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President Barack Obama, Vice President Joe Biden, and senior staff, react in the Roosevelt Room of the White House, as the House passes the health care reform bill, March 21, 2010. (Official White House Photo by Pete Souza)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
The eye of the storm is not so much what goes on in the world, it is the confusion of how to think, feel, digest, and react to what goes on.
Model: Queentoy Cyberstar
Photographer: Queentoy Cyberstar
Look Details Look Details: letmeupgradecha.blogspot.com/2015/06/do-it-again.html
Sasquatch, after a bit of duty-free shopping, did a fine job of blending in with the commuters. However, he did not react kindly when he discovered me pointing my camera in his direction. Later, after lunch at Ivars’ where I bought him some clam strips and a large Coke, he calmed down a bit and we became friends.
Sea-Tac Airport, May 31, 2016.
Leica IIIC w/ Summitar , Foma 200 , Two Bath D-23
Maybe one of my favorite things in a while .... The back ground was in shadow and the for ground ( the blooming branches ) was in not full sun but maybe a stop of overcast .... It's the first time I've used Foma 200 developed in D-23 , and it reacted kind of strange in that it fogged the base by about a stop (which helps the shadow detail) ..... which I think really helped this a lot ........ :) .
Playing around with my new toy, flashgun with beauty dish and blue gel and a sparkler. Tripod and lens swapped. No Photoshop Home Faff 17-08-2019ps
Tourists
react to the sights
and sounds
of the Big Apple.................
0n
Broadway
in
ManHatTan
Photography’s new conscience
Go-Ahead Wrightbus on the 15 service to Blackwall LTZ 1401 sporting a Nike React advert. Surprised it is so clean.The last time I saw this it was Go Kerala.
So this is a follow up to the Anakin Skywalker - What If I posted a while back. It's based in the same universe and operating under the same galaxy changing event.
Obi-Wan Kenobi - With the public execution of Supreme Chancellor Palpatine at the hands of the CIS commander General Grievous, the Jedi council made it their highest priority to capture the villainous commander and bring to justice before the Senate. To accomplish this, they assigned the Open Circle Armada commanded by Jedi Generals Obi-Wan Kenobi and Anakin Skywalker to lead the spearhead into the heartland of Separatist space with one objective. Capture Grievous.
Having faced the droid general on multiple occasions and failing to best him in combat, Obi-Wan would often feel guilt for Palpatine's death, believing that had he not failed in the past the Clone War would have come to an end long ago. But with the help of his former apprentice, Obi-Wan was able to look beyond his past failures to the future. Both he and Anakin would bring Grievous to justice in the name of the former chancellor.
The spearhead campaign would take both Jedi to the edges of the Outer-Rim, culminating in a skirmish on the sinkhole world of Utapau where Grievous would gravely wound Obi-Wan by stabbing the blade of a lightsaber through his stomach. As his former apprentice fought the droid general one on one, Obi-Wan was able to use the force to briefly numb his pain.
As he delved deep into the force to grant him the power he needs for one last strike, Obi-Wan heard a familiar voice calling to him.
"I am proud of you, Obi-Wan."
At first Obi-Wan was taken aback. Hearing the voice of his deceased master distracted him for a moment, but calling on the force allowed him to lunge forward with his lightsaber. Before Grievous could react, Obi-Wan decapitated the Separatist commander. Neutralising the threat.
Collapsing from blood loss, the Jedi master was rushed to the nearest medical bay onboard a Republic cruiser. Despite a near brush with death, Obi-Wan survived and told Anakin about how he'd heard the voice of Qui-Gon Jinn speak to him. It was at that point that Anakin confessed something he'd hidden from his master since the beginning of the Clone War. Following the first battle of Geonosis, he had married Senator Padme Amidala of Naboo.
Whilst he was taken aback by this revelation, deep down Obi-Wan had always suspected that his feelings for Senator Amidala were more than he cared to admit. Though hesitant, Obi-Wan voiced his support for his former padawan, and promised to keep his secret. In a jokey remark, Obi-Wan then asked if Anakin knew who the father of Padme's future child would be, much to the Jedi Knight's horror.
