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The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
Report to The Times newspaper – 1845 Relating to Croick
Behind the church, a long kind of booth was erected, the roof formed of tarpaulin stretched over poles, the sides done in with horsecloths, rugs, blankets and plaids... Their furniture, excepting their bedding, they got distributed amongst the cottages of their neighbours; and with their bedding and their children they all removed on Saturday afternoon to this place. In my last letter I informed you that they had been round to every heritor and factor in the neighbourhood, and 12 of the 18 families had been unable to find places of shelter........
A fire was kindled in the churchyard, round which the poor children clustered. Two cradles with infants in them, were placed close to the fire, and sheltered round by the dejected-looking mothers. Others busied themselves into dividing the tent into compartments, by means of blankets for the different families. Contrasted with the gloomy dejection of the grown-up and the aged was the, perhaps, not less melancholy picture of the poor children thoughtlessly playing round the fire, pleased with the novelty of all around them was the churchyard. The most telling window etching is "Glencalvie people the wicked generation Glencalvie." - Generations of trust, obedience and faith in their church and their chiefs had left the clansmen unable to believe that these were the very people had betrayed and deserted them. Rather than blame their chiefs, the system or the church, they felt that it must really be their faults. They had sinned in someway and were now being punished.
Within a week of the report to the Times, the Churchyard was empty. Where the people went, to factory towns, or to face the perils of emigration to Nova Scotia or the like, is not known.
At least, unlike some, they left their story and a memorial of sorts at Croick. Etched on the windows of the church.
Image from '[Historical Collections of the State of New Jersey ... relating to its history and antiquities, with geographical descriptions of every township in the State. [With illustrations.]]', 000194808
Author: BARBER, John Warner and HOWE (Henry)
Page: 439
Year: 1852
Place: Newark, N.J
Publisher: J. H. Bradley
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
This is a Portfolio relate to DC Comic and movie , Restore a role of Batman: Arkaham Asylum.
Harley Quinn/
I created this group of photos in China, an abandoned hospital building, to restore the role of a business works.
The creative process used in the camera, flash, soft umbrella, color film, reflectors, tripods and other props. Thank model Asa, and to help this group of photos I took several support staff.
This group of photos to show the audience a great reduction in the original crazy clown female offenders, if you know cosplay, understand Batman, then this will not be unfamiliar. I think this group of photos into a lot of photography after shooting, restore the role of a work that conveys the role of personality and the whole atmosphere of the original, is a group of the more successful works.
Besides me, there are many creative combinations, of course, I also plan and prepare some of the more impact work. In the future I plan to shoot some surreal landscape and travel photography work
Relator do PLP 18/2022, senador Fernando Bezerra Coelho (MDB-PE), concede entrevista.
O parlamentar fala sobre projeto que limita a cobrança de ICMS sobre combustíveis, telecomunicações e energia elétrica. Fernando Bezerra fez a leitura, em plenário, do relatório do PLP 18/2022. Duas propostas de Emenda à Constituição sobre combustíveis e biocombustíveis devem ser apresentadas.
Foto: Roque de Sá/Agência Senado
Photo credit: UNDP
Relates to the project 'Reducing the Vulnerability of Cambodian Rural Livelihoods through Enhanced Sub-National Climate Change Planning and Execution of Priority Actions' www.adaptation-undp.org/projects/reducing-vulnerability-c...
Postcard
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
SB1082 (Relating to Transportation of School Children) simplifies Section 302A-406, Hawaii Revised Statutes. The bill allows for more flexibility by the BOE and DOE regarding contract requirements. This measure will provide the DOE with a tool to control costs of school bus transportation by removing statutory requirements related to school bus procurement.
SB1083 (Relating to Transportation of School Children) exempts contracts for transportation for school services from Section 103-55, Hawaii Revised Statutes. Under the provisions of this bill, the DOE will not need to require school bus contractors to certify that they pay same wages as public officers and employees. The bill removes the statutory requirements related to school bus procurement.
