The roses in the People's Garden

Plan

Rosarium History - Classification

Floribunda - new color range - Casting

Tree roses - new plantings - Pests - Winter Care

Rambling Roses - fertilizing, finishes

Shrub Roses - Rose Renner - Sponsorship - variety name

The history of roses in the People's Garden

The People's Garden, located between the Imperial Palace and the ring road is famous for its beautiful roses:

1000 standard roses

4000 Floribunda,

300 rambling roses,

(Also called Rose Park) 200 shrub roses.

Noteworthy is the diversity: there are about 400 varieties, including very old plants:

1859 - Rubens

1913 - Pearl of the Vienna Woods

1919 - Jean C.N. Forestier

The above amounts are from the Federal Gardens. My own count has brought other results:

730 tree roses

2300 Floribunda

132 rambling roses

100 shrub roses

That's about 3300 roses in total. Approx. 270 species I was able to verify. Approx. 50 rose bushes were not labeled. Some varieties come very often, others only once or twice.

Molineux 1994

Rubens 1859

Medialis 1993

Swan lake 1968

Once flourished here Lilac and Rhododendron bushes

1823 People's Garden was opened with the Temple of Theseus. Then made ​​multiple extensions.

The part of today's "Rosarium" along the Ring Road was built in 1862. (Picture fence 1874)

What is so obvious to today's Vienna, was not always so: most of the beds in the People's Garden originally were planted with lilac and rhododendron.

Only after the second World War II it was converted to the present generous rose jewelry.

Since then grow along the ring side creepers, high stem and floribunda roses. On the side of Heroes Square, with the outputs, shrub roses were placed, among which there are also some wild roses.

1889 emerged the Grillparzer Monument.

(All the pictures you can see by clicking the link at the end of the side!)

Rhododendrons, output Sisi Avenue, 1930

Classifications of roses

(Wild roses have 7 sheets - prize roses 5 sheets)

English Rose

Florybunda

Hybrid Tea Rose

Rambling Rose

At the Roses in the People´s Garden are hanging labels (if they do not fall victim to vandals or for souvenirs) with the year indication of breeding, the name of breeding and botanical description:

Hybrid Tea Rose (TB): 1 master, 1 flower;

Florybunda (Flb): 1 strain, many flowers;

English Rose (Engl): mixture of old and modern varieties Tb and Flb.

Called Schlingrose, also climbing rose

Florybunda: 1 strain, many flowers (Donauprinzessin)

Shrub Roses - Floribunda - Tree roses - Climbing Roses

Even as a child, we hear the tale of Sleeping Beauty, but roses have no thorns, but spines. Thorns are fused directly to the root and can not be easily removed as spines (upper wooden containers called).

All roses belong to the bush family (in contrast to perennials that "disappear" in the winter). Nevertheless, there is the term Shrub Rose: It's a chronological classification of roses that were on the market before 1867. They are very often planted as a soloist in a garden, which them has brought the name "Rose Park".

Hybrid Tea Rose: 1 master, 1 flower (rose Gaujard )

Other classifications are:

(High) standard roses: roses are not grafted near the ground, but at a certain strain level. With that, the rose gardener sets the height of the crown.

Floribunda roses : the compact and low bushy roses are ideal for group planting on beds

Crambling roses: They have neither roots nor can they stick up squirm. Their only auxiliary tool are their spines with which they are entangled in their ascent into each other

English Rose: mixture of old varieties, hybrid tea and Florybunda (Tradescanth)

4000 Floribunda

Floribunda roses are hardy, grow compact, knee-high and bushy, are durable and sturdy

There are few smelling varieties

Polyantha classification: a tribe, many small flowers; Florybunda: a tribe, many big blossoms

New concept of color: from red to light yellow

The thousands Floribunda opposite of Grillparzer Monument shimmer (still) in many colors. From historical records, however, is indicated that there was originally a different color scheme for the Floribunda than today: At the entrance of the Burgtheater side the roses were dark and were up to Grillparzer monument ever brighter - there they were then already white.

This color range they want again, somewhat modified, resume with new plantings: No white roses in front of the monument, but bright yellow, so that Grillparzer monument can better stand out. It has already begun, there was heavy frost damage during the winter 2011/12.

Colorful roses

2011: white and pink roses

2012: after winter damage new plantings in shades of yellow .

Because the domestic rose production is not large enough, the new, yellow roses were ordered in Germany (Castor).

Goldelse, candlelight, Hanseatic city of Rostock.