With the elimination of General Grievous, it was believed the Clone Wars would come to an end with the capture of Count Dooku, the recently ascended Sith Lord. Though keen to finally bring peace to the galaxy, Obi-Wan and Anakin were ordered back to Coruscant for a much needed reprieve from the conflict. As they left Utapau, Grievous' final trap would reveal itself. Every sinkhole on the surface of Utapau had been layered with explosives designed to detonate two days after activation. The explosions would destroy every city on Utapau and destroy a sizeable portion of the occupying force.
The devastation would leave the surface of Utapau inhospitable. Realising the horrors that the Separatists were capable of, the Republic vowed never to end the war until their enemy was wiped from existence.
As both Anakin and Obi-Wan returned to Coruscant, Padme went into labour resulting in an unexpected surprise.
Anakin became the father of twins.
As his closest friend, the young Jedi asked Obi-Wan to be godfather to his children. Obi-Wan graciously accepted.
Though he was happy for his former padawan having the family he'd always wanted, deep down Obi-Wan felt more isolated than ever. Having lost the love of his life the Duchess Satine of Mandalore to the hands of Darth Maul, just under a year ago he couldn't help but feel heartbroken every time he saw Anakin's new family.
To distract himself, Obi-Wan would take on a new apprentice by the name of Jaylam Duos. Despite his reluctance in the past to take on a new apprentice, having wanted to not teach a pupil during a time of war, Obi-Wan decided that his declining physical condition meant it was unlikely he'd make past the war thus his choice to take on his new apprentice now.
As both master and apprentice began to move into the unknown regions of space, they'd encounter Count Dooku's newest agents. Sith acolytes, all vying for the position as Dooku's apprentice. Though Kenobi and Duos were able to defend themselves against the acolytes, the Jedi Master lost the closest friend he had during the Clone War. Clone Commander Cody was killed saving Duos' life from one of Dooku's acolytes.
In a moment of rage, Obi-Wan was able to disarm all four of Dooku's acolytes by severing their hands, only to allow them to leave. A perplexed Duos would be met by one of the first lessons Kenobi was taught by his own master.
'Revenge is not the Jedi way.'
In honour of their fallen comrade, Duos would take the former clone commander's blaster pistol and continue to use it in conjuncture with his lightsaber much to Kenobi's dismay. He considered blasters to be a crude and inelegant weapon compared to a lightsaber.
As time would progress and the recently deceased Commander Cody was replaced by Clone Captain Sendro, Kenobi's former apprentice would achieve the rank of Master before being named Grand Master of the Jedi Order as Master Yoda passed the reigns to young Skywalker. Though the transfer of power was questioned by some council members, Kenobi would openly endorse his former Padawan, claiming there was no-one more suited for the role than the Chosen One himself.
Under Skywalker's leadership, the Jedi would undertake an intensive search throughout the galaxy to locate the final piece of the puzzle needed to end the Clone War. Reigning Sith Lord, Count Dooku known by this point as the nefarious Darth Tyranus. After two weeks scouring the galaxy, Kenobi and Duos would come face to face with the Sith Lord.
The duel between the three of them would culminate in the Sith Lord besting Kenobi in lightsaber combat, but not before the Jedi Master could sever one of Dooku's hands. Even in his weakened state, the old man was able to easily best Duos in lightsaber combat and would use his blade to decapitate the young boy. Distraught, Obi-Wan declared how horrifically Dooku disgraced Qui-Gon Jinn's legacy.
In a moment of what appeared to be regret, the Sith Lord chose to leave the duel without taking Kenobi's life. This would prove to be the Count's undoing, as Kenobi was able to place a tracker on the Sith Lord's cape allowing Republic intelligence to track the Count back to his last refuge.
A moon sized battle station known as the 'Death Star'. Reunited with Skywalker, both Master and former apprentice would lead the Republic fleet into battle against the Separatists one last time, with the fate of the galaxy in their hands....
A stick cracked to my left, sounding like a deafening yell in the serene silence of the forest.
I stopped, holding absolutely still, and was rewarded with the heart-warming sight of a doe and her calf making their way through the woods.
Smiling, I continued on my way after they passed, heading more or less in the vague direction of Durrough.
I had ditched the wagon several miles and two nights back, after coming to the realization that if someone was hunting me, it probably wasn’t the best idea to travel out in the open, driving a conspicuous wagon. Now, I was on foot, going through some of the more difficult, less traveled paths through the eastern-most portion of the Wandering Woods. It would take longer to reach my destination, but it would also draw less attention to myself, thus making it worth the longer journey.
