View allAll Photos Tagged Problems
The AS90 self-propelled howitzer (AS - Artillery System) evolved from the international SP70 programme, which was cancelled in late 1980s due to funding problems. The AS90 artillery system was developed by Vickers. It entered service with the British Army in 1993. Production completed in 1995. A total of 179 self-propelled howitzers were built for the British Army. It replaced the FV433 Abbot and the US M109 self-propelled howitzers.
The AS90 is fitted with 155-mm / L39 howitzer, which was developed from the FH70 towed howitzer. It is fitted with an automated loading system. The AS90 is compatible with all standard NATO 155-mm ammunition. Maximum range of fire is 24.7 km with standard HE-FRAG projectile and 32 km with a rocket assisted projectile. A total of 48 rounds are carried. The AS90 is capable of firing 3 rounds in 10 seconds. Maximum rate of fire is 6 rounds per minute, sustained - 2 rounds per minute.
Secondary armament consists of 7.62-mm machine gun. The AS90 is also fitted with smoke grenade dischargers.
The AS90 has a welded hull and turret. Its armor provides protection against small arms fire and artillery shell splinters. It is claimed that front armor can withstand 14.5-mm armor-piercing rounds. All-round protection is against 7.62-mm armor-piercing rounds. Vehicle is fitted with an NBC protection and automatic fire suppression systems.
Vehicle is powered by the Cummins VTA903 turbocharged diesel engine, developing 660 horsepower.
Tankfest by World of Tanks - 24.-25.6.2016
The Tank Museum - Bovington, UK
Worlds biggest and best live display of historic armour, living history, and much more at the Home of the Tank - The Tank Museum, Bovington, United Kingdom.
More from Tankfest:
www.flickr.com/photos/jukkaokauppinen2/albums/72157670621...
More from me:
Here's a T-shirt advocating men solve their problems by throwing their girlfriend out the window (or through the wall). It was for sale at Kohl's, and created a stir. Kohl's took it off their website, but - Google be praised - could still be retrieved.
There is a serious problem with cool's appropriation of domestic violence of late. If you (boys) want to be cool, you need to beat your girlfriends. Or use them for your own gratification.
Cool has always been about transgression, so domestic violence-as-cool shouldn't surprise us.
Today, I'm going to write a couple of long things that call a lot of people dumb. I do a better job with these kinds of things when I just write them right off when it hits me to do it, and I've been putting this one off a bit. But I really do want to put this out there, so I'm just going to go ahead and do it.
The thesis: Americans are really dumb about immigration. We're dumb and insular and paranoid. We've ignored our own origins -- the people I've known who hate immigration the most are all second- or third-generation Americans whose grandparents passed easily through Ellis Island without any kind of visa. We've forgotten the whole point of the American experiment. Those of us who claim moral superiority based on a spurious attachment to a contorted form of Christianity have devolved into race-based nationalists. We've needlessly handcuffed the economy because we don't understand how much capitalism depends on the constant flow of new labor that birth rates can't sustain. In a couple of words, we're stoopid. You can see it in these signs on a protest fence in Chicago's Brighton Park neighborhood. "We are uneasy and scared." And, well ... God forbid you be uneasy!
"Say, Clint," You might be saying. "You've ranted on about versions of this before. What's the deal, now?"
Well, friends, here's the problem, and it starts with the moron governor of Texas.
Greg Abbott was elected Texas governor after a long stint as the state's attorney general that focused mainly on important issues like banning sex toys and encouraging large corporations to physically harm as many people as possible. He's been a big supporter of Trump and has sung all of MAGA's greatest hits, and he absolutely hates brown people. His state has a long border with Mexico, and he hates the idea that people cross it, even refugees who have a legal right to seek asylum under the laws of the United States. He'd shoot them all if he could. He's placed barriers in the Rio Grande to drown people trying to cross. He's put Texas National Guard soldiers along the river and ordered them to force men, women, and children gasping for air back into the water. He's a huge anti-abortion guy who loves life so much that he'll kill a woman to prove it, but he loves watching brown kids die.