Backbone Campaign's impressive imagery ensemble for the Vashon Island Strawberry Festival 2013. Our friends and volunteers helped mobilize imagery relating to stopping the Coal Trains and transitioning the Northwest to an Ecotopia and putting a stop to Monsanto's murderous practices of pesticide polluting, Genetic engineering, and save our Prized Pollinators like bees and butterflies.
We had so much fun singing "Do It Now!" chanting:
Stand up, Speak Out
A Beautiful Future, is what we're about
Future Generations, Demand What's Fair
Bountiful Waters, Breathable Air
We LOVE Puget Sound, Leave that coal in the ground
Rise, Cascadia Rise, Protect our water and skies
Salmon and Orca, Cedar and Fir,
Rise, Cascadia Rise
Trains for People, Not for Coal
Leaders of the Future, Claim your role
We need to wake up! We need to wise up!
We need to open our eyes, and do it now, now, now!
We need to build a better future, And we need to start right now!
Hey!, Hey!, Hey!, Hey!
We're on a planet, that has a problem.
We've got to solve it, get involved, and do it now, now, now!
We need to build a better future, And we need to start right now!
HB811 (Relating to Energy Information Reporting) simplifies the registration and reporting process for fuel distributors. Part of the Governor's legislative package, the bill also amends Public Utilities Commission (PUC) responsibilities and powers in relation to energy industry information reporting and allows the state Department of Business, Economic Development, and Tourism to receive energy industry information.
HB1405 (Relating to the Public Utilities Commission) requires the PUC to include a summary of the power purchase agreements in effect during the fiscal year in its annual report to the Governor. It also expands the use of the public benefits fee to support clean energy technology, demand response technology, energy use reduction, and demand-side management infrastructure.
SB19 (Relating to Renewable Energy) removes barriers for landlords to invest in renewable energy and allows renters/tenants to benefit from lower energy costs. The bill also exempts landlords and lessors who install renewable energy systems on their property and provide, sell or transmit electricity generated from those systems to tenants or lessees.
HB1149 (Relating to Wind Energy Facilities) requires a wind energy facility owner to be responsible for facility decommissioning and provide evidence of financial security unless the owner has an existing lease or other agreement that provides for decommissioning. It also establishes standards and assurances of adequate financial resources to avoid abandoned or neglected wind energy facilities.
The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). [Prof. A. Maiuri ] "Pompeii Discovery of the Gladiator & The Tavern," The Times, Mar. 7, 1957. p. 9.
Wheel chairs, walkers, and crutches relate to durable medical equipment (DME) billing category and require certain procedures to follow before and during billing. Most of the insurance providers may not cover DME supplies under any policy. Even Medicare covers only some equipment, which do not come under mobility, only on periodic circumstances. Yet, there are companies that provide coverage for DME supplies like Wheel chairs, Walkers, or Crutches but with following a stringent procedure. This article can help you with providing the piece of information you need to know for billing DME supplies.
The most likely explanation for a wall of this kind would relate to use by late 1700s/early 1800s farmers who immigrated from Scotland and Ireland. The terrain in this part of Georgia is not unlike the Scottish Highlands, and the immigrants farmed it the same way--living down in the valleys near water and clearing pastures along the ridgetops to graze their livestock. The stone would define the cleared pasture area.
The only thing is, this wall encloses an awfully small pasture area. It would make a bizarre property border for the same reason. It is definitely not civil war related (no fighting ever occurred this far east in North Georgia). It sits in the center of the ridge and is pretty accurately represented on the archaeology map slide as a generally oblong shape. It's a peculiar size and shape for a pasture or even crop field given the rest of the topography of the ridge. I can't come up with any reason a logging company would create such a wall either (old logging roads run all over the ridges in this area, but they are at least 75-100 years from last use).
Less likely but still a possibility is that the wall is related to Native American ceremonial functions. The only artifact recovered to date is Native American - a crude quartz hand ax. However, it is clearly associated with utilitarian hunting use, not ceremonial activities, so it really cannot be linked definitively to the walls. Test pits have yet to yield any other clues as to the origins of the walls. Whoever was responsible for their construction had to have had some worthwhile purpose--the sheer size/weight of the individual stones are significant so it would not be a project easily completed in rough terrain. There is a noticeable pattern of old growth trees only remaining below the line of the wall on the southeastern side of the ridge, suggesting that the area inside the wall (the summit) was completely cleared. This could fit with either (or both) recent historical European livestock practices or with Native American ceremonial uses.