Squaring my shoulders, I forged onwards.
————————————
The next morning,
I awoke to something sharp jabbing into my back from beneath my bedroll. Groaning, I rolled over, and extracted……a rock.
Muttering in disgust, I threw the rock aside, and groggily disentangled myself from my cloak, which had been serving as my blanket, climbing to my feet with an audible cracking of joints.
“Well,” I said to no-one in particular, “Time to start the day I guess.”
I had killed a small rabbit with my crossbow last night, and I cooked him up now, along with a few edible greens I found near my campsite.
After breakfast, I packed up my bedroll, checked to make sure I still had that sealed letter, gathered my things, and kicked out the fire.
Then, I headed off in the same direction as yesterday. I estimated I only had another day at most before I reached Durrough. Fortified by this, (as well as that rabbit), I set off for another day of hiking.
Little did I know today was not going to be like the days before it.
————————————
A few hours later, I stopped for a rest, and possibly lunch, if I could find some game large enough to make a meal out of.
Making sure my crossbow was loaded, I began to stealthily advance through the woods, keeping a sharp eye out for prey. I spotted a couple of squirrels, but neither one was large enough to warrant taking a shot at.
Watching the second one run off, I detected movement out of the corner of my eye. Moving slowly, so as not to scare whatever it was, I turned towards the spot I saw movement from.
Expecting to find a deer, or even better, a wild hog, I was shocked to discover it was a BEAR!
I froze. The bear was staring right at me, not moving either.
As the seconds dragged on in our stand-off, I realized this wasn’t just any bear, it was a grizzly bear!
And to make matters worse, it was a very hungry-looking grizzly bear.
Keeping my eyes fixed on the bear, I began to slowly back away, taking micro-steps so as not to startle it into action. After a few steps, the bear began to move forward, as I moved back.
That was definitely not what I wanted the bear to do, and I realized this was not going to end peacefully.
Just as I was coming to this conclusion, the bear charged.
Given less then a second to react, I dropped and rolled to the side, feeling a rush of air as the bear breezed by. Rolling to my feet, I saw the bear stop and start to turn around, for another go at me. Pre-empting this, I turned and ran, as fast as my legs would carry me, hearing the bear charging up behind me.
Now, I know that everyone says the stupidest thing you can do when facing a bear is run, but A; not everyone is me, and B; I wasn’t trying to outrun the bear, I just needed a few seconds to get my shot, pardon the pun.
As I ran, I checked hastily that my crossbow was still loaded, and, finding it was, judged that the bear was too caught up in chasing me to slow down or avoid this, whipped around, bringing the crossbow to my shoulder, sighted, and pulled the trigger.
The bolt flew seemingly in slow motion, as the bear charged at me, straight into the grizzly’s right eye, killing him instantly.
The bear’s momentum kept his body moving forward, even as it started to hit the ground, forcing me to quickly step to the side, to avoid getting pinned as the corpse slid to a stop where I had been standing moments before.
I staggered against a nearby tree, sliding to the ground with my back against the trunk, staring at the bear’s corpse, feeling the adrenaline from my near-death experience pumping through my veins, and my breath coming in ragged bursts.
It was then, sitting on forest floor, waiting for my body to clam down, that the sound of rushing water penetrated my senses. I got up, and, turning around, surveyed my surroundings, which I hadn’t even registered yet.
My jaw dropped.
Hardly believing my eyes, I stepped out of the tree line.
I was on the bank of a river, that forked around the spit of land I was standing on. Both ends of the river wound away through the trees.
Directly across from me was the source of this river;
A magnificent (although not very large) waterfall, pouring majestically down the side of sheer rock face. The sound of it filled the air, which was the sound I had noticed minutes ago.
The rock face the waterfall poured over continued beyond to the right, slowly curving outward.
A huge old oak tree grew near this face, on the opposite bank. Over on my side, a large pile of boulders sat jumbled to my right, a tree growing up from their midst.
The whole area was overflowing with bright colors and abundant flora and fauna.
Looking around, I felt at peace for the first time in several days.
Putting down my crossbow, I flopped in the grass with a grateful sigh, content just to lay there in the soft grass for awhile.
As I lay there, I tried to come up with a suitable name for this hidden gem of the forest. Nothing I tried sounded right, and it wasn’t until I sat up and took another look at the place that the perfect name popped into my head.
