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This photograph was published in an online article in DEVON LIVE on 15th July 2025, written by Steffan Rhys Deputy Content Hub Director, Ketsuda Phoutinane Spare Time Content Editor and Ellen Jenne U35 Spare Time Writer and titled:
'' Squirrels will 'run away from' your garden if you plant three plants they 'hate'
Squirrels can be a real headache for gardeners, as they often nibble on plants and flowers. However, there are certain plants that squirrels detest which can also add extra colour to your garden ''
It had previously been Selected for sale in the GETTY IMAGES COLLECTION on June 25th 2021
CREATIVE RF gty.im/1324861349 MOMENT ROYALTY FREE COLLECTION and became my 5,348th frame to be selected for sale with Getty as my sole worldwide agents. I now have in excess of 7,500+ photographs represented by them.
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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Photograph taken at an altitude of Forty eight metres at 08:04am on a showery morning on Wednesday 12th May 2021, off Chessington Avenue in Bexleyheath, Kent.
Here we see, Sciurus Carolinensis (Eastern Gray Squirrel or Grey Squirrel), a tree squirrel native to North America and first introduced to the UK in the 1870's. Though it was largely resonsible for the decimation of our own native red squirrel population, those are now on the increase and found in certain parts of the UK including Scotland. The Greys are still an ecologically essential natural forester regenerator.
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Nikon D850 Focal length 600mm Shutter speed: 1/200s Aperture f/6.3 iso200 Tripod mounted with Tamron VC Vibration Control set to position 3. Image area FX (36 x 24) NEF RAW L (8256 x 5504). NEF RAW L (14 bit uncompressed) AF-C Priority Selection: Release. Nikon Back button focusing enabled. AF-S Priority selection: Focus. 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual mode Metering mode: Spot metering White balance on: Auto1 (5000k) Colour space: RGB Picture control: Neutral (Sharpening +2)
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Manfrotto MT057C3-G Carbon fiber Geared tripod 3 sections. Neewer Carbon Fiber Gimble tripod head 10088736 with Arca Swiss standard quick release plate. Neewer 9996 Arca Swiss release plate P860 x2.Jessops Tripod bag. Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
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LATITUDE: N 51d 28m 28.17s
LONGITUDE: E 0d 8m 10.53s
ALTITUDE: 47.0m
RAW (TIFF) FILE: 130.00MB NEF FILE: 90.9MB
PROCESSED (JPeg) FILE: 43.80MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
Published 2021
A Compendium of Miniature Orchid Species Vol 3. 2nd Edition
Ron Parsons & Mary Gerritsen
The Postcard
A postally unused postcard that was published prior to 1995 by City Merchandise of 68, 34th. Street, Brooklyn, N.Y. The card has a divided back.
The photography was by Alan Schein.
On the back of the card is printed:
'Manhattan and Brooklyn
Bridges. New York.'
NYC - The World Trade Center 1973 - 2001
The original World Trade Center was a large complex of seven buildings in the Financial District of Lower Manhattan, New York City. It opened on April 4, 1973, and was destroyed in 2001 during the September 11 attacks.
At the time of their completion, the Twin Towers—the original 1 World Trade Center (the North Tower), at 1,368 feet (417 m); and 2 World Trade Center (the South Tower), at 1,362 feet (415.1 m)—were the tallest buildings in the world.
Other buildings in the complex included the Marriott World Trade Center (3 WTC), 4 WTC, 5 WTC, 6 WTC, and 7 WTC. The complex contained 13,400,000 square feet (1,240,000 m2) of office space. That's a lot of space - 308 acres.
The core complex was built between 1966 and 1975, at a cost of $400 million (equivalent to $2.27 billion in 2018).
During its existence, the World Trade Center experienced several major incidents, including a fire on the 13th. February 1975, a bombing on the 26th. February 1993, and a bank robbery on the 14th. January 1998.
In 1998, the Port Authority of New York and New Jersey decided to privatize it by leasing the buildings to a private company to manage. It awarded the lease to Silverstein Properties in July 2001.
The 9/11 Attacks
On the morning of the 11th. September 2001, Al-Qaeda-affiliated hijackers flew two Boeing 767 jets into the Twin Towers within minutes of each other; two hours later, both towers collapsed. The attacks killed 2,606 people in the towers and their vicinity, as well as all 157 on board the two aircraft.
Falling debris from the towers, combined with fires that the debris initiated in several surrounding buildings, led to the partial or complete collapse of all the buildings in the complex, and caused catastrophic damage to ten other large structures in the surrounding area.
Subsequent Developments
The clean-up and recovery process at the World Trade Center site took eight months, during which the remains of the other buildings were demolished.
A new World Trade Center complex is being built (2020) with six new skyscrapers and several other buildings, many of which are complete. A memorial and museum to those killed in the attacks, a new rapid transit hub, and an elevated park have been opened.
One World Trade Center, the tallest building in the Western Hemisphere at 1,776 feet (541 m) and the lead building for the new complex, was completed in May 2013, and opened in November 2014.
During its existence prior to 2001, the World Trade Center was an icon of New York City. It had a major role in popular culture, and according to one estimate was depicted in 472 films. Following the World Trade Center's destruction, mentions of the complex were altered or deleted, and several dozen "memorial films" were created.
For details of the earlier 1993 bomb attack on the WTC, please search for the tag 79CMP42
Economic Effects of the September 11 Attacks
The September 11 attacks in 2001 were followed by initial shocks causing global stock markets to drop sharply. The attacks themselves resulted in approximately $40 billion in insurance losses, making it one of the largest insured events ever.
-- Financial markets
On Tuesday, September 11, 2001, the opening of the New York Stock Exchange (NYSE) was delayed after the first plane crashed into the World Trade Center's North Tower, and trading for the day was canceled after the second plane crashed into the South Tower.
The NASDAQ also canceled trading. The New York Stock Exchange Building was then evacuated as well as nearly all banks and financial institutions on Wall Street and in many cities across the country.
The London Stock Exchange and other stock exchanges around the world were also closed down and evacuated in fear of follow-up terrorist attacks.
The New York Stock Exchange remained closed until the following Monday. This was only the third time in history that the NYSE experienced prolonged closure, the first time being during the early months of the Great War, and the second in March 1933 during the Great Depression.
Trading on the United States bond market also ceased; the leading government bond trader, Cantor Fitzgerald, was based in the World Trade Center. The New York Mercantile Exchange was also closed for a week after the attacks.
The Federal Reserve issued a statement, saying:
"We are open and operating. The
discount window is available to
meet liquidity needs."
The Federal Reserve added $100 billion in liquidity per day during the three days following the attack in order to help avert a financial crisis.
Gold prices spiked upwards, from $215.50 to $287 an ounce in London trading. Oil prices also spiked upwards. Gas prices in the United States also briefly shot up, though the spike in prices lasted only about one week.
Currency trading continued, with the United States dollar falling sharply against the Euro, British pound, and Japanese yen.
The next day, European stock markets fell sharply, including declines of 4.6% in Spain, 8.5% in Germany, and 5.7% on the London Stock Exchange.
Stocks in the Latin American markets also plunged, with a 9.2% drop in Brazil, 5.2% drop in Argentina, and 5.6% decline in Mexico, before trading was halted.
-- Effect on Economic Sectors
In international and domestic markets, stocks of companies in some sectors were hit particularly hard. Travel and entertainment stocks fell, while communications, pharmaceutical and military/defense stocks rose. Online travel agencies particularly suffered, as they cater to leisure travel.
-- Insurance Consequences of the Attacks
Insurance losses due to 9/11 were more than one and a half times greater than what was previously the largest disaster (Hurricane Andrew) in terms of losses.
The losses included business interruption ($11.0 billion), property ($9.6 billion), liability ($7.5 billion), workers compensation ($1.8 billion), and others ($2.5 billion).
The firms with the largest losses included Berkshire Hathaway, Lloyd's, Swiss Re, and Munich Re, all of which are reinsurers, with more than $2 billion in losses for each.
Shares of major reinsurers, including Swiss Re and Baloise Insurance Group dropped by more than 10%, while shares of Swiss Life dropped 7.8%.
Although the insurance industry held reserves that covered the 9/11 attacks, insurance companies were reluctant to continue providing coverage for future terrorist attacks. Only a few insurers continue to offer such coverage.