Then there are always the Spanish Fort theories....the ancient astronomical alignment with the Etowah Mound Complex/Petroglyphs & Pottery theories (that I don't buy, personally)....and even a claim about pre-Columbian Welsh Vikings in Alabama :) It all just depends on what you want to believe: there is no shortage of ideas about the origins of the strange stone walls on the mountaintops in this part of Georgia:
This is a Portfolio relate to DC Comic and movie , Restore a role of Batman: Arkaham Asylum.
Harley Quinn/
I created this group of photos in China, an abandoned hospital building, to restore the role of a business works.
The creative process used in the camera, flash, soft umbrella, color film, reflectors, tripods and other props. Thank model Asa, and to help this group of photos I took several support staff.
This group of photos to show the audience a great reduction in the original crazy clown female offenders, if you know cosplay, understand Batman, then this will not be unfamiliar. I think this group of photos into a lot of photography after shooting, restore the role of a work that conveys the role of personality and the whole atmosphere of the original, is a group of the more successful works.
Besides me, there are many creative combinations, of course, I also plan and prepare some of the more impact work. In the future I plan to shoot some surreal landscape and travel photography work
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.
Image from '[Historical Collections of the State of New Jersey ... relating to its history and antiquities, with geographical descriptions of every township in the State. [With illustrations.]]', 000194808
Author: BARBER, John Warner and HOWE (Henry)
Page: 130
Year: 1852
Place: Newark, N.J
Publisher: J. H. Bradley
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Crema is a town in the province of Cremona, in the region of Lombardy in northern Italy. It is built along the river Serio at 43 km from Cremona. It is also the seat of a Catholic Bishop. Crema's main economic activities traditionally relate to agriculture and cattle breeding, but Its manufactures include now cheese, iron products and cotton and wool textiles. Inhabitants are called cremaschi, singular cremasco.
March 19, 2014. Boston, MA.
Kick Butts Day 2014. Representatives from the Department of Public Health (DPH) today joined more than 250 young people from across the Commonwealth at the State House for the national observance of Kick Butts Day, recognizing the contributions of teenagers in smoking cessation and prevention efforts.
The young people participating in today’s event are part of DPH’s youth movement, The 84, which represents the 84 percent of young people in Massachusetts who don’t smoke.
High school students involved in The 84 have been educating their communities and their local lawmakers about issues relating to tobacco and, working with local health boards and other programs; have promoted effective tobacco prevention strategies in their communities. Members of The 84 Movement have been vital in fighting the way tobacco industry markets its products to youth.
© 2014 Marilyn Humphries
His is relating to my current art work, the question is catastrophic events and the image is from a magazine. Where is the relation? On a personal level I feel the media portray a perfect image to look like this the size zero, this has led to an industry of no individualism as everyone in the industry wants to embody the so called perfect image; which the is no clear classification. This relates to Kippenberger through the use of headed paper and detail In the drawing much like pieces he has showcased previously.
RockinJim59.
Relates to the nineteenth century fiddle player James Hill who once lived on Bottle Bank. The stone and bronze public artwork was designed and made by sculptor Peter Coates. Bottle Bank was the part of Gateshead first inhabited.
If I remember correctly, there are two CP-140 bases in Canada. Greenwood on the east coast and Comox on the west. So I guess the tail markings relate to a Greenwood, NS example.
The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). POMPEIVIVA - Pompeii Excavations and restoration 1961-1997. POMPEIVIVA - SSBANeP 2010.
Fonte / source: POMPEIVIVA - Pompeii Excavations and Restoration 1961-1997. POMPEIVIVA - SSBANeP 2010.
Information relating to the aircraft is on the Cessnock Aerodrome - Hunter Valley Vintage Wings website at www.huntervalleyjoyflights.com.au
This photograph was taken by Mr Barry Howard who has kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to his collection and allowed us to publish the images.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose please obtain permission by contacting the University of Newcastle's Cultural Collections.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
If you would like to comment on the photograph, please contact Cultural Collections at the University of Newcastle, NSW, Australia, or leave a comment below.