“Heaven’s Lagoon,” I said out loud, trying it out. It fit perfectly.
It was then, as I was sitting there, enjoying the feeling of having this beautiful place all to myself, plus the fact I had just named it, when I noticed something I had missed before. Or maybe it hadn’t been there before, because I never missed anything.
Almost directly across from me was a cave.
As I stared at it, trying to figure out why I hadn’t seen it the first time I looked over there, I began to feel a strange sensation. It felt like the cave was calling to me, inviting and drawing me in.
That should have been more than enough warning to not go in the cave, but I had never been able to resist something like this.
So, curiosity getting the better of me, I got up, picking up my crossbow on the way, and moved to the edge of the bank, looking for a way across.
Finding it, I went over to the boulder pile, climbed up on the largest one, and, balancing carefully, hopped to a rock in the middle of the river, then over to the far bank, right in front of the cave.
Having reached my goal, I stopped to examine the cave opening. It was a little over six feet high, irregularly shaped. Other than that, there was nothing to suggest it was anything other then a normal cave. Anything besides that the tugging feeling in my gut had gotten stronger.
Fashioning a makeshift torch from a tree branch and some spare cloth I kept in a pocket, I took a deep breath, and stepped inside.
Instantly I was hit with a prickling sensation, a magic ward being tripped.
Damn, I thought, and then the cave walls disappeared.
————————
I am standing in the middle of a glade, surrounded by ages-old oak trees. A gentle breeze blows through, swirling leaves around, and tousling my hair. The afternoon sun shines down through the leaves, casting a golden light over everything. It would be the perfect day, if it weren’t for what I knew was about to happen.
Across the glade from me, shock mixed with horror etched on his face, stands my best friend, Trevor Mortlen. He has a hunting spear in one hand, as do I. Mine has the blood of a deer on the tip.
“S-Skye,” the other says, “What-how?”
At first, I am not quite sure what he is trying to say, then it dawns on me: He saw what I did, how I drew the spear back to me from the deer, twelve feet away, clear across the glade.
“Trevor,” I say calmly, forcing myself to look him in the eyes, “There’s something I’ve never told you about myself. I think it’s time I rectified that.”
I see the the hurt and fear in his eyes.
“I’m sorry Skye, but it’s too late for that. You’re not who I thought you were.” The other says, and begins to back away.
Panic starts to take told of me. I know how this ends. I know because I have relived this moment in my mind so many times, always trying to find an ending different than the one I know is about to happen, never being successful.
“Trevor,” I hear myself say, “Please, you must listen to me. It’s not what you think. I can explain everything, if you just let me.”
My plea falls on deaf ears.
“I’m sorry Skye,” he says again. “I don’t trust you anymore. You’re not someone who should be free to cause harm.”
Each word is like a dagger to my heart. I can barely believe what I’m hearing. This couldn’t be my Trev, the very best friend I had in this world. The person who meant so much to me.
“Please, “ I begged, tears beginning to blur my vision, “Trev, don’t do this.”
He looked at me with sadness in his eyes.
“I don’t want to. But I have to. I don’t know you anymore Skye.” And he turned away, heading out of the glade, bound for the sheriff’s office in our village.
I was torn apart in that moment, as Trevor turned his back on me. I knew if he reached the sheriff, my life, my parent’s life, maybe even my cousin’s lives, would be ruined, if not over completely.
There was only one way to stop this.
Only one way to ensure the safety of myself and my family.
Screaming my fury at the unfairness and helplessness of my situation, I throw the spear at my love’s back.
I could feel the scene beginning to change. Afraid of what I would be forced to relive next, I pushed against the memories, tearing myself free.
“NNNOOOOO!”
—————————
And then I was back in the real world, still standing in the same spot. My legs collapsed beneath me, and I barely managed to catch myself before I hit the floor.
Lifting my torch, I was able to clearly see now that the cave was man-made, probably by some old wizard with elemental powers, which would also explain the ward guarding the entrance.
Finding my mind starting to drift back to the memory that had been triggered, I forced myself to redirect, settling on the the fact that the tugging in my gut hadn’t lessened any, despite the ordeal I had just gone through.
Getting to my feet, crossbow in one hand, torch in the other, I cleared away my jumbled thoughts, and focused solely on the feeling.