He's also big on stunt, and for the last year or so, his big stunt has been to grab as many of the people who've made it across the federal border into Texas territory as he can, load them up onto rickety, unregulated buses and ship them all to liberal northern cities he doesn't like. Chicago has been a big target on the MAGA radar for years, so a lot of those buses are running up I-57, where they dump a few hundred refugee immigrants on some random street in the middle of the night and leave them all to figure it out. Abbott could have the buses drop them off at some central processing location and let the city know they're coming and when, but what's the fun in that? That wouldn't be cruel enough, so he just dumps them in random spots, and everybody has to scramble to figure it out on the fly. The city's tried mandating that the buses follow an actual procedure, and the city council recently passed an ordinance allowing them to impound buses that drop the migrants outside a specific location. They nabbed one bus and found the bus driver didn't have a drivers license. Texas responded by flying 90-someodd migrants up here on a private plane and dumping them in a random hangar. The "handlers" ducked out in an uber before the cops showed up.
According to the internet, between August of 2022 and the start of this month, December of 2023, the Greg Abbott buses have dumped 21,700 refugees on the streets of Chicago. (This seems hugely counterproductive if you're looking at this from a xenophobe's standpoint, because now you've got 21,700 people you don't want in the country 1,500 miles from the Mexican border. They could go anywhere.) As of the end of October, this program has cost the taxpayers of state of Texas -- which still hasn't figured out how electricity works -- about $75 million. Switching over to planes will pump that up fast.
But here's the thing about this whole Greg Abbott deal: he accidentally kind of has point.
He has his point for stupid, racist, xenophobic reasons, and he's making his point with as much inhumane cruelty as he can manage. He mostly just wants to troll Chicago mayors Lori Lightfoot and Brandon Johnson, Illinois Governor JB Pritzker, and US President Joe Biden. But he's trolling them with a point.
Immigration is a federal issue, and it is up to the federal government to handle it with federal resources. It's unfair to place the financial burden of this issue on any one state, but the states along the southern border with Mexico -- Texas, Arizona, New Mexico, and California -- have borne the brunt of the cost. The federal government, meanwhile, has been running a wildly haphazard border immigration policy for decades, and has never managed to figure out a logical, reasonable system for processing people. It really needs to do this. In a best-case scenario, the feds would take this thing over and run it themselves at the border crossings. At the very least, they need to supply federal money to cover the states' cost.
But the feds won't do that, and politicians like Greg Abbott are the reason why. People like Greg Abbott don't want to solve the problem. Their only solution is simply to shut the door. Build a wall, put up a bunch of barbed wire, drown people in the river and shoot whoever makes it across, and that is no solution. People have a right codified in American law to seek asylum, and we need a rational process to allow these people in. More than that, the continued success of this nation absolutely depends on new people coming in. But Congress -- where Republicans reign in the House -- would never authorize any such system. And so we're frozen, impotent, unable as a nation to act. So Greg Abbott will just keep up his human trafficking, keep using Texas money to put people on crap buses and planes, and dumping them in the night.
Austin, TX - October 2010
Don't worry... I'm not going all sentimental. This was a test shot with the 'flex to see if the lens hood I bought helped eliminate the lens flare issue I was having. I am not seeing it any longer and think... "Problem Solved!"
Another Leyland Panther (this one a PSUR1A/1R) with Alexander body, new in 1969 and just old enough to have been new to Newcastle Corporation. It was photographed in the as yet unsurfaced car park at the new National Exhibition Centre, Birmingham, on Thursday 23rd October 1980. The Commercial Motor Show was on at the time and the bus is kitted out as some sort of travelling demo vehicle for Webasto heaters.