-- Consequences for Airlines and Aviation
Flights were grounded in various places across the United States and Canada that did not necessarily have operational support in place, such as dedicated ground crews.
A large number of transatlantic flights landed in Gander, Newfoundland and in Halifax, Nova Scotia, with the logistics handled by Transport Canada in Operation Yellow Ribbon.
In order to help with the immediate needs of victims' families, United Airlines and American Airlines both provided initial payments of $25,000. The airlines were also required to refund ticket purchases for anyone unable to fly.
The 9/11 attacks compounded financial troubles that the airline industry was already experiencing before the attacks. Share prices of airlines and airplane manufacturers plummeted after the attacks.
Midway Airlines, already on the brink of bankruptcy, shut down operations almost immediately afterward. Swissair, unable to make payments to creditors on its large debt was grounded on the 2nd. October 2001 and later liquidated.
Other airlines were threatened with bankruptcy, and tens of thousands of layoffs were announced in the week following the attacks. To help the industry, the federal government provided an aid package, including $10 billion in loan guarantees, along with $5 billion for short-term assistance.
The reduction in air travel demand caused by the attack is also seen as a contributory reason for the retirement of the only supersonic aircraft in service at the time, Concorde.
-- Effects of the Attacks on Tourism
Tourism in New York City plummeted, causing massive losses in a sector that employed 280,000 people and generated $25 billion per year.
In the week following the attack, hotel occupancy fell below 40%, and 3,000 employees were laid off.
Tourism, hotel occupancy, and air travel also fell drastically across the nation. The reluctance to fly may have been due to increased fear of a repeat attack. Suzanne Thompson, Professor of Psychology at Pomona College, conducted interviews with 501 people who were not direct victims of 9/11.
From this, she concluded that:
"Most participants felt more distress
(65%) and a stronger fear of flying
(55%) immediately after the event
than they did before the attacks."
-- Effects on Security
Since the 9/11 attacks, substantial resources have been put in place in the US towards improving security, in the areas of homeland security, national defense, and in the private sector.
-- Effects on New York City
In New York City, approximately 430,000 jobs were lost, and there were $2.8 billion in lost wages over the three months following the 9/11 attacks. The economic effects were mainly focused on the city's export economy sectors.
The GDP for New York City was estimated to have declined by $30.3 billion over the final three months of 2001 and all of 2002.
The Federal government provided $11.2 billion in immediate assistance to the Government of New York City in September 2001, and $10.5 billion in early 2002 for economic development and infrastructure needs.
The 9/11 attacks also had great impact on small businesses in Lower Manhattan, located near the World Trade Center. Approximately 18,000 small businesses were destroyed or displaced after the attacks.
The Small Business Administration provided loans as assistance, while Community Development Block Grants and Economic Injury Disaster Loans were used by the Federal Government to provide assistance to small business affected by the 9/11 attacks.
-- Other Effects of the Attacks
The September 11 attacks also led directly to the U.S. war in Afghanistan, as well as additional homeland security spending.
The attacks were also cited as a rationale for the Iraq war.
The cost of the two wars so far has surpassed $6 trillion.
Brooklyn Bridge
The Brooklyn Bridge (behind Manhattan Bridge in the photograph) is a hybrid cable-stayed/suspension bridge. Opened on the 24th. May 1883, the Brooklyn Bridge was the first fixed crossing of the East River.
It was also the longest suspension bridge in the world at the time of its opening, with a main span of 1,595.5 feet (486.3 m).
The bridge was designed by John A. Roebling. The project's chief engineer, his son Washington Roebling, contributed further design work, assisted by the latter's wife, Emily Warren Roebling.
Construction started in 1870, with the Tammany Hall-controlled New York Bridge Company overseeing construction, although numerous controversies and the novelty of the design prolonged the project over thirteen years.
Since opening, the Brooklyn Bridge has undergone several reconfigurations, having carried horse-drawn vehicles and elevated railway lines until 1950.
To alleviate increasing traffic flows, additional bridges and tunnels were built across the East River.
The Brooklyn Bridge is the southernmost of the four toll-free vehicular bridges connecting Manhattan Island and Long Island, with the Manhattan Bridge, the Williamsburg Bridge, and the Queensboro Bridge to the north. Only passenger vehicles and pedestrian and bicycle traffic are permitted.
A major tourist attraction since its opening, the Brooklyn Bridge has become an icon of New York City. Over the years, the bridge has been used as the location for various stunts and performances, as well as several crimes and attacks.
Following gradual deterioration, the Brooklyn Bridge has been renovated several times, including in the 1950's, 1980's, and 2010's.
Description of Brooklyn Bridge
The Brooklyn Bridge, an early example of a steel-wire suspension bridge, uses a hybrid cable-stayed/suspension bridge design, with both vertical and diagonal suspender cables.
Its stone towers are neo-Gothic, with characteristic pointed arches. The New York City Department of Transportation (NYCDOT), which maintains the bridge, says that its original paint scheme was "Brooklyn Bridge Tan" and "Silver", although a writer for The New York Post states that it was originally entirely "Rawlins Red".
The Deck of the Brooklyn Bridge
To provide sufficient clearance for shipping in the East River, the Brooklyn Bridge incorporates long approach viaducts on either end to raise it from low ground on both shores.
Including approaches, the Brooklyn Bridge is a total of 6,016 feet (1,834 m) long. The main span between the two suspension towers is 1,595.5 feet (486.3 m) long, and 85 feet (26 m) wide.
The bridge elongates and contracts between the extremes of temperature from 14 to 16 inches. Navigational clearance is 127 ft (38.7 m) above mean high water. A 1909 Engineering Magazine article said that, at the center of the span, the height could fluctuate by more than 9 feet (2.7 m) due to temperature and traffic loads.
At the time of construction, engineers had not yet discovered the aerodynamics of bridge construction, and bridge designs were not tested in wind tunnels.
It was coincidental that the open truss structure supporting the deck is, by its nature, subject to fewer aerodynamic problems. This is because John Roebling designed the Brooklyn Bridge's truss system to be six to eight times stronger than he thought it needed to be.
However, due to a supplier's fraudulent substitution of inferior-quality cable in the initial construction, the bridge was reappraised at the time as being only four times as strong as necessary.
The Brooklyn Bridge can hold a total load of 18,700 short tons, a design consideration from when it originally carried heavier elevated trains.
An elevated pedestrian-only promenade runs in between the two roadways and 18 feet (5.5 m) above them. The path is 10 to 17 feet (3.0 to 5.2 m) wide. The iron railings were produced by Janes & Kirtland, a Bronx iron foundry that also made the United States Capitol dome and the Bow Bridge in Central Park.
The Cables of Brooklyn Bridge
The Brooklyn Bridge contains four main cables, which descend from the tops of the suspension towers and support the deck. Each main cable measures 15.75 inches (40.0 cm) in diameter, and contains 5,282 parallel, galvanized steel wires wrapped closely together. These wires are bundled in 19 individual strands, with 278 wires to a strand.
This was the first use of bundling in a suspension bridge, and took several months for workers to tie together. Since the 2000's, the main cables have also supported a series of 24-watt LED lighting fixtures, referred to as "necklace lights" due to their shape.
1,520 galvanized steel wire suspender cables hang downward from the main cables.
Brooklyn Bridge Anchorages
Each side of the bridge contains an anchorage for the main cables. The anchorages are limestone structures located slightly inland, measuring 129 by 119 feet (39 by 36 m) at the base and 117 by 104 feet (36 by 32 m) at the top.
Each anchorage weighs 60,000 short tons. The Manhattan anchorage rests on a foundation of bedrock, while the Brooklyn anchorage rests on clay.
The anchorages contain numerous passageways and compartments. Starting in 1876, in order to fund the bridge's maintenance, the New York City government made the large vaults under the bridge's Manhattan anchorage available for rent, and they were in constant use during the early 20th. century.
The vaults were used to store wine, as they maintained a consistent 60 °F (16 °C) temperature due to a lack of air circulation. The Manhattan vault was called the "Blue Grotto" because of a shrine to the Virgin Mary next to an opening at the entrance.
The vaults were closed for public use in the late 1910's and 1920's during the Great War and Prohibition, but were reopened thereafter.
When New York magazine visited one of the cellars in 1978, it discovered a fading inscription on a wall reading:
"Who loveth not wine, women and song,
he remaineth a fool his whole life long."