Watering

Waterinr of the Floribunda in the morning at 11 clock

What roses do not like at all, and what attracts pests really magically, the foliage is wet. Therefore, the Floribunda roses are in the People's Garde poured in the morning at 11 clock, so that the leaves can dry thoroughly.

Ground sprinklers pouring only the root crown, can not be used because the associated hoses should be buried in the earth, and that in turn collide with the Erdanhäufung (amassing of earth) that is made for winter protection. Choosing the right time to do it, it requires a lot of sense. Is it too early, so still too warm, the bed roses begin to drive again, but this young shoots freeze later, inevitably, because they are too thin.

1000 Tree roses

Most standard roses are found in the rose garden.

During the renovation of the Temple of Theseus the asphalt was renewed in 2011, which was partially only a few centimeters thick, and so was the danger that trucks with heavy transports break into. Due to this construction site the entire flower bed in front had to be replaced.

Now the high-stem Rose Maria Theresia is a nice contrast to the white temple, at her feet sits the self-cleaning floribunda aspirin. Self-cleaning means that withered flowers fall off and rarely maintenance care is needed.

Pink 'Maria Theresa' and white 'aspirin' before the temple of Theseus

Standard tree rose Maria Theresa

Floribunda aspirin

The concept of the (high) standard roses refers to a special type of rose decoration. Suitable varieties of roses are not grafted near the ground, but at a certain height of the trunk. With that the rose gardener sets the height of the crown fixed (60 cm, 90 cm, 140 cm)

Plantings - Pests - Winter Care

Normally about 50 roses in the People's Garden annually have to be replaced because of winter damages and senility. Till a high standard rose goes on sale, it is at least 4 years old. With replantings the soil to 50 cm depth is completely replaced (2/3 basic soil, 1/3 compost and some peat ).

Roses have enemies, such as aphids. Against them the Pirimor is used, against the Buchsbaumzünsler (Box Tree Moth, Cydalima perspectalis) Calypso (yet - a resistance is expected).

In popular garden roses are sprayed with poison, not only when needed, but also as a precaution, since mildew and fire rose (both are types of fungi) also overwinter.

Therefore it is also removed as far as possible with the standard roses before packing in winter the foliage.

Pest Control with Poison

The "Winter Package " first is made with paper bags, jute bags, then it will be pulled (eg cocoa or coffee sacks - the commercially available yard goods has not proven).

They are stored in the vault of the gardener deposit in the Burggarten (below the Palm House). There namely also run the heating pipes. Put above them, the bags after the winter can be properly dried.

Are during the winter the mice nesting into the packaged roses, has this consequences for the crows want to approach the small rodents and are getting the packaging tatty. It alreay has happened that 500 standard roses had to be re-wrapped.

"Winter Package" with paper and jute bags

300 ambling roses

The Schlingrosen (Climbing Roses) sit "as a framing" behind the standard roses.

Schlingrose pearl from the Vienna Woods

Schlingrose Danube

Schlingrose tenor

Although climbing roses are the fastest growing roses, they get along with very little garden space.

They have no rootlets as the evergreen ivy, nor can they wind up like a honeysuckle. Their only auxiliary tool are their spines with which they are entangled in their ascent mesh.

Climbing roses can reach stature heights of 2 to 3 meters.

4 x/year fertilizing

4 times a year, the soil is fertilized. From August, but no more, because everything then still new drives would freeze to death in winter. Well-rotted horse manure as fertilizer was used (straw mixed with horse manure, 4 years old). It smelled terrible, but only for 2 days.

Since the City of Vienna may only invest more plant compost heap (the EU Directive prohibits animal compost heap on public property), this type of fertilization is no longer possible to the chagrin of gardeners, and roses.

In the people garden in addition is foliar fertilizer used (it is sprayed directly on the leaves and absorbed about this from the plant).

Finishes in the Augarten

Old rose varieties are no longer commercially available. Maybe because they are more sensitive, vulnerable. Thus, the bud of Dr. F. Debat already not open anymore, if it has rained twice.

 

Roses need to be replaced in the People's Garden, this is sometimes done through an exchange with the Augarten Palace or the nursery, where the finishes are made. Previously there were roses in Hirschstetten and the Danube Park, but the City of Vienna has abandoned its local rose population (not to say destroyed), no exchange with these institutions is possible anymore.

Was formerly in breeding the trend to large flowers, one tends to smell roses again today. Most varieties show their resplendent, lush flowers only once, early in the rose-year, but modern varieties are more often blooming.