Webasto heaters? Well, my knowledge is derived from experience with Bristol Omnibus Co. which, following complaints from drivers about poor heating (a constant of life on the buses) fitted Webasto heaters in the cabs of some of its Bristol VRTs. The heaters burned diesel from the fuel tank. I seem to remember that you had to fumble awkwardly behind the seat for the switch and wait for a "countdown" after which the heater "fired", causing huge clouds of diesel smoke to rise from an exhaust pipe under the cab. This could be quite a crowd-stopper if the heater sparked up while the bus was standing at a bus stop in a busy street. Passers-by turned and stared, wondering whether the bus was on fire. The idea was a bit of a non-starter really. The fundamental problem in such vehicles as the VRT was that the cab was open and any warmth dissipated into the interior of the bus ...or into the outside air when the doors opened. Many of the fitted units seemed to go for five minutes or so and then turn themselves off. The outlet was at floor level and when the heaters worked they flambéd one's feet but left the rest of one's person unwarmed. I feared chillblains.
Escribía hace un tiempo sobre la situación que rodeaba al empresario SAYMON DIAZ, quién por su juventud (No por su aguda experiencia como empresario), se vería prácticamente asediado por problemas que muchas veces no los proporciona el, sino motivaciones que escapan a su entorno.
1 - El caso con FRANTONI SANTANA y las liquidaciones por derecho de autor.
2 - La suspensión del espectáculo de MARC ANTHONY en la ciudad de Santiago.
3 - Y la acusación muchas veces “alegre” que se le hace por una situación que se presentó con un periodista en el Teatro Nacional durante un ensayo con el cantante PEDRO GUERRA.
4 – Se ha publicitado que “Espalderos del empresario SAYMON DIAZ”, lo que para la mayoría de los desconocedores del término, lo liga a MAFFIA, o con acciones por las que debe ser resguardado por ESPALDEROS. Y por supuesto esto no corresponde a la realidad, ya que SAYMON no es más que un joven dotado de una agudeza y un olfato como empresario artístico que le reporta exitosas presentaciones en cuanto asistencia de público y económica, que a otros les deja “sabor amargo al morder el polvo de la derrota”.
5 – El término utilizado para la necesaria seguridad del espectáculo, del público y de los artistas en escena ha sido “retorcida” para dar la impresión de que SAYMON DIAZ es el ALCAPONE del espectáculo en nuestro país y necesita ESPALDEROS para que lo protejan lo cuiden y lo defiendan.
6 – No me satisface ser reiterativo en los temas que trato, pero muchas veces tengo que hacerlo con la justicia que se merecen.
No soy asalariado de SAYMON DIAZ ni mucho menos su encargado de prensa y relaciones públicas para defenderlo de situaciones en las que no tengo nada que ver ni mucho menos opinar. Pero si lo hubiera sido, mi defensa estaría caminando en otra dirección, posiblemente.....
Pero también soy justo, porque decir que la SEGURIDAD DEL PRESIDENTE DE LA REPUBLICA, está compuesta por ESPALDEROS que lo cuidan, sería el mismo caso de SAYMON DIAZ....y estos realizan simple y llanamente una labor de necesaria SEGURIDAD como su nombre lo indica.
Y como decía el maestro YAQUI NUNEZ DEL RISCO….se lo dejo de TAREA…
Do you want to grow love in your relationship? But due to one reason or the other, there is some problem in your relationship. If so, then you can use Dua For Husband Love To Wife. It is the best dua for a happy life with a husband.
To know more about this dua you can read this article Dua for Husband Love To Wife. lovebackduas.com/dua-for-husband-wife-love/
You can also take help from an Islamic scholar to perform 'Dua For Husband Wife Love' in a proper way.
Molana Junaid Jafferi is one of the best Islamic scholars. He provides online consultancy too. You can call at +44-2038075722 (Viber, WhatsApp, Telegram).
Sometimes you run into problems, sometimes they run into you. Thankfully this was part of the crew but the last thing one wants to see when exploring the remains of a hollowed out building is a menacing stranger.
During our trip to Gilman we located two area's that squatters have been using as a home. Fortunately our group was large enough to frighten off any confrontation on this trip but this has not always been the case. Just a reminder to members of the URBEX underground to be careful and be aware of what may be around you.