Brasília 28/03/2017 Relator da reforma política na câmara, Vicente Cândido, durante entrevista para agência PT.
Foto: Lula Marques/Agência PT
This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), likely dating between 1890s-1920s.
The slide shows a circular photograph of a magnified image of Atlantic Ooze, deep sea sediment on the ocean floor. Printed text on recto, "25. Atlantic Ooze, 2,500 fathoms. X 12".
Inscription Details: Handwritten in blue ink on recto, bottom left corner, "G 150". Handwritten in black ink on recto, bottom right corner, "CA87", this has been crossed out with blue ink.
Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.
Rights: No known copyright restrictions.
Reference: 235841|PH-1984-1-LS78-3-70|G150
For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033372
Relating to or denoting a style of clothing that is less formal than traditional business wear, but is still intended to give a professional and business like impression.
This photo relates to my blog posts on Ecuador
www.heatheronhertravels.com/friday-photo-catfish-and-anac...
Information relating to the aircraft is on the Cessnock Aerodrome - Hunter Valley Vintage Wings website at www.huntervalleyjoyflights.com.au
This photograph was taken by Mr Barry Howard who has kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to his collection and allowed us to publish the images.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose please obtain permission by contacting the University of Newcastle's Cultural Collections.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
If you would like to comment on the photograph, please contact Cultural Collections at the University of Newcastle, NSW, Australia, or leave a comment below.
Tucked away in a back lane in the inner-Sydney suburb of Redfern stands a historic industrial building relating to the early generation of electric power in New South Wales. Redfern Electric Light Station was the first municipal power-station to be built in Sydney, providing lighting for streets and housing in 1892. This building was the forerunner of the great Sydney city power-stations built from the end of the nineteenth century including Ultimo, Pyrmont and White Bay. In fact, the suburb of Redfern was illuminated by electricity twelve years before the City of Sydney, which followed in 1904 with power generated from Sydney Municipal Council’s Pyrmont power-station. After Redfern power-station was decommissioned, the building managed to survive and was ultimately converted for commercial and residential use.
The first public demonstration of electric lighting in Sydney occurred on 11 June 1863, to mark the marriage of the Prince of Wales, later King Edward VII (1841-1910), when an electric arc light was installed outside Sydney Observatory. Despite this display it was not until the last years of the nineteenth century that significant development and utilisation of electricity eventuated in Sydney.
The first commercial use of electricity in Sydney was in 1879 when arc lighting was used to illuminate the International Exhibition building. Time in which to complete the Garden Palace was running out, so several generators were imported from England to produce the necessary light to allow construction work to continue at night. Arc lamps had been used from the 1840s and 1850s in England, Europe and America for outdoor purposes and stage illumination in theatres. However, they were unsuitable for ordinary indoor use as they were cumbersome, generated fumes and heat, and their constant illumination was difficult to control and maintain. Furthermore, the public supply of electricity could not commence until a lamp, which overcame the shortcomings of the arc light, was developed and introduced commercially. Following the pioneering work of others, Joseph (later Sir Joseph) Wilson Swan (1828-1914) in England in 1878 and Thomas Alva Edison (1847-1931) in America, developed almost simultaneously a satisfactory incandescent carbon filament lamp. Edison patented his lamp in 1879 and the following year produced the first commercial incandescent lamps.
Meanwhile, in Sydney, the first public place to be permanently lit by electricity was Redfern railway terminus (near present day Central station), on 15 June 1882, using power generated at the Eveleigh Railway Workshops. While Sydney proceeded with caution, municipal enterprise and enthusiasm for electric lighting in NSW country towns was considerable. On 8 November 1888, Tamworth became the first Australian town to be have electric street lighting. This was only ten years after the world’s first street lighting was installed in Paris and seven years after the first British supply in Godalming, Surrey, in 1881. Tamworth was followed by Young and Moss Vale in 1889 and Penrith and Broken Hill in 1890.