It was definitely coming from deeper inside the cave, so despite my growing reservations, I allowed myself to be led into the bowels of the earth, winding downward, past branch tunnels and rooms, drawn ever deeper by the steadily increasing tugging, til' finally, I arrived at the end of the tunnel. Before me was an absolutely ancient oaken door, fastened into the rock via some very rusty iron hinges. The source of the tugging sensation was on the other side of that door, I was sure of it.
Studying the four rusty hinges, I set down my crossbow and torch, stretched out my hands, palms outward, and concentrated.
A second later, the hinges tore free of the rock and zoomed into my hands.
Smiling, I dropped the hinges on the ground, and, retrieving my torch and crossbow, kicked down the old door.
Beyond, the room inside was circular, about twelve feet in each direction, walls, floor, and roof all made of carved stone. Carved into the floor, all around the edge of the room, were strange runes, in a foreign language I didn’t understand. But that wasn’t what drew my attention the second I stepped into the room, nor was it the faded mural-like pattern scrawled across the back wall.
It was the perfectly symmetrical pedestal, placed in the exact center of the room, with a second ring of runes around it’s base.
Atop the pedestal sat………..a gleaming, perfectly polished nautilus shell.
I could instantly tell the tugging sensation was originating from the mysterious shell.
Why, I didn’t yet know.
I slowly approached the pedestal, as if in a trance, and reaching out, picked up the shell.
Instantly the tugging sensation disappeared. I turned the shell over in my hands, studying it. Other then being extra shiny, it didn’t appear any different than any other nautilus shell.
“So what caused the tugging feeling?” I asked into the silence, not really expecting an answer.
But I got one.
A faint sound became discernible in the room, and it seemed to be coming from the shell in my hand.
Lifting it to my ear cautiously, I was surprised to hear the sound of waves, mixed with the chirping of birds, (though I couldn’t tell what species they were from), along with other sounds I didn’t recognize. This close to my face, I noticed for the first time there was something different about this shell.
The stripes on the nautilus were translucent, and in the one closest to me, I could faintly see a beach, made of white sand.
I blinked, and the image was gone.
Shaking my head to clear it, thinking maybe I had imagined it, I turned away from the pedestal, placing the shell in a pocket on my belt.
It was then I realized, without the tugging feeling leading me, I had no idea where I was.
I was lost down here, in this maze of tunnels.
As this set in, my shadow flickered, and disappeared, as the room went dark.
My torch had just gone out.
————————————
Previous Chronicle stories start here.
Find a place where you live where history made its mark. Allow yourself to breathe, feel, contemplate and react with a photograph
– Laura El-Tantawy
Carlos Gardel was a singer, songwriter and actor. He is best known representative of the genus in the history of tango. Initiator and leading exponent of "tango song" 1 was one of the most important interpreters of the world's popular music in the first half of the XX 2nd century by the quality of his voice, by the number of albums sold (as a singer and composer), for his many films related to the tango and its global impact.
There is no unanimity about the place and date of birth. The theory holds that uruguayista born in Tacuarembó, Uruguay, on December 11th between 1883 and 1887. The theory holds that francesista born in Toulouse, France, on 11 December 1890. There is unanimity on the fact that he lived since his childhood in Buenos Aires, Argentina in 1923. He died on June 24, 1935 in Medellin, Colombia, in a plane crash was nationalized.
Carlos Gardel fue un cantante, compositor y actor de cine. Es el más conocido representante del género en la historia del tango. Iniciador y máximo exponente del "tango canción",1 fue uno de los intérpretes más importantes de la música popular mundial en la primera mitad del siglo XX,2 por la calidad de su voz, por la cantidad de discos vendidos (como cantante y como compositor), por sus numerosas películas relacionadas con el tango y por su repercusión mundial.
No hay unanimidad sobre el lugar y la fecha de su nacimiento. La teoría uruguayista sostiene que nació en Tacuaremb.ó, Uruguay, un 11 de diciembre entre 1883 y 1887. La teoría francesista sostiene que nació en Toulouse, Francia, el 11 de diciembre de 1890. Hay unanimidad en el hecho de que vivió desde su infancia en Buenos Aires y se nacionalizó argentino en 1923. Falleció el 24 de junio de 1935 en Medellín, Colombia, en un accidente aéreo.