Leaks found within the vault's spaces necessitated repairs during the late 1980's and early 1990's. By the late 1990's, the chambers were being used to store maintenance equipment.
The Towers of the Brooklyn Bridge
The bridge's two suspension towers are 278 feet (85 m) tall, with a footprint of 140 by 59 feet (43 by 18 m) at the high water line.
They are built of limestone, granite, and Rosendale cement. The limestone was quarried at the Clark Quarry in Essex County, New York. The granite blocks were quarried and shaped on Vinalhaven Island, Maine, under a contract with the Bodwell Granite Company, and delivered from Maine to New York by schooner.
The Manhattan tower contains 46,945 cubic yards (35,892 m3) of masonry, while the Brooklyn tower has 38,214 cubic yards (29,217 m3) of masonry.
Each tower contains a pair of Gothic Revival pointed arches, through which the roadways run. The arch openings are 117 feet (36 m) tall and 33.75 feet (10.29 m) wide.
The Brooklyn Bridge Caissons
The towers rest on underwater caissons made of southern yellow pine. Both caissons contain interior spaces that were used by construction workers. The Manhattan side's caisson is slightly larger, measuring 172 by 102 feet (52 by 31 m) and located 78.5 feet (23.9 m) below high water, while the Brooklyn side's caisson measures 168 by 102 feet (51 by 31 m) and is located 44.5 feet (13.6 m) below high water.
The caissons were designed to hold at least the weight of the towers which would exert a pressure of 5 short tons per square foot when fully built, but the caissons were over-engineered for safety.
During an accident on the Brooklyn side, when air pressure was lost and the partially-built towers dropped full-force down, the caisson sustained an estimated pressure of 23 short tons per square foot with only minor damage. Most of the timber used in the bridge's construction, including in the caissons, came from mills at Gascoigne Bluff on St. Simons Island, Georgia.
The Brooklyn side's caisson, which was built first, originally had a height of 9.5 feet (2.9 m) and a ceiling composed of five layers of timber, each layer 1 foot (0.30 m) tall. Ten more layers of timber were later added atop the ceiling, and the entire caisson was wrapped in tin and wood for further protection against flooding.
The thickness of the caisson's sides was 8 feet (2.4 m) at both the bottom and the top. The caisson had six chambers: two each for dredging, supply shafts, and airlocks.
The caisson on the Manhattan side was slightly different because it had to be installed at a greater depth. To protect against the increased air pressure at that depth, the Manhattan caisson had 22 layers of timber on its roof, seven more than its Brooklyn counterpart had. The Manhattan caisson also had fifty 4-inch (10 cm)-diameter pipes for sand removal, a fireproof iron-boilerplate interior, and different airlocks and communication systems.
History of the Brooklyn Bridge
Proposals for a bridge between the then-separate cities of Brooklyn and New York had been suggested as early as 1800. At the time, the only travel between the two cities was by a number of ferry lines.
Engineers presented various designs, such as chain or link bridges, though these were never built because of the difficulties of constructing a high enough fixed-span bridge across the extremely busy East River.
There were also proposals for tunnels under the East River, but these were considered prohibitively expensive. The current Brooklyn Bridge was conceived by German immigrant John Augustus Roebling in 1852.
He had previously designed and constructed shorter suspension bridges, such as Roebling's Delaware Aqueduct in Lackawaxen, Pennsylvania, and the John A. Roebling Suspension Bridge between Cincinnati, Ohio, and Covington, Kentucky.
In February 1867, the New York State Senate passed a bill that allowed the construction of a suspension bridge from Brooklyn to Manhattan.
Two months later, the New York and Brooklyn Bridge Company was incorporated. There were twenty trustees in total: eight each appointed by the mayors of New York and Brooklyn, as well as the mayors of each city and the auditor and comptroller of Brooklyn.
The company was tasked with constructing what was then known as the New York and Brooklyn Bridge. Alternatively, the span was just referred to as the "Brooklyn Bridge", a name originating in a 25th. January 1867 letter to the editor of the Brooklyn Daily Eagle.
The act of incorporation, which became law on the 16th. April 1867, authorized the cities of New York (now Manhattan) and Brooklyn to subscribe to $5 million in capital stock, which would fund the bridge's construction.
Roebling was subsequently named as the main engineer of the work, and by September 1867, he had presented a master plan of a bridge that would be longer and taller than any suspension bridge previously built.
It would incorporate roadways and elevated rail tracks, whose tolls and fares would provide the means to pay for the bridge's construction. It would also include a raised promenade that served as a leisurely pathway.
The proposal received much acclaim in both cities, and residents predicted that the New York and Brooklyn Bridge's opening would have as much of an impact as the Suez Canal, the first transatlantic telegraph cable, or the first transcontinental railroad.
By early 1869, however, some individuals started to criticize the project, saying either that the bridge was too expensive, or that the construction process was too difficult.
To allay concerns about the design of the New York and Brooklyn Bridge, Roebling set up a "Bridge Party" in March 1869, where he invited engineers and members of U.S. Congress to see his other spans. Following the bridge party in April, Roebling and several engineers conducted final surveys.
During these surveys, it was determined that the main span would have to be raised from 130 to 135 feet (40 to 41 m), requiring several changes to the overall design.
In June 1869, while conducting these surveys, Roebling sustained a crush injury to his foot when a ferry pinned it against a piling. After amputation of his crushed toes, he developed a tetanus infection that left him incapacitated and resulted in his death the following month.
Washington Roebling, John Roebling's 32-year-old son, was then hired to fill his father's role. When the younger Roebling was hired, Tammany Hall leader William M. Tweed also became involved in the bridge's construction because, as a major landowner in New York City, he had an interest in the project's completion.
The New York and Brooklyn Bridge Company - later known simply as the New York Bridge Company - was actually overseen by Tammany Hall, and it approved Roebling's plans and designated him as chief engineer of the project.
Construction of the Brooklyn Bridge
The Caissons
Construction of the Brooklyn Bridge began on the 2nd. January 2, 1870. The first work entailed the construction of two caissons, upon which the suspension towers would be built.
A caisson is a large watertight chamber, open at the bottom, from which the water is kept out by air pressure and in which construction work may be carried out under water.
The Brooklyn side's caisson was built at the Webb & Bell shipyard in Greenpoint, Brooklyn, and was launched into the river on the 19th. March 1870. Compressed air was pumped into the caisson, and workers entered the space to dig the sediment until it sank to the bedrock. As one sixteen-year-old from Ireland, Frank Harris, described the fearful experience:
"The six of us were working naked to the waist
in the small iron chamber with the temperature
of about 80 degrees Fahrenheit.
In five minutes the sweat was pouring from us,
and all the while we were standing in icy water
that was only kept from rising by the terrific
pressure. No wonder the headaches were
blinding."
Once the caisson had reached the desired depth, it was to be filled in with vertical brick piers and concrete. However, due to the unexpectedly high concentration of large boulders on the riverbed, the Brooklyn caisson took several months to sink to the desired depth.
Furthermore, in December 1870, its timber roof caught fire, delaying construction further. The "Great Blowout", as the fire was called, delayed construction for several months, since the holes in the caisson had to be repaired.
On the 6th. March 1871, the repairs were finished, and the caisson had reached its final depth of 44.5 feet (13.6 m); it was filled with concrete five days later. Overall, about 264 individuals were estimated to have worked in the caisson every day, but because of high worker turnover, the final total was thought to be about 2,500 men.
In spite of this, only a few workers were paralyzed. At its final depth, the caisson's air pressure was 21 pounds per square inch. Normal air pressure is 14.7 psi.
The Manhattan side's caisson was the next structure to be built. To ensure that it would not catch fire like its counterpart had, the Manhattan caisson was lined with fireproof plate iron.
It was launched from Webb & Bell's shipyard on the 11th. May 1871, and maneuvered into place that September.
Due to the extreme underwater air pressure inside the much deeper Manhattan caisson, many workers became sick with "the bends" - decompression sickness - during this work, despite the incorporation of airlocks (which were believed to help with decompression sickness at the time).
This condition was unknown at the time, and was first called "caisson disease" by the project physician, Andrew Smith. Between the 25th. January and the 31st. May 1872, Smith treated 110 cases of decompression sickness, while three workers died from the condition.