In Sydney an attempt was made in 1888 to have legislation passed to establish a private network of generation and distribution. This failed but motivated the Sydney Municipal Council into pursuing the matter. In 1891 a committee was established to set up the basis for public distribution of electricity in Sydney. After protracted debate, the Municipal Council of Sydney Electric Lighting Bill was finally passed in 1896. In the same year the Department of Railways, which also had responsibility for the tramways, began planning for the electrification of Sydney’s tramway system and construction commenced on a power-station at Ultimo, now the Powerhouse Museum.
Meanwhile, back in 1889, Redfern Municipal Council had sent aldermen to inspect some of the NSW towns already generating electricity and construction began on their own electric light station in 1891. Completed in 1892, the building was Sydney’s first municipal power-station and Redfern the sixth local council in the State to generate its own electricity. Council engaged Professor Richard (later Sir Richard) Thelfall (1861-1932) as a consultant electrical inspector on the project. Thelfall, who had been appointed to the chair of physics at the University of Sydney in 1886, and his student and friend, the physicist James Arthur Pollock (1865-1922) whom council engaged as an engineering inspector, made a lucrative business in the early 1890s advising municipal councils and private companies on the new electrical-power technology.
The Redfern Electric Light Station building was designed by John E. Kemp of Pitt Street, Sydney, and built by J. Steel. The station consisted of a two-storey engine house, a single-storey boiler house, an octagonal brick chimney and a coal store. The building was constructed of brick, was cement rendered and decorated with late Victorian features including half circle window heads on the first floor of the engine house and pilasters running the full length of the building.
The boiler house was equipped with two multi-tubular horizontal boilers by Tinker Bros of Manchester, England. The boilers were set in substantial brickwork and featured the latest boiler fittings including feed water heaters, Worthington pumps, injectors and low-water alarms. A reserve water tank was available in case the town water supply was shut off. The boilers supplied steam to two horizontal compound steam engines, each 150 hp, supplied by the Benjamin Goodfellow engineering company of Hyde near Manchester. The engines had a common flywheel grooved to take seven driving ropes, which drove two alternators rated at 1,000 volts, and four dynamos. A Sydney firm, the Williamson Electrical Engineering Co. Ltd, designed and made the switchboard and were the contractors who supplied all the plant. The conductors left the switchboard and went upstairs, before passing from a window opening fronting Renwick Street. The station’s plant was tested on 17 May 1892 in front of a group of local dignitaries including the Mayor and Aldermen.
All the mains for both the street and private lighting were carried overhead on machine-turned wooden poles, except for two street crossings and one railway crossing where it was found necessary to take them underground. The street lamps were each of 25 candlepower and supported on neat wrought-iron brackets which carried a clear glass globe and reflector. The transformers were supplied for private lighting and lamps had a capacity of 16 candlepower. The Redfern Electric Light Station was capable of generating enough electricity to power 406 street lamps and 1,000 lamps for private use.
On 8 July 1904, electric street lighting in Sydney was officially turned on by the Lady Mayoress, Mrs S. Lees. With power generated from Pyrmont power-station, 200 arc lamps covered an area from Circular Quay to Redfern railway station. So began the gradual process of the replacement with electricity of Sydney’s gas-lit streets which had commenced in 1841. As well as this the growth in customer demand for electricity increased from 42 subscribers within a month of power being available to 519 subscribers by the end of 1905.
Redfern Council continued to generate its own electricity for twenty-one years and was by then seen as a competitive threat to Sydney Municipal Council’s undertakings to supply the whole city and as much of the environs as possible. Redfern was a major industrial centre, which possessed great possibilities for extension and development, not to mention the large factories in adjoining municipalities. Negotiations began with Redfern Council and the Redfern Electric Light station was acquired as a going concern by Sydney Council for £20,000. However, the machinery, plant, apparatus and appliances, other than the street mains and poles, remained the property of Redfern Council. Agreement was also reached for Sydney Council to run its mains through the streets of Redfern to supply customers in that municipality and in the municipalities lying immediately to its south. Supply to Redfern was officially taken over by Sydney Municipal Council on 19 April 1913. By the early 1920s new generating plant had been installed at Pyrmont power-station and an additional power-station for Sydney Council, at Bunnerong, on the northern shores of Botany Bay, began operations on 2 January 1929.
