. Apparently the Italian Police and the Uffizi Galley security service is no where to be seen. Courtsey of the Uffizi Galley of Florence (2020 onwards).
www.flickr.com/photos/imperial_fora_of_rome/52619955842
Fonte / source:
--- WANTED IN ROME (10/01/2023).
www.wantedinrome.com/news/italys-uffizi-to-hike-ticket-pr...
2). ROMA - Il biglietto degli Uffizi costerà 25 euro per il caro energia: è polemica, la replica del ministro Sangiuliano. Virgilio / NOTIZIE (10/01/2023).
Foto: The Uffizi Galley of Florence & American Tourists: Ilona Staller = “Cicciolina’, former member of the Italian Parliament (1987 – 1992), and earlier Italian Porn star (mid-1970s – mid-1980s). In mid-July 2021, Ms. Staller, aka Cicciolina, introduces Pornhub’s new “Classic Nudes” interactive museum guide & App, based upon the works of Art at the Uffizi Galley of Florence. Source: ‘Pornhub’ in the La Repubblica (mid-July 2021).
www.flickr.com/photos/imperial_fora_of_rome/52620950393
Polemiche per l'aumento del biglietto degli Uffizi, costerà 25 euro a causa dei rincari: la spiegazione del ministro Sangiuliano però lascia dei dubbi.
Per vedere le opere del Botticelli, ma non solo, si dovranno pagare di più. Il Cda degli Uffizi ha deciso di aumentare il prezzo del singolo biglietto alla Galleria delle statue e delle pitture per far fronte all’aumento dei costi dovuto al caro energia. Dall’1 marzo 2023 al 30 novembre dello stesso anno il ticket costerà 25 euro. Non sono mancate le polemiche per il rialzo, pronta la replica del ministro della Cultura, Gennaro Sangiuliano, che lo ha giustificato.
Quanto costa adesso il biglietto
Il periodo scelto per l’aumento del biglietto che vale l’accesso alla ‘Galleria delle statue e delle pitture’ va dal 1° marzo al 30 novembre: è quello definito di ‘alta stagione’.
Foto: The Uffizi Galley of Florence & American Tourists: Vittorio Sgarbi – Undersecretary at the Italian Ministry of Culture (Nov. 2022 onwards [under the direction of Italian Minister Sangiuliano]). In Early Nov. 2022, Undersecretary Sgarbi commented he found nothing wrong with Alex Mucci & Eva Menta, Italian Influencers – visiting the Gallery, posing ‘Semi-Nude’ while being photographed among the Works of Art. Source: NICOLAPORRO.IT (28/10/2022) & ANSA (31/10/2022).
www.flickr.com/photos/imperial_fora_of_rome/52620470386
Nel 2022, nella stessa fascia temporale, il ticket è costato 20 euro.
Ad oggi, e fino al 28 febbraio 2023, lo stesso biglietto costa 12 euro, come confermato dagli Uffizi in un comunicato: questo perché il periodo è di ‘bassa stagione’.
I motivi del rincaro
Il Cda degli Uffizi ha deciso di aumentare il prezzo del singolo ingresso individuale alla ‘Galleria delle statue e delle pitture’ per far fronte all’aumento dei costi nel settore energetico ed edilizio.
Il rialzo riguarderà il solo ticket di accesso singolo per la Galleria in alta stagione: statisticamente, spiegano gli Uffizi, si tratta di un biglietto acquistato per la maggior parte dai turisti stranieri.
Ci sarà comunque uno sconto mattutino, proprio in alta stagione, per chi entrerà al museo tra le 8:15 e le 8:55 (già sperimentato a Palazzo Pitti): il biglietto costerà 19 euro.
Invariati “i prezzi e tutta la scontistica di bassa stagione, oltre agli abbonamenti Passepartout 5 Giorni, Passepartout annuale e Passepartout Family”, recita la nota degli Uffizi.
La replica di Sangiuliano alle polemiche
Il ministro Gennaro Sangiuliano è intervenuto rispondendo alle polemiche nate sui social dopo l’aumento del costo del biglietto per accedere agli Uffizi: “Penso che sia giusto, dobbiamo adeguarci agli standard europei” ha detto, ripreso dall’Ansa.
“Mediamente i grandi siti europei costano di più – ha aggiunto – fatta eccezione per la Gran Bretagna dove c’è una situazione particolare. Penso che l’aumento risponda anche a una questione per così dire ‘morale’. Per una famiglia americana che spende 10-20 mila euro per venire in Italia, pagare 20 euro un biglietto è una cosa che si può fare”.
Quanto costano i biglietti dei grandi musei nelle altre città europee
Ma quanto costano i biglietti dei grandi musei in Europa? Le parole del ministro, in realtà, lasciano parecchi dubbi.
Ecco l’elenco dei principali, simulando un acquisto online per il periodo estivo del 2023:
Berlino: Pergamonmuseum 12 euro;
Madrid: Prado 15 euro; Reina Sofia 12 euro;
Parigi: Louvre 17 euro; Musée d’Orsay 14 euro (16 in loco);
Amsterdam: Museo Van Gogh 20 euro.
Fonte / source:
--- Virgilio / NOTIZIE (10/01/2023).
notizie.virgilio.it/il-biglietto-degli-uffizi-costera-25-...
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.
Too much whiskey: I have a problem.
No more whiskey: I have a different problem.
So much whiskey: I have NO problem.
"She stands stark naked and she beckons you to bed; don't go, you'll only want to come back again."
; Nude - Radiohead
*TRADUZIONE
Lei è lì nuda e ti invita nel suo letto; non andare, dopo vorrai solo tornare ancora indietro.
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