When iron probes underneath the Manhattan caisson found the bedrock to be even deeper than expected, Washington Roebling halted construction due to the increased risk of decompression sickness.
After the Manhattan caisson reached a depth of 78.5 feet (23.9 m) with an air pressure of 35 pounds per square inch, Washington deemed the sandy subsoil overlying the bedrock 30 feet (9.1 m) beneath to be sufficiently firm, and subsequently infilled the caisson with concrete in July 1872.
Washington Roebling himself suffered a paralyzing injury as a result of caisson disease shortly after ground was broken for the Brooklyn tower foundation.
His debilitating condition left him unable to supervise the construction in person, so he designed the caissons and other equipment from his apartment, directing the completion of the bridge through a telescope in his bedroom.
His wife, Emily Warren Roebling, not only provided written communications between her husband and the engineers on site, but also understood mathematics, calculations of catenary curves, strengths of materials, bridge specifications, and the intricacies of cable construction.
She spent the next 11 years helping supervise the bridge's construction, taking over much of the chief engineer's duties, including day-to-day supervision and project management.
The Towers of the Brooklyn Bridge
After the caissons were completed, piers were constructed on top of each of them upon which masonry towers would be built. The towers' construction was a complex process that took four years.
Since the masonry blocks were heavy, the builders transported them to the base of the towers using a pulley system with a continuous 1.5-inch (3.8 cm)-diameter steel wire rope, operated by steam engines at ground level.
The blocks were then carried up on a timber track alongside each tower and maneuvered into the proper position using a derrick atop the towers. The blocks sometimes vibrated the ropes because of their weight, but only once did a block fall.
Construction of the suspension towers started in mid-1872, and by the time work was halted for the winter in late 1872, parts of each tower had already been built. By mid-1873, there was substantial progress on the towers' construction.
The arches of the Brooklyn tower were completed by August 1874. The tower was substantially finished by December 1874, with the erection of saddle plates for the main cables at the top of the tower.
The last stone on the Brooklyn tower was raised in June 1875, and the Manhattan tower was completed in July 1876.
The work was dangerous: by 1876, three workers had died having fallen from the towers, while nine other workers were killed in other accidents.
By 1875, while the towers were being constructed, the project had depleted its original $5 million budget. Two bridge commissioners, one each from Brooklyn and Manhattan, petitioned New York state lawmakers to allot another $8 million for construction. Legislators authorized the money on condition that the cities would buy the stock of Brooklyn Bridge's private stockholders.
Work proceeded concurrently on the anchorages on each side. The Brooklyn anchorage broke ground in January 1873 and was substantially completed by August 1875.
The Manhattan anchorage was built in less time. Having started in May 1875, it was mostly completed by July 1876. The anchorages could not be fully completed until the main cables were spun, at which point another 6 feet (1.8 m) would be added to the height of each 80-foot (24 m) anchorage.
The Brooklyn Bridge Cables
The first temporary wire was stretched between the towers on the 15th. August 1876, using chrome steel provided by the Chrome Steel Company of Brooklyn. The wire was then stretched back across the river, and the two ends were spliced to form a traveler, a lengthy loop of wire connecting the towers, which was driven by a 30 horsepower (22 kW) steam hoisting engine at ground level.
The wire was one of two that were used to create a temporary footbridge for workers while cable spinning was ongoing. The next step was to send an engineer across the completed traveler wire in a boatswain's chair slung from the wire, to ensure it was safe enough.
The bridge's master mechanic, E. F. Farrington, was volunteered for this task, and an estimated crowd of 10,000 people on both shores watched him cross.
A second traveler wire was then stretched across the span. The temporary footbridge, located some 60 feet (18 m) above the elevation of the future deck, was completed in February 1877.
By December 1876, a steel contract for the permanent cables still had not been awarded. There was disagreement over whether the bridge's cables should use the as-yet-untested Bessemer steel, or the well-proven crucible steel.
Until a permanent contract was awarded, the builders ordered 30 short tons of wire in the interim, 10 tons each from three companies, including Washington Roebling's own steel mill in Brooklyn.
In the end, it was decided to use number 8 Birmingham gauge (approximately 4 mm or 0.165 inches in diameter) crucible steel, and a request for bids was distributed, to which eight companies responded.
In January 1877, a contract for crucible steel was awarded to J. Lloyd Haigh, who was associated with bridge trustee Abram Hewitt, whom Roebling distrusted.
The spinning of the wires required the manufacture of large coils of it which were galvanized but not oiled when they left the factory. The coils were delivered to a yard near the Brooklyn anchorage. There they were dipped in linseed oil, hoisted to the top of the anchorage, dried out and spliced into a single wire, and finally coated with red zinc for further galvanizing.
There were thirty-two drums at the anchorage yard, eight for each of the four main cables. Each drum had a capacity of 60,000 feet (18,000 m) of wire. The first experimental wire for the main cables was stretched between the towers on the 29th. May 29 1877, and spinning began two weeks later.
All four main cables had been strung by that July. During that time, the temporary footbridge was unofficially opened to members of the public, who could receive a visitor's pass; by August 1877 several thousand visitors from around the world had used the footbridge. The visitor passes ceased that September after a visitor had an epileptic seizure and nearly fell off.
As the wires were being spun, work also commenced on the demolition of buildings on either side of the river for the Brooklyn Bridge's approaches; this work was mostly complete by September 1877. The following month, initial contracts were awarded for the suspender wires, which would hang down from the main cables and support the deck. By May 1878, the main cables were more than two-thirds complete.
However, the following month, one of the wires slipped, killing two people and injuring three others. In 1877, Hewitt wrote a letter urging against the use of Bessemer steel in the bridge's construction. Bids had been submitted for both crucible steel and Bessemer steel; John A. Roebling's Sons submitted the lowest bid for Bessemer steel, but at Hewitt's direction, the contract was awarded to Haigh.
A subsequent investigation discovered that Haigh had substituted inferior quality wire in the cables. Of eighty rings of wire that were tested, only five met standards, and it was estimated that Haigh had earned $300,000 from the deception.
At this point, it was too late to replace the cables that had already been constructed. Roebling determined that the poorer wire would leave the bridge only four times as strong as necessary, rather than six to eight times as strong. The inferior-quality wire was allowed to remain, and 150 extra wires were added to each cable.
To avoid public controversy, Haigh was not fired, but instead was required to personally pay for higher-quality wire. The contract for the remaining wire was awarded to the John A. Roebling's Sons, and by the 5th. October 1878, the last of the main cables' wires went over the river.
After the suspender wires had been placed, workers began erecting steel crossbeams to support the roadway as part of the bridge's overall superstructure. Construction on the bridge's superstructure started in March 1879, but, as with the cables, the trustees initially disagreed on whether the steel superstructure should be made of Bessemer or crucible steel.
That July, the trustees decided to award a contract for 500 short tons of Bessemer steel to the Edgemoor Iron Works, based in Philadelphia. The trustees later ordered another 500 short tons of Bessemer steel. However, by February 1880 the steel deliveries had not started.
That October, the bridge trustees questioned Edgemoor's president about the delay in steel deliveries. Despite Edgemoor's assurances that the contract would be fulfilled, the deliveries still had not been completed by November 1881.
Brooklyn mayor Seth Low, who became part of the board of trustees in 1882, became the chairman of a committee tasked to investigate Edgemoor's failure to fulfill the contract. When questioned, Edgemoor's president stated that the delays were the fault of another contractor, the Cambria Iron Company, who were manufacturing the eyebars for the bridge trusses.
Further complicating the situation, Washington Roebling had failed to appear at the trustees' meeting in June 1882, since he had gone to Newport, Rhode Island. After the news media discovered this, most of the newspapers called for Roebling to be fired as chief engineer, except for the Daily State Gazette of Trenton, New Jersey, and the Brooklyn Daily Eagle.
Some of the longstanding trustees were willing to vouch for Roebling, since construction progress on the Brooklyn Bridge was still ongoing. However, Roebling's behavior was considered suspect among the younger trustees who had joined the board more recently.
Construction progress on the bridge itself was submitted in formal monthly reports to the mayors of New York and Brooklyn. For example, the August 1882 report noted that the month's progress included 114 intermediate cords erected within a week, as well as 72 diagonal stays, 60 posts, and numerous floor beams, bridging trusses, and stay bars.