My handlebar bag presses the barcon shifter housing out of the way in a really awkward and ugly shape. This bike doesn't have downtube bosses. There are two options: Run the housing all the way under the bar tape...or....wait and see...
FORT MCCLELLAN, Ala. August 16, 1955 - Georgia Guardsmen from Company A, 286th Infantry Battalion work on field problems during annual training. The Soldiers of the Lyons-based unit are led by Captain William Salem of Lyons (left). The remaining Soldiers are Cpl. Delaney Dixon, Private 1st Class Bobby Curl, Staff Sgt. John Wiggins and Cpl. Donald Moslesy of Vidalia.
Photo Courtesy of Georgia Guard Historical Archives
It is hard to take shooting on MRT train, it's messy, compostion is a problem...
Contax T2, E100VS
The Carl Zeiss T* Lens' color is just awesome!
Problemi giovanili.
Questo testo è arrivato alla figlia 14enne della mia collega ... mi ha fatto molto riflettere...
Mamma sono uscita con i miei amici .
Sono andata a una festa e mi sono ricordata di quello che mi avevi detto: di non bere alcolici.
Mi hai chiesto di non bere visto che dovevo guidar, così ho bevuto solo una Sprite.
Mi sono sentita orgogliosa di me stessa anche per aver ascoltato il modo in cui dolcemente mi hai suggerito di non bere se devo guidare, al contrario di quello che mi dicono alcuni amici.
Ho fatto una scelta sana e il tuo consiglio è stato giusto.
Quando la festa è finita, la gente ha iniziato a guidare senza essere in condizioni di farlo. Io ho preso la mia macchina con la certezza che ero sobria.
Non potevo immaginare mamma ciò che mi aspettava... qualcosa di inaspettato!
Ora sono qui sdraiata sull'asfalto e sento un poliziotto che dice" il ragazzo che ha provocato l'incidente era ubriaco".
Mamma la sua voce sembra così lontana ...
Il mio sangue è sparso dappertutto e sto cercando con tutte le mie forze,a non piangere.
Posso sentire i medici che dicono "questa ragazza non ce la farà "
Sono certa che il ragazzo alla guida dell'altra macchina non se lo immaginava neanche, mentre andava a tutta velocità.
Alla fine lui ha deciso di bere ed io adesso devo morire....
Perché le persone fanno tutto questo?
Sapendo che distruggeranno delle vite...
Il dolore è come se mi pugnalasse con un centinaio di coltelli contemporaneamente .
Di a mia sorella di non spaventarsi, mamma di a papà di essere forte
Qualcuno doveva dire a quel ragazzo che non si deve bere e poi guidare.
Forse se i suoi glielo avessero detto adesso io, sarei ancora viva, la mia respirazione si fa sempre più debole e incomincio ad avere veramente paura...
Questi sono gli ultimi momenti e mi sento così disperata ...
Mi piacerebbe poterti abbracciare mamma mentre sono sdraiata, qui morente mi piacerebbe dirti che ti voglio bene.
.... Addio
Queste parole sono state scritte da una giornalista che era presente all'incidente.
Questa giornalista ha iniziato una campagna contro la guida in stato di ebbrezza.
O desemprego não é um problema só no Brasil; ele ocorre na Europa e em toda parte do mundo. Excetuando-se os Estados Unidos, onde a questão está minimizada pelo longo período de crescimento da economia durante o governo de Bill Clinton, nas demais partes do mundo o fenômeno é visto com preocupação. Na Europa, o problema é muito grave; no Japão, atualmente observa-se a diminuição do número de vagas no mercado de trabalho; a Coréia do Sul enfrenta a mesma situação. Nos países subdesenvolvidos, a situação não é diferente.