The Redfern Electric Light Station was eventually superfluous to requirements and it was decommissioned and its machinery and equipment removed. Over the years the building itself has managed to survive, being used to house various light industries including a case factory, machinery and hardware merchants and a store for Wyanna Mills. In 1987 the building was converted into four units, two for commercial use (at this time as photographic studios) and two for residential use. The historic power-station’s external layout is still evident today with its two-storey engine house, single-storey boiler house and brick chimney best seen looking along Renwick Street.
1914-1919 For God King and Country
The windows above have been erected as a memorial to the heroic lads of this school and church who fell in the Great War.
Britain. H.O. Jones. Stan
Butcher. J.G. Marshall. R.
Cornish. R.MM. McConnell. A.R.
Eady. Jas Muller. A.V.
Edmends. W.H. Polkinghorne. C.
Ferguson. F. Ridgwell. H.R.
Farrar. A.Z. Samsun. A.H.
Gist. C.H. Smith. A.G.
Gates. S.C. Tait. R.E.
Grave. H.B. Tait. Laurie
Hughes. A.W. Veal. T.P.
Hughes. G.A.C. Vincent. L.A.
This memorial tablet is dedicated to the memory of P.Sullivan who fell and to those who enlisted in WWII.
This soldiers memorial window resulted from a request made in 1919 by the Barkly Street Young Men's Club to be given permission to rise money to pay for the project.
The window was designed by Fisher Co Pty Ltd and was unveiled by former army Chaplain - either Rev J ? or Rev Bladen on 14 March 1920. At a total cost of L171-10/ the window cost L150- ($300). The window was fixed in position for L15 ($30) and three wire screens cost L6-10. ($13)
The Fincham & Hobday organ was built in 1889 and cost of £450. It remains largely unaltered apart from the introduction of two single-rise reservoirs for the original double-rise reservoir, black & white porcelain stop faces, tuning slides and electric blowing. The original tonal scheme survives intact. The instrument is of particular interest for its casework, with splayed sides and carved transom rails. The original tubular-pneumatic action to the Pedal Organ, with large bore lead tubing, survives.
Images available to purchase: yourracephoto.zenfolio.com/p505808192
Digital download: 4euro
4x6 print: 6euro
6x8 print: 10euro
8x10 print: 12euro
All image numbers on flickr relate to the same image numbers on website.
Image taken from:
Title: "Memoirs relating to European and Asiatic Turkey; edited from manuscript journals, by R. Walpole. (Travels in various countries of the East; being a continuation of Memoirs relating to European and Asiatic Turkey, &c.)"
Author: WALPOLE, Robert - Rev
Shelfmark: "British Library HMNTS 1786.d.13.", "British Library HMNTS 982.i.7."
Volume: 02
Page: 575
Place of Publishing: London
Date of Publishing: 1817
Publisher: Longman & Co.
Issuance: monographic
Identifier: 003842704
Explore:
Find this item in the British Library catalogue, 'Explore'.
Open the page in the British Library's itemViewer (page image 575)
Download the PDF for this book Image found on book scan 575 (NB not a pagenumber)Download the OCR-derived text for this volume: (plain text) or (json)
Click here to see all the illustrations in this book and click here to browse other illustrations published in books in the same year.
OM Times Sept 2011 : Health & Wellness Editorial
Each month, as topics relating to our mental, physical or spiritual health are discussed, we are laying the foundation for a “RoadMAP” to healing that begins with(IN). I have been inspired lately as I continue to see and connect with those creating change as they “just do –what they do!” It reinforces what my belief that anyone can succeed if only they know, “the rest of the story!” Here’s a few tips to help you navigate through some of life’s twisty roads.
YOU Can Change Anything
Since they say we are so easily led like sheep and will believe anything we see in print, then allow me share this with you while you are still in a word induced trance. You have the power withIN to create change. In learning how to create with discernment & wisdom amazing collaborative creations can manifest. Seriously, you can change almost anything within your personal universe (aka body) and then begin to manifest outward.