By early 1883, the Brooklyn Bridge was considered mostly completed and was projected to open that June. Contracts for bridge lighting were awarded by February 1883, and a toll scheme was approved that March.
Opposition to the Bridge
There was substantial opposition to the bridge's construction from shipbuilders and merchants located to the north, who argued that the bridge would not provide sufficient clearance underneath for ships.
In May 1876, these groups, led by Abraham Miller, filed a lawsuit in the United States District Court against the cities of New York and Brooklyn.
In 1879, an Assembly Sub-Committee on Commerce and Navigation began an investigation into the Brooklyn Bridge. A seaman who had been hired to determine the height of the span, testified to the committee about the difficulties that ship masters would experience in bringing their ships under the bridge when it was completed.
Another witness, Edward Wellman Serrell, a civil engineer, said that the calculations of the bridge's assumed strength were incorrect.
However the Supreme Court decided in 1883 that the Brooklyn Bridge was a lawful structure.
The Opening of the Brooklyn Bridge
The Brooklyn Bridge was opened for use on the 24th. May 1883. Thousands of people attended the opening ceremony, and many ships were present in the East River for the occasion. Officially, Emily Warren Roebling was the first to cross the bridge.
The bridge opening was also attended by U.S. president Chester A. Arthur and New York mayor Franklin Edson, who crossed the bridge and shook hands with Brooklyn mayor Seth Low at the Brooklyn end. Abram Hewitt gave the principal address:
"It is not the work of any one man or of any one
age. It is the result of the study, of the experience,
and of the knowledge of many men in many ages.
It is not merely a creation; it is a growth. It stands
before us today as the sum and epitome of human
knowledge; as the very heir of the ages; as the
latest glory of centuries of patient observation,
profound study and accumulated skill, gained,
step by step, in the never-ending struggle of man
to subdue the forces of nature to his control and use."
Although Washington Roebling was unable to attend the ceremony (and rarely visited the site again), he held a celebratory banquet at his house on the day of the bridge opening.
Further festivity included a performance by a band, gunfire from ships, and a fireworks display. On that first day, a total of 1,800 vehicles and 150,300 people crossed the span.
Less than a week after the Brooklyn Bridge opened, ferry crews reported a sharp drop in patronage, while the bridge's toll operators were processing over a hundred people a minute. However, cross-river ferries continued to operate until 1942.
The bridge had cost US$15.5 million in 1883 dollars (about US$436,232,000 in 2021) to build, of which Brooklyn paid two-thirds. The bonds to fund the construction were not paid off until 1956.
An estimated 27 men died during the bridge's construction. Until the construction of the nearby Williamsburg Bridge in 1903, the Brooklyn Bridge was the longest suspension bridge in the world, 20% longer than any built previously.
At the time of opening, the Brooklyn Bridge was not complete; the proposed public transit across the bridge was still being tested, while the Brooklyn approach was being completed.
On the 30th. May 1883, six days after the opening, a woman falling down a stairway at the Brooklyn approach caused a stampede which resulted in at least twelve people being crushed and killed.
In subsequent lawsuits, the Brooklyn Bridge Company was acquitted of negligence. However, the company did install emergency phone boxes and additional railings, and the trustees approved a fireproofing plan for the bridge.
Public transit service began with the opening of the New York and Brooklyn Bridge Railway, a cable car service, on the 25th. September 1883.
On the 17th. May 1884, one of P. T. Barnum's most famous attractions, Jumbo the elephant, led a parade of 21 elephants over the Brooklyn Bridge. This helped to lessen doubts about the bridge's stability while also promoting Barnum's circus.
Brooklyn Bridge in the Late 19th. & Early 20th. Centuries
Movement across the Brooklyn Bridge increased in the years after it opened; a million people paid to cross in the first six months. The bridge carried 8.5 million people in 1884, its first full year of operation; this number doubled to 17 million in 1885, and again to 34 million in 1889.
Many of these people were cable car passengers. Additionally, about 4.5 million pedestrians a year were crossing the bridge for free by 1892.
The first proposal to make changes to the bridge was sent in only two and a half years after it opened; Linda Gilbert suggested glass steam-powered elevators and an observatory be added to the bridge and a fee charged for use, which would in part fund the bridge's upkeep and in part fund her prison reform charity.
This proposal was considered, but not acted upon. Numerous other proposals were made during the first fifty years of the bridge's life.
Trolley tracks were added in the center lanes of both roadways in 1898, allowing trolleys to use the bridge as well.
Concerns about the Brooklyn Bridge's safety were raised during the turn of the century. In 1898, traffic backups due to a dead horse caused one of the truss cords to buckle.
There were more significant worries after twelve suspender cables snapped in 1901, although a thorough investigation found no other defects.
After the 1901 incident, five inspectors were hired to examine the bridge each day, a service that cost $250,000 a year.
The Brooklyn Rapid Transit Company, which operated routes across the Brooklyn Bridge, issued a notice in 1905 saying that the bridge had reached its transit capacity.
Although a second deck for the Brooklyn Bridge was proposed, it was thought to be infeasible because doing so would overload the bridge's structural capacity.
Though tolls had been instituted for carriages and cable-car customers since the bridge's opening, pedestrians were spared from the tolls originally. However, by the first decade of the 20th. century, pedestrians were also paying tolls.
However tolls on all four bridges across the East River - the Brooklyn Bridge, as well as the Manhattan, Williamsburg, and Queensboro bridges to the north - were abolished in July 1911 as part of a populist policy initiative headed by New York City mayor William Jay Gaynor.
Ostensibly in an attempt to reduce traffic on nearby city streets, Grover Whalen, the commissioner of Plant and Structures, banned motor vehicles from the Brooklyn Bridge in 1922. The real reason for the ban was an incident the same year where two cables slipped due to high traffic loads.
Both Whalen and Roebling called for the renovation of the Brooklyn Bridge and the construction of a parallel bridge, although the parallel bridge was never built.
Brooklyn Bridge in Mid- to late 20th. Century
Upgrades to the Bridge
The first major upgrade to the Brooklyn Bridge commenced in 1948, when a contract for redesigning the roadways was awarded to David B. Steinman. The renovation was expected to double the capacity of the bridge's roadways to nearly 6,000 cars per hour, at a projected cost of $7 million.
The renovation included the demolition of both the elevated and the trolley tracks on the roadways and the widening of each roadway from two to three lanes, as well as the construction of a new steel-and-concrete floor.
In addition, new ramps were added to Adams Street, Cadman Plaza, and the Brooklyn Queens Expressway (BQE) on the Brooklyn side, and to Park Row on the Manhattan side. The trolley tracks closed in March 1950 to allow for the widening work to occur.
During the construction project, one roadway at a time was closed, allowing reduced traffic flows to cross the bridge in one direction only. The widened south roadway was completed in May 1951, followed by the north roadway in October 1953. In addition, defensive barriers were added to the bridge as a safeguard against sabotage.
The restoration was finished in May 1954 with the completion of the reconstructed elevated promenade.
While the rebuilding of the span was ongoing, a fallout shelter was constructed beneath the Manhattan approach in anticipation of the Cold War. The abandoned space in one of the masonry arches was stocked with emergency survival supplies for a potential nuclear attack by the Soviet Union; these supplies were still in place half a century later.
A repainting of the bridge was announced in advance of its 90th. anniversary.
Deterioration and Late-20th. Century Repair
The Brooklyn Bridge gradually deteriorated due to age and neglect. While it had 200 full-time dedicated maintenance workers before World War II, that number had dropped to five by the late 20th. century, and the city as a whole only had 160 bridge maintenance workers.
In 1974, heavy vehicles such as vans and buses were banned from the bridge to prevent further erosion of the concrete roadway. A report in The New York Times four years later noted that the cables were visibly fraying, and that the pedestrian promenade had holes in it.
The city began planning to replace all the Brooklyn Bridge's cables at a cost of $115 million, as part of a larger project to renovate all four toll-free East River spans.
By 1980, the Brooklyn Bridge was in such dire condition that it faced imminent closure. In some places, half of the strands in the cables were broken.
In June 1981, two of the diagonal stay cables snapped, seriously injuring a pedestrian who later died. Subsequently, the anchorages were found to have developed rust, and an emergency cable repair was necessitated less than a month later after another cable developed slack.
Following the incident, the city accelerated the timetable of its proposed cable replacement, and it commenced a $153 million rehabilitation of the Brooklyn Bridge in advance of the 100th anniversary.