"Something about silence makes me sick
’cause silence can be violent
Sorta like a slit wrist"
-RATM
* taken part @ NUL's photography exhibition (Ag.Anargyri - Athens - Greece)
*Taken part @
"A3 Crisis Exhibition" - Athens School of Arts (photography),
Athens - Greece,
June 2011
Quelle für Prozess: de.wikipedia.org/wiki/Cyanotypie#Urspr%C3%BCngliches_Verf...
Cyanotype, 2-Bad-Verfahren.
Beschichten des Papiers: Das Papier wird mit einer lichtempfindlichen Lösung aus Ammoniumeisen(III)-citrat beschichtet.
Belichtung: Blaues oder violettes Licht regt ein Elektron des Citrat-Ions an, wodurch Eisen(III)-Ionen zu Eisen(II)-Ionen reduziert werden.
Entwicklung: Die Eisen(II)-Ionen reagieren mit Kaliumhexacyanidoferrat(II) (rotes Blutlaugensalz) und bilden zunächst wasserunlösliches Berliner Weiss, das dann durch Luftsauerstoff oder Wasserstoffperoxid in unlösliches Berliner Blau umgewandelt wird
Cyanotype, a 2-bath process.
Paper coating: The paper is coated with a light-sensitive solution of ammonium iron(III) citrate.
Exposure: Blue or violet light excites the electron of the citrate ion, which reduces iron(III) ions to iron(II) ions.
Development: Iron(II) ions react with potassium hexacyanidoferrate(II) (red blood salt) to first form water insoluble Prussian white, which is then converted to insoluble Prussian blue by the action of atmospheric oxygen or hydrogen peroxide.
Источник для процесса: de.wikipedia.org/wiki/Cyanotypie#Urspr%C3%BCngliches_Verf...
Цианотипия, процесс в 2 ванны.
Покрытие бумаги: бумага покрывается светочувствительным раствором цитрата железа аммония(III).
Экспозиция: Синий или фиолетовый свет возбуждает электрон цитрат-иона, который восстанавливает ионы железа(III) до ионов железа(II).
Развитие: Ионы железа(II) реагируют с гексацианидоферратом(II) калия (красная кровяная соль) и сначала образуют нерастворимый в воде берлинский белый, который затем превращается в нерастворимую берлинскую лазурь под действием атмосферного кислорода или перекиси водорода.
An adult male elephant seal does not react kindly to another male in the area around his harem, and has the scars to prove he's earned his little spot on the beach.
Mars Express HRSC image of the Isidis Basin/Syrtis Major Planum region. The Isidis Basin measures ~1500 km in diameter and has heavily shaped the geomorphology of the surrounding region. The large concentric canyons on its northwestern rim (center left), named Nili Fossae, were created by the slumping of crust back into the initial transient crater created by the impact. Later, this region was subject to intense pyroclastic volcanism that left olivine-rich rocks distributed over more than 100,000 sq. km. of the surface. The olivine reacted with water present on the ancient Martian surface to form carbonate and serpentine group minerals, a heat-producing reaction that likely generated long-lived hydrothermal systems. Jezero Crater contains portions of this extensive deposit, in addition to evidence for a lake system. These aspects make it among the best candidates for the formation of Martian life, leading to Jezero's selection for the Perseverance mission.
The western edge of Isidis is also marked by the large volcanic plains of Syrtis Major Planum. Large volcanic plains like this are commonly found around large impact basins on Mars, suggesting the impacts may play some role in their formation. The substantial crustal thinning and deep fracturing caused by an impact likely make it easier for magma to ascend to the surface and erupt. Over time, the lava erupted in this region changed as the source magma's composition evolved. This caused the lava flows to evolve from silica-poor (which tend to be hot and runny) to more silica rich (which tend to be more explosive). Nili Patera, a ~50 km wide volcanic crater located near bottom center, represents the last stages of this evolution. Rock compositions here show a greater variety in silica content than at any other location on the Martian surface.
The southern rim of the basin is marked by the high mountains of Libya Montes. This region appears to have experienced volcanism as well, but to a far lesser extent than at Nili Fossae or Syrtis Major Planum. To date, only large cinder cones have been identified in this region. Most mountains here appear to be large fragments of crust ejected from the basin or dredged up by the upwards and outwards force of the impact's excavation. As a result, these mountains have been suggested as a geological laboratory for exploring the contents of the deep Martian subsurface.