Healing Begins withIN
On the path to healing, one huge step is with the realization that the body is an entire universe! When we begin to look with(IN) for answers versus seeking something “outside of self” we learn how we can heal our own body through our thought and desire to do so. Please express loving thoughts to your SELF today! You are the only YOU we’ve got!
“Watch your thoughts, for they become words.
Watch your words, for they become actions.
Watch your actions, for they become habits.
Watch your habits, for they become character.
Watch your character, for it becomes your destiny.”
Breathing for Life
SACREDspace yoga, emphasizes the Pranayama breathing, or - the science of breath control. It consists of a series of exercises intended to meet the physical needs and to keep the body in vibrant health. In simpler terms, the importance of proper breathing cannot be emphasized enough. You can live without food for approximately three weeks, several days without water – but only a few minutes without oxygen. That should put it in perspective! Explore your breathing and watch how fast you gain control over individual aspects of health & wellbeing!
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On Friday, a Maryland federal judge granted summary judgment in favor of Intellectual Ventures on Capital One’s claims that IV’s acquisition and enforcement of patents relating to banking services violated U.S. antitrust law. In a 53-page memorandum Opinion, Judge Paul G. Grimm found that IV’s conduct in obtaining and enforcing its patents was immune from antitrust liability based on the Noerr-Pennington doctrine. In addition, the court held that Capital One was barred from relitigating its antitrust claims based upon a 2014 ruling from a Virginia federal court that had rejected similar antitrust claims alleged by Capital One against IV.
The IV Patent Case
In 2014, IV sued Capital One in federal court in Maryland for infringement of four IV patents (the author served as one of IV’s local counsel). Those patents generally related to various aspects of online banking. In response, Capital One filed antitrust counterclaims for monopolization and attempted monopolization under Section 2 of the Sherman Act, and unlawful asset acquisition under Section 7 of the Clayton Act.
In 2016, the district court granted summary judgment to Capital One on IV’s patent claims. The court found that two of IV’s patents were ineligible under Section 101 and the Supreme Court’s Alice decision. In addition, the court ruled that IV was collaterally estopped from asserting its other two patents based upon a previous decision in a New York federal case, which found those same two patents to be ineligible under Section 101. The patent aspects of the action were appealed, and in 2017, the Federal Circuit affirmed.
Capital One’s Antitrust Counterclaims
Meanwhile, the district court allowed litigation to proceed over IV’s antitrust counterclaims. The essence of Capital One’s antitrust claim was that:
IV’s business practice is to acquire a vast portfolio of thousands of patents that purportedly deal with technology essential to the types of services offered by commercial banks (such as ATM transactions, mobile banking, on-line banking, and credit card transactions). It then employs an aggressive marketing scheme whereby it makes an “offer” for banks to license (Capital One really would prefer to say “extorts” banks to license) its entire portfolio for a period of years at a jaw-droppingly high price. But, Capital One insists, when the banks ask for details about the patents covered in the portfolio in order to determine whether their services infringe them, IV refuses to disclose sufficient information to enable them to make an intelligent decision about whether they should agree to the license. And, if the bank balks at licensing the entire portfolio at IV’s take-it-or leave-it price, IV then threatens to file a patent infringement claim against the bank regarding only a few of the patents in the portfolio. Adding insult to injury, IV then makes it clear that should it lose the patent infringement case, it will simply file another (and if needed, another, and so on) regarding a different set of its patents, until the prospect of endless high-cost litigation forces the bank to capitulate and license the entire portfolio.
After extensive fact and expert discovery, IV moved for summary judgment. In relevant part, the district court rejected Capital One’s antitrust counterclaims based upon the “Noerr-Pennington” doctrine. Under Noerr-Pennington, a party (including a patent holder) who petitions the government for redress (such as by filing a complaint) is generally immune from antitrust liability.
The court noted that two exceptions to Noerr-Pennington immunity as applied to patent actions are when: (1) a patent holder knowingly enforces a patent procured by fraud (also known as the “Walker Process” fraud doctrine); and (2) the patentee engages in “sham” litigation by asserting patent claims they know are objectively baseless and with the subjective intention to interfere directly with the business relationships of a competitor.