As part of the project, the bridge's original suspender cables installed by J. Lloyd Haigh were replaced by Bethlehem Steel in 1986, marking the cables' first replacement since construction. In a smaller project, the bridge was floodlit at night, starting in 1982 to highlight its architectural features.
Additional problems persisted, and in 1993, high levels of lead were discovered near the bridge's towers. Further emergency repairs were undertaken in mid-1999 after small concrete shards began falling from the bridge into the East River. The concrete deck had been installed during the 1950's renovations, and had a lifespan of about 60 years.
Brooklyn Bridge in the 21st. Century
The Park Row exit from the bridge's westbound lanes was closed as a safety measure after the September 11, 2001, attacks on the nearby World Trade Center. That section of Park Row was closed since it ran right underneath 1 Police Plaza, the headquarters of the New York City Police Department.
In early 2003, to save money on electricity, the bridge's "necklace lights" were turned off at night. They were turned back on later that year after several private entities made donations to fund the lights.
After the 2007 collapse of the I-35W bridge in Minneapolis, public attention focused on the condition of bridges across the U.S. The New York Times reported that the Brooklyn Bridge approach ramps had received a "poor" rating during an inspection in 2007.
However, a NYCDOT spokesman said that the poor rating did not indicate a dangerous state but rather implied it required renovation. In 2010, the NYCDOT began renovating the approaches and deck, as well as repainting the suspension span.
Work included widening two approach ramps from one to two lanes by re-striping a new prefabricated ramp; seismic retrofitting; replacement of rusted railings and safety barriers; and road deck resurfacing. The work necessitated detours for four years.
At the time, the project was scheduled to be completed in 2014, but completion was later delayed to 2015, then again to 2017. The project's cost also increased from $508 million in 2010 to $811 million in 2016.
In August 2016, after the renovation had been completed, the NYCDOT announced that it would conduct a seven-month, $370,000 study to verify if the bridge could support a heavier upper deck that consisted of an expanded bicycle and pedestrian path.
As of 2016, about 10,000 pedestrians and 3,500 cyclists used the pathway on an average weekday. Work on the pedestrian entrance on the Brooklyn side was underway by 2017.
The NYCDOT also indicated in 2016 that it planned to reinforce the Brooklyn Bridge's foundations to prevent it from sinking, as well as repair the masonry arches on the approach ramps, which had been damaged by Hurricane Sandy in 2012.
In July 2018, the New York City Landmarks Preservation Commission approved a further renovation of the Brooklyn Bridge's suspension towers and approach ramps. That December, the federal government gave the city $25 million in funding, which would contribute to a $337 million rehabilitation of the bridge approaches and the suspension towers. Work started in late 2019 and was scheduled to be completed in 2023.
Usage of the Brooklyn Bridge
Horse-drawn carriages have been allowed to use the Brooklyn Bridge's roadways since its opening. Originally, each of the two roadways carried two lanes of a different direction of traffic. The lanes were relatively narrow at only 8 feet (2.4 m) wide. In 1922, motor vehicles were banned from the bridge, while horse-drawn carriages were restricted from the Manhattan Bridge. Thereafter, the only vehicles allowed on the Brooklyn Bridge were horse-drawn.
By 1950, the main roadway carried six lanes of automobile traffic, three in each direction. It was then reduced to five lanes with the addition of a two-way bike lane on the Manhattan-bound side in 2021.
Because of the roadway's height (11 ft (3.4 m)) and weight (6,000 lb (2,700 kg)) restrictions, commercial vehicles and buses are prohibited from using the Brooklyn Bridge.
The weight restrictions prohibit heavy passenger vehicles such as pickup trucks and SUVs from using the bridge, though this is not often enforced in practice.
Formerly, rail traffic operated on the Brooklyn Bridge as well. Cable cars and elevated railroads used the bridge until 1944, while trolleys ran until 1950.
A cable car service began operating on the 25th. September 1883; it ran on the inner lanes of the bridge, between terminals at the Manhattan and Brooklyn ends.
Since Washington Roebling believed that steam locomotives would put excessive loads upon the structure of the Brooklyn Bridge, the cable car line was designed as a steam/cable-hauled hybrid.
They were powered from a generating station under the Brooklyn approach. The cable cars could not only regulate their speed on the 3.75% upward and downward approaches, but also maintain a constant interval between each other. There were 24 cable cars in total.
Initially, the service ran with single-car trains, but patronage soon grew so much that by October 1883, two-car trains were in use. The line carried three million people in the first six months, nine million in 1884, and nearly 20 million in 1885.
Patronage continued to increase, and in 1888, the tracks were lengthened and even more cars were constructed to allow for four-car cable car trains. Electric wires for the trolleys were added by 1895, allowing for the potential future decommissioning of the steam/cable system.
The terminals were rebuilt once more in July 1895, and, following the implementation of new electric cars in late 1896, the steam engines were dismantled and sold.
The Brooklyn Bridge Walkway
The Brooklyn Bridge has an elevated promenade open to pedestrians in the center of the bridge, located 18 feet (5.5 m) above the automobile lanes.
The path is generally 10 to 17 feet (3.0 to 5.2 m) wide, though this is constrained by obstacles such as protruding cables, benches, and stairways, which create "pinch points" at certain locations. The path narrows to 10 feet (3.0 m) at the locations where the main cables descend to the level of the promenade.
Further exacerbating the situation, these "pinch points" are some of the most popular places to take pictures. As a result, in 2016, the NYCDOT announced that it planned to double the promenade's width.
On the 14th. September 2021, the DOT closed off the inner-most car lane on the Manhattan-bound side with protective barriers and fencing to create a new bike path. Cyclists are now prohibited from the upper pedestrian lane.
Emergency Use of Brooklyn Bridge
While the bridge has always permitted the passage of pedestrians, the promenade facilitates movement when other means of crossing the East River have become unavailable.
During transit strikes by the Transport Workers Union in 1980 and 2005, people commuting to work used the bridge; they were joined by Mayors Ed Koch and Michael Bloomberg, who crossed as a gesture to the affected public.
Pedestrians also walked across the bridge as an alternative to suspended subway services following the 1965, 1977, and 2003 blackouts, and after the September 11 attacks on the World Trade Center.
During the 2003 blackouts, many crossing the bridge reported a swaying motion. The higher-than-usual pedestrian load caused this swaying, which was amplified by the tendency of pedestrians to synchronize their footfalls with a sway.
Several engineers expressed concern about how this would affect the bridge, although others noted that the bridge did withstand the event and that the redundancies in its design - the inclusion of the three support systems (suspension system, diagonal stay system, and stiffening truss) - make it probably the best secured bridge against such movements going out of control.
In designing the bridge, John Roebling had stated that the bridge would sag but not fall, even if one of these structural systems were to fail altogether.
Stunts Associated With Brooklyn Bridge
There have been several notable jumpers from the Brooklyn Bridge:
-- The first person was Robert Emmet Odlum, brother of women's rights activist Charlotte Odlum Smith, on the 19th. May 1885. He struck the water at an angle, and died shortly afterwards from internal injuries.
-- Steve Brodie supposedly dropped from underneath the bridge in July 1886 and was briefly arrested for it, although there is some doubt about whether he actually jumped.
-- Larry Donovan made a slightly higher jump from the railing a month afterward.
Other notable events have taken place on or near the bridge:
-- In 1919, Giorgio Pessi piloted what was then one of the world's largest airplanes, the Caproni Ca.5, under the bridge.
-- At 9:00 a.m. on the 19th. May 1977, artist Jack Bashkow climbed one of the towers for 'Bridging', which was termed a "media sculpture" by the performance group Art Corporation of America Inc.
Seven artists climbed the largest bridges connected to Manhattan in order to:
"Replace violence and fear
in mass media for one day".
When each of the artists had reached the tops of the bridges, they ignited bright-yellow flares at the same moment, resulting in rush hour traffic disruption, media attention, and the arrest of the climbers, though the charges were later dropped.
Called "The first social-sculpture to use mass-media as art” by conceptual artist Joseph Beuys, the event was on the cover of the New York Post, it received international attention, and received ABC Eyewitness News' 1977 Best News of the Year award.
John Halpern documented the incident in the film 'Bridging' (1977)
-- Halpern attempted another "Bridging" "social sculpture" in 1979, when he planted a radio receiver, gunpowder and fireworks in a bucket atop one of the Brooklyn Bridge towers.