Larger forces are also seen in this photo. There is a dramatic difference between Mars' northern lowlands and southern highlands regions. The lowlands, located at left, are only lightly cratered, likely either due to sediments deposited in a now-dried ocean basin, or through intense volcanic activity that occurred later in the planet's history. This low region is separated from the highlands by an extensive escarpment that circles nearly 2/3 of the planet. Here, the escarpment is named Nilosyrtis Fossae. The Nilosyrtis Fossae escarpment is especially tall, likely due to the presence of deep fractures created by the Isidis Basin.
The southern highlands instead represent some of the most ancient terrain still present on the Martian surface. Much of this region dates to between 4.1 and 3.8 billion years old. Although this region contains many craters, a close look reveals that many of them are shallow and highly degraded. This shows that Mars was geologically active during its early history, as water, ice, and volcanic activity attempted to infill the craters at a rate not much slower than the craters could form.
This image was taken from an altitude of ~19,500 km during Mars Express' 21,718th orbit of the red planet, March 9, 2021.
Image Credit: ESA/DLR/FU Berlin/A. Cowart, CC BY-SA 3.0 IGO
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.
Graduates react as President Barack Obama delivers remarks during the commencement ceremony at Morehouse College in Atlanta, Ga., May 19, 2013. (Official White House Photo by Pete Souza)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
Del Norte County, California, 2007
Balda Super Baldax, 80mm f3.5 Baldanar, Fuji Velvia 100 processed C41
Donald Trump opened a Pandora’s Box when he and the Republican Party politicized the coronavirus. When he called it the “Kung Flu” and the “Wuhan Virus,” racists attacked Asian-Americans. As a new virus, we have no natural immunity. But Trump refused to heed the warnings to social distance and wear masks, playing down the severity of the disease for political gain. Instead, he promoted fake cures and dismissed science experts. His acolytes followed suit. Rather than follow the science, right-wing charlatans continue to tout fake COVID cures. Only recently has Trump promoted vaccines and boosters (in part to separate himself from potential presidential rivals like Ron DeSantis). Other GOP lawmakers have privately protected themselves while publicly refusing to convey the importance of being immunized. And over 800,000 Americans have died.
People reacted with anger and pseudo-science theories when President Biden first appealed to Americans to “get the shot.” Incentives encouraged vaccinations. While these motivated some, it was much less than needed to reach herd immunity. With vaccination rates lagging, President Biden forced the issue with mandates for businesses with over 100 employees. And now conservatives on the Supreme Court have overruled those.
Adam Galinsky, a professor of leadership and ethics at Columbia Business School, recently wrote about the “psychology of regret” and its effect on vaccine hesitancy. “Alongside skepticism of institutions and experts, exposure to misinformation, and other often-cited reasons for resisting vaccines sits a clear emotional explanation: Many people are afraid that they’ll make a bad decision.” Fear can cause people to hesitate, no matter what the incentives might be. It may not seem rational, but many put more weight on the negative ramifications of their decisions than on any potential positive outcomes. They assign their actions greater importance than the consequences of not acting.
Ironically, this sense of regret explains why mandates have been so successful. When Biden first announced these mandates, the largest police union in New York City went to court to block them. They said they would lose thousands of officers who would quit rather than get inoculated. In reality, only three dozen officers ended up refusing. United Airlines instituted its mandate, and 99% of its workforce is vaccinated. This week they reported no deaths due to COVID. Mandates take the decision-making out of the individual’s hands. With the fear of making a wrong decision eliminated, most get vaccinated.
One of the most inane and insensitive protests over these requirements comes from those who show their opposition by wearing yellow Stars of David. Nazis required Jews to wear these stars with the word “Jude” at all times. Today’s protesters liken vaccine mandates to the persecution of Jews during World War II. They equate vaccination requirements with being sent to the gas chamber. At least, they say, it’s a slippery slope. They wear these stars as badges of resistance. However, Nazis forced Jews to wear them as signs of exclusion and disdain, signifying they were less than human. This false equivalent insults all Jews and their families who suffered during the Holocaust.
In June 2021, Jim Walsh, a Republican Washington State Representative, posted a video on Facebook showing him speaking to a group of conservatives while wearing the star. Posting on the social media platform, he said, “It’s an echo from history. In the current context, we’re all Jews.” We’re all Jews? During the Charlottesville protests, neo-Nazi’s chanted, “Jews will not replace us.” Now people are using the symbols of our annihilation to protest vaccine mandates. We’re tired of being used as scapegoats by neo-Nazis and examples of persecution by anti-vaxxers.