The district court found that neither exception to immunity applies.
In particular, Capital One failed to adduce any evidence that IV’s patents were procured by fraud on the USPTO. Consequently, Capital One failed to establish a Walker Process exception to antitrust immunity.
The district court also held that the patent litigation was not a “sham.” The court focused its analysis on the objective prong of the sham litigation exception and found that multiple grounds existed for concluding that “no reasonable factfinder” could conclude that IV’s patent infringement action was “objectively baseless.”
The court noted, for example, that an independent Special Master “with significant experience in handling patent litigation” (renowned litigator Ray Lupo) wrote two comprehensive reports and recommendations, and that per Mr. Lupo’s “detailed and insightful analysis, IV did succeed on two of its patent claims: the Special Master recommended a judgment of patent eligibility for the ’084 and ’002 Patents.” The court found that “[t]his fact alone is sufficient to show that a reasonable litigant could realistically expect to succeed on the merits.”
As further support of its conclusion that IV’s patent litigation was not objectively baseless, the court also relied upon the following undisputed facts:
The patent action was filed prior to the Supreme Court’s Alice decision;
IV has not filed any additional suits against Capital One post-Alice;
IV withdrew specific claims when it was persuaded that it would not prevail;
IV appealed the district court’s patent-based rulings, “an extra step that one who did not expect to succeed likely would not bother taking.”;
IV incurred substantial litigation expenses, and the litigation involved nineteen attorneys for IV, as well as a Special Master and an economic consultant, and the docket included almost 700 entries and the documents in support of the parties’ summary judgment briefing exceed 13,000 pages;
IV did not itself prepare or prosecute the asserted patents; it acquired them from third parties and was “entitled to rely on their presumptive validity”;
In 2014, the district court in Virginia ruled that IV’s patent infringement action was not an “exceptional case” marked by “unreasonable conduct” that would justify an award of attorneys’ fees to Capital One; and
IV designated nine experts on objective reasonableness—in comparison to Capital One’s failure to designate any.
The court concluded based on these undisputed facts that “no reasonable factfinder could conclude that IV lacked probable cause to file suit.”
In addition, the court found that the antitrust claims were barred based on collateral estoppel predicated upon similar antitrust claims that Capital One had alleged, and which were dismissed, in 2014 in a patent case filed by IV in the Eastern District of Virginia.
The Maryland court noted that in the Virginia litigation, the relevant market for antitrust purposes was defined as “IV’s ‘portfolio of 3,500 or more patents that [IV] alleges cover widely used financial and retail banking services’ in the United States.” The court in Virginia held that Capital One had failed to define a legally cognizable antitrust “relevant market.”
In the Maryland case, the court noted that Capital One was alleging the same “relevant market” definition that had been considered, and rejected, in the Virginia litigation. Furthermore, the court concluded that the relevant market finding was crucial to the Virginia court’s determination, and that Capital One had a full and fair opportunity to litigate the issue. The Maryland court concluded that Capital One was estopped from arguing “that its relevant market, which has not changed materially from the relevant market alleged in the Virginia litigation, is not a relevant market for antitrust purposes.”
Consequently, based on both Noerr-Pennington immunity and collateral estoppel, the district court entered summary judgment in favor of IV on all of Capital One’s antitrust claims.
www.ipethicslaw.com/intellectual-ventures-prevails-in-cap...
Documents from the early 1990s relating to blood plasma transfusion by Henan provincial government and military blood plasma collection stations that led to the spread of HIV to many people who sold blood. The blood collection stations were closed in the mid 1990s though some continued this very profitable business underground.
HIV Blood Transfusion Disaster Documents For more information see: en.wikipedia.org/wiki/Plasma_Economy The Wound by He Aifang on the history of blood disaster sqzm14.ust.hk/hkgay/news/blood-wound.html links to US Embassy website listed in last report are dead now but can be pulled up using Internet Archive archive.org/web/web.php See also article Dr. Gao Yaojie Human Rights China at www.hrichina.org/content/4754