The piece was later discovered by police, leading to his arrest for possessing a bomb.
-- In 1993, bridge jumper Thierry Devaux illegally performed eight acrobatic bungee jumps above the East River close to the Brooklyn tower.
-- On the 1st. October 2011, more than 700 protesters with the Occupy Wall Street movement were arrested while attempting to march across the bridge on the roadway.
Protesters disputed the police account of the event, and claimed that the arrests were the result of being trapped on the bridge by the NYPD. The majority of the arrests were subsequently dismissed.
-- On the 22nd. July 2014, the two American flags on the flagpoles atop each tower were found to have been replaced by bleached-white American flags.
Initially, cannabis activism was suspected as a motive, but on the 12th. August 2014, two Berlin artists claimed responsibility for hoisting the two white flags, having switched the original flags with their replicas.
The artists said that the flags were meant to celebrate the beauty of public space and the anniversary of the death of German-born John Roebling, and they denied that it was an anti-American statement.
Brooklyn Bridge as a Suicide Spot
The first person to jump from the bridge with the intention of suicide was Francis McCarey in 1892.
A lesser-known early jumper was James Duffy of County Cavan, Ireland, who on the 15th. April 1895 asked several men to watch him jump from the bridge. Duffy jumped and was not seen again.
Additionally, the cartoonist Otto Eppers jumped and survived in 1910, and was then tried and acquitted for attempted suicide.
The Brooklyn Bridge has since developed a reputation as a suicide bridge due to the number of jumpers who do so intending to kill themselves, though exact statistics are difficult to find.
Crimes and Terrorism Associated With Brooklyn Bridge
-- In 1979, police disarmed a stick of dynamite placed under the Brooklyn approach, and an artist in Manhattan was later arrested for the act.
-- On the 1st. March 1994, Lebanese-born Rashid Baz opened fire on a van carrying members of the Chabad-Lubavitch Orthodox Jewish Movement, striking 16-year-old student Ari Halberstam and three others traveling on the bridge.
Halberstam died five days later from his wounds, and Baz was later convicted of murder. He was apparently acting out of revenge for the Hebron massacre of Palestinian Muslims a few days prior to the incident.
After initially classifying the killing as one committed out of road rage, the Justice Department reclassified the case in 2000 as a terrorist attack.
The entrance ramp to the bridge on the Manhattan side was subsequently dedicated as the Ari Halberstam Memorial Ramp.
-- In 2003, truck driver Lyman Faris was sentenced to 20 years in prison for providing material support to Al-Qaeda, after an earlier plot to destroy the bridge by cutting through its support wires with blowtorches was thwarted.
Brooklyn Bridge Anniversary Celebrations
-- The 50th.-anniversary celebrations on the 24th. May 1933 included a ceremony featuring an airplane show, ships, and fireworks, as well as a banquet.
-- During the centennial celebrations on the 24th. May 1983, President Ronald Reagan led a cavalcade of cars across the bridge.
A flotilla of ships visited the harbor, officials held parades, and Grucci Fireworks held a fireworks display that evening.
For the centennial, the Brooklyn Museum exhibited a selection of the original drawings made for the bridge.
Culture
The Brooklyn Bridge has had an impact on idiomatic American English. For example, references to "Selling the Brooklyn Bridge" abound in American culture, sometimes as examples of rural gullibility, but more often in connection with an idea that strains credulity.
George C. Parker and William McCloundy were two early 20th.-century con men who may have perpetrated this scam successfully on unwitting tourists, although the author of 'The Brooklyn Bridge: A Cultural History' wrote:
"No evidence exists that the bridge
has ever been sold to a 'gullible
outlander'".
However, anyone taken in by fraudsters is hardly likely to publicize the fact.
A popular tradition on Brooklyn Bridge is for couples to inscribe a date and their initials onto a padlock, attach it to the bridge, and throw the key into the water as a sign of their love.
The practice of attaching 'love locks' to the bridge is officially illegal in New York City, and in theory the NYPD can give violators a $100 fine.
NYCDOT workers periodically remove the love locks from the bridge at a cost of $100,000 per year.
Brooklyn Bridge in the Media
The bridge is often featured in wide shots of the New York City skyline in television and film, and has been depicted in numerous works of art.
Fictional works have used the Brooklyn Bridge as a setting; for instance, the dedication of a portion of the bridge, and the bridge itself, were key components in the 2001 film Kate & Leopold.
Furthermore, the Brooklyn Bridge has also served as an icon of America, with mentions in numerous songs, books, and poems.
Among the most notable of these works is that of American Modernist poet Hart Crane, who used the Brooklyn Bridge as a central metaphor and organizing structure for his second book of poetry, 'The Bridge' (1930).
The Brooklyn Bridge has also been lauded for its architecture. One of the first positive reviews was "The Bridge as a Monument", a Harper's Weekly piece written by architecture critic Montgomery Schuyler and published a week after the bridge's opening.
In the piece, Schuyler wrote:
"It so happens that the work which is likely to be
our most durable monument, and to convey some
knowledge of us to the most remote posterity, is a
work of bare utility; not a shrine, not a fortress, not
a palace, but a bridge."
Architecture critic Lewis Mumford cited the piece as the impetus for serious architectural criticism in the U.S. He wrote that in the 1920's the bridge was a source of joy and inspiration in his childhood, and that it was a profound influence in his adolescence.
Later critics regarded the Brooklyn Bridge as a work of art, as opposed to an engineering feat or a means of transport.
Not all critics appreciated the bridge, however. Henry James, writing in the early 20th. century, cited the bridge as an ominous symbol of the city's transformation into a "steel-souled machine room".
The construction of the Brooklyn Bridge is detailed in numerous media sources, including David McCullough's 1972 book 'The Great Bridge', and Ken Burns's 1981 documentary 'Brooklyn Bridge'.
It is also described in 'Seven Wonders of the Industrial World', a BBC docudrama series with an accompanying book, as well as in 'Chief Engineer: Washington Roebling, The Man Who Built the Brooklyn Bridge', a biography published in 2017.
My Palouse photo "Forever is a Very Long Time" was published in the fall issue of fotoblur magazine.
I wouldn’t post this photo, as it happens to be tighter zoom version of this one taken SF Fleet Weekend in October 2006, but it turned out to be my first published photo (or the first one that I know of)... I have some of my photos on istockphoto.com and shutterstock.com for commercial usage. This last Saturday I was browsing through the pages of San Francisco Magazine at a friend's place when I came across my photo used for an almost full page ad for Zephyr Real Estate. It’s an ad, but hey, it was pretty cool to be able to tell my friends “I took this shot!”…
Thanks for looking – and if you’d like, you can visit my most interesting photos here.
I was very pleased to get a couple of images in this months Digital Photo.
Especially pleased to get my first cover shot. Its funny in both these shots I'd set out to capture colour images but for different reasons ended up with B&W shots. It just goes to show that you never know which images will end up getting used.
I shot an assignement for STERN magazine recently, read about it on my website: www.maciejdakowicz.com/news/stern-magazine-assignment-jul...
You can also find me on Instagram: tekapa_pictures
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#Frankfurt#Germany#City#urban#cityphotography#urbanphotography#cityexplorer#exploringthecity#urbanexplorer#street#streetphotography#streetshot#blackandwhitephotography#blackandwhite#bw#bnw#blacknwhite#blackandwhitephoto#bwlover#bwlovers#tekapapics
Teemu and highjump in Espoo, Autumn 2015. Published in Hangup magazine 1/2016.
Canon 50D, Peleng 8mm fisheye
2x Nikon-SB24 (1/4 power, both sides of the camera) triggered with Elinchrom Skyports.
Espoo, Finland
- September 2015
Batman is a superhero appearing in American comic books published by DC Comics. The character was created by artist Bob Kane and writer Bill Finger, and debuted in the 27th issue of the comic book Detective Comics on March 30, 1939. In the DC Universe continuity, Batman is the alias of Bruce Wayne, a wealthy American playboy, philanthropist, and industrialist who resides in Gotham City. Batman's origin story features him swearing vengeance against criminals after witnessing the murder of his parents Thomas and Martha as a child, a vendetta tempered with the ideal of justice. He trains himself physically and intellectually, crafts a bat-inspired persona, and monitors the Gotham streets at night. Kane, Finger, and other creators accompanied Batman with supporting characters, including his sidekicks Robin and Batgirl; allies Alfred Pennyworth, James Gordon, and Catwoman; and foes such as the Penguin, the Riddler, Two-Face, and his archenemy, the Joker.