On November 14, 2021, anti-mandate protesters displayed the swastika and the yellow star in front of the offices of New York State Assemblyman Jeffrey Dinowitz, who is Jewish. Dinowitz has been a vigorous proponent of mandates. The crowd gathered to protest Dinowitz’s bill, requiring all students be immunized against COVID in order to attend school. Republican gubernatorial candidate, Rob Astorino, organized the rally. Assemblyman Dinowitz stated, “People are free to express their opinions on vaccine policy and on any issue, but I draw the line at swastikas. [T]o stand next to swastikas and yellow Stars of David outside of a Jewish legislator’s office shows a lack of integrity at best and an embrace of right-wing extremism at worst.”
In a hearing by the Kansas Special Committee on Government Overreach and the Impact of COVID-19 Mandates, former Kansas City, Kansas mayoral candidate Daran Duffy, explained why he and his family were wearing these stars. “The reason I’m wearing the star is not to be offensive, but it’s to remember, and for everybody else to call to remembrance World War II. The Jewish people were forced to wear a yellow star to identify them as Jews. And they were ushered off to the death camps in accordance with that. There were medical tests; there were experimentations done on human people. And while this hasn’t reached that deprivation, we are definitely moving in that direction.” Despite his sincerity, he is oblivious to the insensitivity of his protest.
And, just this week, Ohio Republican Congressman Warren Davidson likened vaccine mandates to Nazi atrocities by tweeting a photo of a Nazi Gesuntheitspaß (health passport) with the text, “It’s been done before. #DoNotComply” He went on to say, “Let’s recall that the Nazis dehumanized Jewish people before segregating them, segregated them before imprisoning them, imprisoned them before enslaving them, and enslaved them before massacring them.”
People receiving COVID shots are not part of an experiment. The actions of Nazi doctor Josef Mengele, who conducted sadistic medical procedures on Auschwitz children, are a far cry from the science behind these vaccines. For over two decades, researchers have been studying mRNA, the foundation of both the Pfizer and Moderna vaccines. Scientists conducted vigorous trials involving thousands of volunteers before their release. No one forced people to enroll in these trials. It was an altruistic choice meant to help others.
Mandates do not force people to get the vaccine. They have a choice. Yes, it’s a serious one. Their lives and their livelihoods may depend on what choice they make. And there are serious consequences for refusal, like losing one’s job. Without the vaccine, they may suffer a horrible death or lifelong after-effects. Even if you survive on a ventilator in the ICU, your life may never be the same. The coronavirus is and will continue to be a public health hazard.
Our personal decisions affect the people around us. Children and the immunocompromised are at risk. Many of these “hesitants” are ardent supporters of “American Exceptionalism,” believing that God has bestowed special blessings on our country and its people. But there is nothing exceptional about this selfishness.
The exploitation of the Star of David is part of the conflict over racial identity politics. Many Whites are afraid of being marginalized. And the GOP creates false wedge issues that stoke this fear as a way of igniting voters’ outrage. They’ve been employing this tactic for decades. So why is everyone outraged? Because the GOP wants us to be outraged. Because their hold on power depends on it.
Since this pandemic began, we have lived in a world without reason. American society has devolved into a culture where many equate vaccine mandates with Nazi atrocities. Critical thinking is often missing. Jewish identity is just one tangent of racial injustice. White racists often invoke Jew’s supposed political and financial power for their hatred. We can often pass for “white-white.” But we’re really “off-white.” When White racial fears abound, Jews are targeted.
Fear of losing control fuels opposition to vaccine mandates. But anti-vaxxers are not innocent victims of a frightening mob with an irrational agenda. COVID is a dire public health issue. And resistance to vaccines, mandates, and fear of make-believe persecution does not make them martyrs.
One may object to mandates, but don’t use symbols of real suffering to do so. Signs of our persecution are not yours to appropriate whenever you see fit. It feigns solidarity with Jews. But, in reality, these protesters are using us. Until you see your family marched off to the death camps, never to see them again, stop using the Star of David to compare your fears and outrage to the extermination of European Jewry. You don’t know what real suffering is. Stop living your lives as if you do.
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Follow the history of our country's political intransigence from 2010-2020 through a seven-part exhibit of these posters on Google Arts & Culture.