No Brasil, é grande a preocupação dos trabalhadores, dos sindicatos, das autoridades e dos estudiosos de problemas sociais, a despeito de não possuirmos dados precisos sobre o desemprego, isto porque, enquanto o IBGE fala em taxa de 12%, a Fundação Seade/Dieese fala em 18% na região metropolitana da Grande São Paulo. A verdade é que temos, hoje, em qualquer família alguém desempregado. Essa é uma realidade que está muito próxima de cada um de nós. O desemprego causa vários problemas: para o desempregado, para a família e para o Estado. Para o cidadão desempregado e sua família, o desemprego provoca insegurança, a indignidade, aquela sensação de inutilidade para o mundo social.
A tecnologia, que vem desde a revolução industrial na Inglaterra em 1750, traz problemas, e certamente é uma das principais causas do desemprego mundial. Uma máquina substitui o trabalho de 10, 20, 40 ou mais pessoas. Já foi dito que a revolução industrial provocou insatisfação dos trabalhadores, mas pouco desemprego, porquanto, na época, as vagas fechadas numa empresa eram supridas pela abertura de outras empresas. Além disso, houve a redução da jornada de trabalho para 8 horas e a semana de 5 dias. Todavia, hoje, com a globalização, a informatização, as novas tecnologias, nós temos efetivamente um problema de desemprego estrutural. Vejam o exemplo do banco já citado, onde diminuem em menos da metade os postos de trabalho. Tudo é informatizado, as pessoas não precisam do caixa humano, elas vão direto ao caixa eletrônico. Esses funcionários perdem o emprego e não têm outra oportunidade, porque todos os ramos de atividade estão se modernizando, não só os bancos, mas as indústrias estão sendo robotizadas. Estão desaparecendo muitas profissões e atividades profissionais, porque têm o robô fazendo o trabalho de muitas pessoas. Isso realmente gera desemprego e tanto o governo quanto a sociedade têm que contribuir para encontrar uma solução.
Talvez a solução momentânea seja a requalificação profissional. Os profissionais que perdem seus postos de trabalho devem passar por treinamentos e reciclagens. Só assim poderão encontrar outra atividade e assumir uma nova vaga no concorrido mercado de trabalho moderno. O desempregado não pode ficar esperando nova oportunidade para ocupar a mesma vaga que ocupava antes da demissão, mesmo porque aquela vaga, ou melhor, aquela função pode deixar de existir. Aquele que deseja voltar ao mercado de trabalho deve se reciclar, buscando uma colocação em outra área ou ramo de atividade; para isso, ele deve estar preparado.
O governo, através dos Fundos de Amparo ao Trabalhador, tem oferecido recursos para treinamentos e reciclagens aos desempregados. Essa iniciativa ajuda, pois o trabalhador, sem essa reciclagem não vai conseguir uma recolocação no mercado de trabalho, mas não resolve o problema.
De modo que a questão do emprego é, hoje, a principal preocupação do movimento sindical, do Estado e, principalmente, da família, a que mais sofre com a falta de trabalho e queda da renda, agravando todos os problemas sociais. Sendo assim, a reforma sindical e trabalhista tem que ter como prioridade a procura de caminhos para impor aos governantes a execução de programas de desenvolvimento que resultem em geração de empregos.
Porém, essa não é a única saída para abrir postos de trabalho no mercado. Haja visto o que se passa no setor automobilístico, por exemplo, onde investimentos maciços e duplicação da capacidade produtiva não resultaram em geração de novos empregos. Ao contrário, com os investimentos feitos as empresas puseram em prática um amplo programa de modernização e automação, cortando milhares de postos de trabalho. Para se ter uma idéia do estrago ocorrido neste setor, basta dizer que, na década de 80 do século passado, para uma capacidade de produção de um milhão e quinhentos mil veículos, as montadoras empregavam 140 mil empregados. Hoje, para uma capacidade de produção de três milhões de veículos, as montadoras empregam apenas 90 mil trabalhadores.