Kane conceived Batman in early 1939 to capitalize on the popularity of DC's Superman; although Kane frequently claimed sole creation credit, Finger substantially developed the concept from a generic superhero into something more bat-like. The character received his own spin-off publication, Batman, in 1940. Batman was originally introduced as a ruthless vigilante who frequently killed or maimed criminals, but evolved into a character with a stringent moral code and strong sense of justice. Unlike most superheroes, Batman does not possess any superpowers, instead relying on his intellect, fighting skills, and wealth. The 1960s Batman television series used a camp aesthetic, which continued to be associated with the character for years after the show ended. Various creators worked to return the character to his darker roots in the 1970s and 1980s, culminating with the 1986 miniseries The Dark Knight Returns by Frank Miller.
DC has featured Batman in many comic books, including comics published under its imprints such as Vertigo and Black Label. The longest-running Batman comic, Detective Comics, is the longest-running comic book in the United States. Batman is frequently depicted alongside other DC superheroes, such as Superman and Wonder Woman, as a member of organizations such as the Justice League and the Outsiders. In addition to Bruce Wayne, other characters have taken on the Batman persona on different occasions, such as Jean-Paul Valley / Azrael in the 1993–1994 "Knightfall" story arc; Dick Grayson, the first Robin, from 2009 to 2011; and Jace Fox, son of Wayne's ally Lucius, as of 2021. DC has also published comics featuring alternate versions of Batman, including the incarnation seen in The Dark Knight Returns and its successors, the incarnation from the Flashpoint (2011) event, and numerous interpretations from Elseworlds stories.
One of the most iconic characters in popular culture, Batman has been listed among the greatest comic book superheroes and fictional characters ever created. He is one of the most commercially successful superheroes, and his likeness has been licensed and featured in various media and merchandise sold around the world; this includes toy lines such as Lego Batman and video games like the Batman: Arkham series. Batman has been adapted in live-action and animated incarnations, including the 1960s Batman television series played by Adam West and in film by Michael Keaton in Batman (1989), Batman Returns (1992), and The Flash (2023), Val Kilmer in Batman Forever (1995), George Clooney in Batman & Robin (1997), Christian Bale in The Dark Knight trilogy (2005–2012), Ben Affleck in the DC Extended Universe (2016–2023), and Robert Pattinson in The Batman (2022). Kevin Conroy, Diedrich Bader, Jensen Ackles, Troy Baker, and Will Arnett, among others, have provided the character's voice.
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.
This photograph was published in Truth Dig.com on March 17, 2016 to illustrate the article "City of Los Angeles Continues to Invade Homeless Camp Despite Federal Lawsuit", and again in Truth Dig to illustrate the article "How a Canadian City Eradicated Homelessness with One Revolutionary Idea" published on April 27, 2016.
www.truthdig.com/eartotheground/item/city_of_los_angeles_...
www.truthdig.com/eartotheground/item/how_a_city_in_canada...
Also published June 15, 2016 in LA Curbed.com "County Leaders Issue Plea for 'State of Emergency' on Homelessness"
la.curbed.com/2016/6/15/11942920/emergency-state-homeless...
Also used by Meme News to illustrate LA Homeless bill (link below)
memenews.me/2016/02/11/l-a-homeless-bill/
Published as well in an academic paper of the Tel Aviv University in Israel.
urbanologia.tau.ac.il/%D7%94%D7%93%D7%99%D7%90%D7%9C%D7%A...
Also published in the Canadian labor union organization site to illustrate an open letter to Justin Trudeau { link below}
www.csn.qc.ca/actualites/lalena-doit-permettre-une-hausse...
Found this in my mailbox the day I arrived back in Los Angeles.
They contacted me from Austria last year and this is the end product. I think they did a stellar job and it's quite the honor...
25-sec, ISO 2500 | Nikon D700 | ALMA array, Llano de Chajnantor Observatory, Chile, 16 Jun 2010
© 2010 José Francisco Salgado, PhD
100 New Scientific Discoveries
ISBN-13: 978-1603201728
Cover artwork by my buddy Martin Kornmesser
My remote chapel photo was used in a bookcover:
www.ddstone.com/home/sub02.php?mid=25&uid=429
I don't understand Korean, but I think it is a collection of Bible verses...
Original photo: www.flickr.com/photos/markop/8066040054
On Getty Images: gty.im/155306810
My Komodo Dragon photo got published in Indianapolis Zoo magazine !
... ~
Well, Indiana zoo editors saw this photo on my Flickr's zoo set and
contacted me for permission so they could print it on their special
events page in the magazine, and here it is ... ~
...
The original photo in zoo set,
taken at Seattle Zoo ...
www.flickr.com/photos/farhadfarhad/2622669073/in/set-7215...
... ~
Yesterday when I opened my mailbox and saw a package from Country Extra, I had thought that I had been picked as a finalist for their photography contest. Then I thought... that was for Country Magazine not, Country Extra... When I opened it, I discovered they used one of my photos for a part of the magazine;-) I haven't cried happy tears in quite a while....
Fashion shooting published in Umbigo Magazine
Credits:
Model: Laura Tollesson (Francine Models)
Art direction and Stylist: Gemma Malé
MUA & Hair Stylist: Lucía Hernandez Calderón
Assistant: Isma Guirado
Dress: Valentina Bcn
Jewelery: Luz Vargas Exclusive Jewelery
Press L
Cover for the 10 year anniversary issue of Publish Magazine.
Art Direction by Zeptonn
Collaboration with:
Carrie & Stephan, Ditte Winkelman, Eva Lindeman, Farb, Leendert Masselink, Lennard Schuurmans, Tummie, MAKI, Mark Verhaagen, Nick Deakin, Sauerkids, Skaffa and Tan Nuyen
For a better pic click here!
A map of ocean temperature variation and some of the Sorcerer II sample sites.
This just in, from Technology Review: The ocean hosts a stunningly--and surprisingly--diverse menagerie of microorganisms, according to a massive genetic study published today.
Craig Venter set sail around the world to shotgun sequence the millions of viruses and bacteria in every spoonful of sea water. From the first five ocean samples, this team grew the number of known genes on the planet by 10x and the number of genes involved in solar energy conversion by 100x. The ocean microorganisms have evolved over a longer period of time and have pathways that are more efficient than photosynthesis.
Another discovery: every 200 miles across the open ocean, the microbial genes are up to 85% different. The oceans are not homogenous masses. They consist of myriad uncharted regions of ecological diversity.
Those insights came from the first five samples. On March 13, a second set of data was released. More tidbits from Tech Review:
"We have not understood much about our own planet and our own environment," Venter told Technology Review from his boat, the Sorcerer II, currently in the Sea of Cortez, in Mexico. "We've been missing as much as 99 percent of the life forms and biology out there."
The first set of results, published this week in three papers in the journal PLoS Biology, revealed six million new proteins, doubling the number of known protein sequences. "Everywhere we sampled, we found new proteins," says Venter.
In fact, every environment sampled showed high genetic diversity, both within and between samples. The findings are challenging the notion of species in microorganisms. "When you look at microbes, they don't appear to be individual species"
"Microbial communities are almost like a superorganism, where each microbe is contributing to community as a whole," says Weinstock. "We really need to characterize the metagenome and analyze the genes and protein products as an aggregate."
Venter and others eventually hope to find proteins that can be co-opted to create novel bacterial machines--proteins involved in hydrogen production or carbon fixation, for example, that could one day be engineered to boost the carbon-fixing capacity of the ocean or to create fuel-producing bacteria. "Genes are the design component of the future," says Venter.
For the curious, PLoS has a special collection of open-access articles, including an interactive graphic display of the data and a slide-show video by Venter out in the Sea of Cortez.
....my photo published in the online magazine, nthWORD December 2010 issue!! ...
...It was chosen as part of the "Good with Words" contest by nthWORD magazine whereby the winning 6 words will be published alongside the image...
..Thank you Annette Halette for your winning 6 words and to all of you for your words of encouragement!..
- Merry Xmas Happy New Year! Hugs & Kisses from Malaysia -