Só este exemplo mostra que, além de investimentos e programas de crescimento econômico, são necessárias outras medidas para gerar mais empregos. Hoje temos linhas completas, sistemas produtivos completos, operados por robôs. Os processos tecnológicos empregados na atualidade e mais a presença crescente da mulher no mercado de trabalho exigem uma redução drástica da jornada de trabalho, para dar emprego às centenas de milhões de pessoas no mundo inteiro que precisam trabalhar.
Mas, a redução da jornada não pode ser um ato isolado e unilateral de um só país ou dois. É preciso estabelecer uma nova jornada de trabalho de caráter universal, algo como uma resolução da Organização das Nações Unidas para ser cumprida por todos os países e para ser fiscalizada a sua aplicação por um órgão tipo OIT, a Organização Internacional do Trabalho, para que não haja um desequilíbrio nos custos de produção e quebra da eqüidade competitiva entre os países no mercado mundial. E, também, para que não haja redução de salários. Aqui fica a sugestão para o governo brasileiro levar essa questão à Assembléia Geral da ONU, que se instala todos os anos no mês de setembro
fonte: (www.library.com.br)
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.
Approximately 1200 middle and high school students and their teachers from 50 schools across the state on campus on Tuesday April 23, 2019, for the third annual UW Oshkosh Mathematical Problem Solving Contest.
No, flash worked perfectly on this Santa portrait.
But I'm having the devil's own hard time trying to get my studio flash system up and running.
Boring tech stuff to follow: System is three Strobelite Plus flash heads, two Softboxes, one background flash unit. All head units are working normally. I can't seem to get the communication to work between the flash heads and two remote triggers (PocketWizard Plus II). Can't get the camera to wirelessly trigger the flash heads. Wired, they work fine. The remote triggers are working normally...but somewhere in between, the communication breaks down.
I believe it is one of two problems. It is possible that the cable between PocketWizard receiver unit and first flash head is incompatible in some way...though I don't know how that could be. Or, it is possible that the 3.3v that the remote trigger sends out is not appropriate for the flash head input...though I was told that these two systems work together.
Until I hear from one of the manufacturers, I'll remain both puzzled and stymied.
In an era where politics dictate policy, the Problem Solvers Caucus is a unique, bipartisan group of leaders who seek areas of common ground. Rep. Tom Reed, a Republican, and Rep. Derek Kilmer, a Democrat, appeared together on stage to discuss the political challenges in reaching across the aisle, as well as the opportunity that exists for collaboration and compromise to make progress in critical policy areas. These policymakers discussed whether a political center exists — or can be formed — to tackle our nation’s fiscal challenges.
This interview with Rep. Tom Reed (R-NY) and Rep. Derek Kilmer (D-WA) was conducted by Marketplace's Kimberly Adams as part of the 2018 Fiscal Summit.
Watch the video: www.pgpf.org/multimedia/2018-fiscal-summit-interview-with...
We bought two large garden rockers last Summer, and they were great. The problem was, they couldn't stay out all seasons and they took up room in the shed. A lot of room.
After many false starts - including the idea of suspending them from the shed roof - I worked out that I could hang them on the wall! And in the end it only took an hour.
Here's the first one in position, shot from both sides so you can see the mounting bracket (there's now also a small secondary bracket at the bottom, supporting the footrest).
Pleased with self.
Pimples and eczema are main skin problems. The simple act of sweating can clear the glands. A quick rinse in the shower loosens excess skin cells without the damage from rubbing. In addition to the benefit of releasing toxins that can zap the strength of the immune system to deal with bacteria, increased capillary flow to the skin also has a beneficial effect.
Left image is in Trainz Mesh Viewer, with normal displaying correctly. The right image is in Trainz, with problem areas highlighted. Any suggestions what might be wrong?
La notte del 27 marzo, alle 20.30, in occasione dell' Earth Hour, i simboli del pianeta si spegneranno per un’ora e nello stesso momento centinaia di milioni di persone di ogni continente si uniranno nello stesso gesto per chiedere che il mondo si unisca per affrontare davvero il problema del riscaldamento globale.
Sono pronti a spegnersi la CN Tower di Toronto, il Table Mountain a Cape Town, il Gran Palace di Bangkok e il secondo edificio più alto del pianeta, il Taipei 101.
Negli Stati Uniti, una delle nazioni più significative per il tema clima, si spegneranno il Golden Gate, l’Empire State Building, il Monte Rushmore e persino le luci di Las Vegas.
A Londra si attenueranno le luci del London Eye, la grande ruota panoramica che campeggia lungo il Tamigi, così come il grande pannello luminoso della Coca Cola a Piccadilly Circus.
Hiroshima sarà la prima città giapponese che mostrerà il proprio impegno nella lotta ai cambiamenti climatici spegnendo le luci del Peace Memorial.
A Monaco di Baviera si spegnerà l'avveniristico stadio Allianz Arena.
Il cosiddetto gruppo C40 è formato dalle città che rappresentano almeno il 75% delle emissioni globali di CO2 impegnate nella lotta ai cambiamenti climatici è cruciale : la loro partecipazione a questa edizione dell’Ora della Terra è estremamente importante e significativa.
Anche alcune delle maggiori metropoli del mondo saranno al buio per un’ora, sottolineando il proprio impegno per lo sviluppo sostenibile e incoraggiando i propri cittadini nell’adottare pratiche a basso impatto di C02.
Tra le città che hanno confermato la loro adesione ci sono Singapore, Mosca, Atene, Città del Capo, Bruxelles, Dallas, Hong Kong, Suva, Tel Aviv, Rio de Janeiro, Edimburgo, Roma, Toronto, Sidney, Auckland, Seul e molte altre.
Partito da Sidney nel 2007, come evento di sensibilizzazione al risparmio energetico, l’Ora della Terra ha conquistato anno dopo anno milioni di persone: nel 2009 è stata la più grande mobilitazione al mondo sui temi ambientali con oltre 4.000 città di 88 paesi.
In Italia, oltre a monumenti simbolo come il Ponte di Rialto, la Torre di Pisa, la Basilica di San Pietro, il Capitano della Roma Francesco Totti aveva aderito all’iniziativa del WWF spegnendo il Colosseo.
“Questo evento ha un potenziale enorme per dimostrare ai grandi della terra che è possibile parlare ai governi con una ‘sola voce’. Purtroppo quando si parla di clima, i governi di tutto il mondo latitano ma il pianeta non può attendere e noi del WWF non molliamo. Dopo l’esito deludente del vertice di Copenaghen, continuiamo a chiedere una politica globale efficace e vera”.
Michele Candotti, direttore generale del WWF Italia
“Earth Hour, per la sua stessa natura, è l’essenza di un’azione popolare. E’ un appuntamento planetario che quest’anno ha un significato ancora più forte: è il nostro modo per dire ai leader della terra che dopo il deludente vertice di Copenhagen noi non molliamo. Continueremo a chiedere un accordo globale sul clima efficace e vero”.
Mariagrazia Midulla, responsabile Clima e Energia del WWF Italia
Anche quest’anno confermate le media partnership per l’Ora della Terra: a fianco del WWF per il clima ci saranno RTL 102,5, che inviterà gli ascoltatori a partecipare tramite spot radiofonici e promozione sul proprio sito; Animal Planet, il canale parte del gruppo Discovery Networks distribuito sulla piattaforma SKY, parteciperà attivamente all'Earth Hour 2010 trasmettendo lo spot dell’iniziativa su tutti e sei i canali del portfolio, e spegnendo le luci dei suoi uffici dalle ore 20.30 alle 21.30.
“L’Ora della Terra dimostra che l’umanità è determinata a ottenere un mondo che azzeri le emissioni di CO2, alla base del riscaldamento globale. Riunisce la voce di città, comunità, imprese e singoli individui in un’azione positiva contro i cambiamenti climatici e l’adesione record di quest’anno è il segno che il mondo chiede ancora con forza ai Governi un’azione concreta ed efficace per il clima.”
Stefano Leoni, presidente del WWF Italia