200 shrub roses

Some shrub roses bloom in the rose garden next to the Grillparzer Monument

Most of the shrub or park roses can be found along the fence to Heroes' Square. These types are so old, and there are now so many variations that even a species of rose connoisseurs assignment is no longer possible in many cases.

The showy, white, instensiv fragrant wild rose with its large umbels near des Triton Fountain is called Snow White.

Shrub roses are actually "Old Garden Roses" or "old roses", what a time

classification of roses is that were on the market before 1867.

Shrub roses are also called park roses because they are often planted as a soloist in a park/garden.

They grow shrubby, reaching heights up to 2 meters and usually bloom only 1 x per year.

The Renner- Rose

The most famous bush rose sits at the exit to Ballhausplatz before the presidential office.

It is named after the former Austrian President Dr. Karl Renner

When you enter, coming from the Ballhausplatz, the Viennese folk garden of particular note is a large rose bush, which is in full bloom in June.

Before that, there is a panel that indicates that the rose is named after Karl Renner, founder of the First and Second Republic. The history of the rose is a bit of an adventure. President Dr. Karl Renner was born on 14 in December 1870 in the Czech village of Untertannowitz as the last of 18 children of a poor family.

Renner output rose at Ballhausplatz

He grew up there in a small house, in the garden, a rose bush was planted.

In summer 1999, the then Director of the Austrian Federal Gardens, Peter Fischer Colbrie was noted that Karl Renner's birthplace in Untertannowitz - Dolni Dunajovice today - and probably would be demolished and the old rosebush as well fall victim to the demolition.

High haste was needed, as has already been started with the removal of the house.

Misleading inscription " reconstruction"?

The Federal Gardens director immediately went to a Rose Experts on the way to Dolni Dunajovice and discovered "as only bright spot in this dismal property the at the back entrance of the house situated, large and healthy, then already more than 80 year old rose bush".

After consultation with the local authorities Peter Fischer Colbrie received approval, to let the magnificent rose bush dig-out and transport to Vienna.

Renner Rose is almost 100 years old

A place had been found in the Viennese People´s Garden, diagonal vis-à-vis the office where the president Renner one resided. On the same day, the 17th August 1999 the rosebush was there planted and in the following spring it sprouted already with flowers.

In June 2000, by the then Minister of Agriculture Molterer and by the then Mayor Zilk was a plaque unveiled that describes the origin of the rose in a few words. Meanwhile, the "Renner-Rose" is far more than a hundred years old and is enjoying good health.

Memorial Dr. Karl Renner : The Registrar in the bird cage

Georg Markus , Courier , 2012

Sponsorships

For around 300 euros, it is possible to assume a Rose sponsorship for 5 years. A tree-sponsorship costs 300 euros for 1 year. Currently, there are about 60 plates. Behind this beautiful and tragic memories.

If you are interested in sponsoring people garden, please contact:

Master gardener Michaela Rathbauer, Castle Garden, People's Garden

M: 0664/819 83 27 volksgarten@bundesgaerten.at

Varieties

Abraham Darby

1985

English Rose

Alec 's Red

1970

Hybrid Tea Rose

Anni Däneke

1974

Hybrid Tea Rose

aspirin

Florybunda

floribunda

Bella Rosa

1982

Florybunda

floribunda

Candlelight

Dagmar Kreizer

Danube

1913

Schlingrose

Donauprinzessin

Doris Thystermann

1975

Hybrid Tea Rose

Dr. Waldheim

1975

Hybrid Tea Rose

Duftwolke

1963

Eiffel Tower

1963

English Garden

Hybrid Tea Rose

Gloria Dei

1945

Hybrid Tea Rose

Goldelse

gold crown

1960

Hybrid Tea Rose

Goldstar

1966

deglutition

Greeting to Heidelberg

1959

Schlingrose

Hanseatic City of Rostock

Harlequin

1985

Schlingrose

Jean C.N. Forestier

1919

Hybrid Tea Rose

John F. Kennedy

1965

Hybrid Tea Rose

Landora

1970

Las Vegas

1956

Hybrid Tea Rose

Mainzer Fastnacht

1964

Hybrid Tea Rose

Maria Theresa

medial

Moulineux

1994

English Rose

national pride

1970

Hybrid Tea Rose

Nicole

1985

Florybunda

Olympia 84

1984

Hybrid Tea Rose

Pearl of the Vienna Woods

1913

Schlingrose

Piccadilly

1960

Hybrid Tea Rose

Rio Grande

1973

Hybrid Tea Rose

Rose Gaujard

1957

Hybrid Tea Rose

Rubens

1859

English Rose

Rumba

snowflake

1991

Florybunda

snow white

shrub Rose

Swan

1968

Schlingrose

Sharifa Asma

1989

English Rose

city ​​of Vienna

1963

Florybunda

Tenor

Schlingrose

The Queen Elizabeth Rose

1954

Florybunda

Tradescanth

1993

English Rose

Trumpeter

1980

Florybunda

floribunda

Virgo

1947

Hybrid Tea Rose

Winchester Cathedral

1988

English Rose

Source: Federal leadership Gardens 2012

Historic Gardens of Austria, Vienna, Volume 3 , Eva Berger, Bohlau Verlag, 2004 (Library Vienna)

Index Volksgartenstraße

www.viennatouristguide.at/Altstadt/Volksgarten/volksgarte...

Buy online condoms at b Condoms, and be safe . www.bcondoms.com/

GMO Monsanto on Your (Unlabelled) Alberta Plate 2014!

And

Albertarsands: Licence to Kill

 

The Province of Alberta, Canada is asking its citizens to choose a new licence plate from a selection of 3 designs, which portray a pristine Alberta which is quickly disappearing. This licence design offers another take on Alberta's "reality". ALBERTArsands Adding to the New drivers licence design possibilities for Alberta Canada which reflect the beauty of the mountains, clean air, wildlife... tarsands? Dilbit spills? Migrating birds drowning in open tailing ponds? Pipelines planned through ecologically sensitive areas?

Aboriginal people in the area developing cancer?

 

Thanks to Kris Krug for the tarsands photo! flic.kr/p/btYoAT

Thanks to MZH for the original GMO corn monster! (Which I have since modified!)

Thanks to Dawn One for the GMO cornfield photo.

GMO corn field thanks to the Canadian Government's complete disregard for the health of its citizens, and lack of respect in that they will not allow labelling of GMO products in order to inform the public.

 

Tarsands Kill Birds

www.thestar.com/news/canada/2010/09/07/birds_dying_in_oil...

 

Tarsands kill People

tarsandssolutions.org/tar-sands/human-rights

 

Tarsands Kill Trees and other living creatures... Aerial Video, Petropolis, by Peter Mettler.

petermettler.com/PETROPOLIS-2009-43-minutes

 

Monsanto GMO Round-Up Ready Corn Can Cause Damage to Liver & Kidneys & Severe Hormonal Disruption bit.ly/1mYm37M

July 9, 2014 |

A scientific study that identified serious health impacts on rats fed on 'Roundup ready' GMO maize has been republished following its controversial retraction under strong commercial pressure. Now regulators must respond and review GMO and agro-chemical licenses, and licensing procedures

The Place Nightmares Are Made Of

 

Sometimes life seems similar to a paint bucket minus the lid, being so sensitive to any movement around it, and though I may not have completely learned how to take full control of my own, sometimes having a couple of bumps and spills, I know that I am still doing something right, I mean, I must be. See, every time I look at where I left off, all I can say is "right on," because I write off the bad right off the bat. I keep the good memories for bad moments, and sometimes even these bad moments can create good memories of their own. See, life is a hectic and jumbled mess of shit and shining silver. Becoming sad in moments is great though, it shows you're still very much alive and capable of human emotion and compassion, not only that, but more often than not, there is something to be learned from it. Kind of like when you leave your car under the wrong tree in summer, while birds nest above for hours.

 

The sad sight of these post-apocalyptic scenes is, at times not far off from such similar a thought. I find beauty in these sad and desolate locations, while a lot of people may find them rather unsightly, I look past the cracking faces to see beauty within them. We must find a certain charm within this great sadness to truly be able to find full allure and happiness through the entire world surrounding us. The forgotten are a unique collection, each one being different than the last, thus how we are as people. Everything might look devastatingly broken before your eyes, but picture the good times, wonderful memories and history. Remember that not everything around you is broken like this, and if you learn to find beauty in this destruction, it will be so much easier to find beauty and happiness outside of it.

 

People previously contained within these particular walls had not been given the same gift that you and I have; the gift of free will to roam our Earth. As we enter a small town nearly 2 hours from Atlanta, we find ourselves amidst silent destruction, sat centered atop a hill within a desolate Southern town. The sweltering heat made it a sweaty chore climbing the hill headed up to the sanitarium, but at least this time we had some decently fresh water accompanying us in our backpacks. The fact that such a large structure had been left behind to collapse under the Georgia heat was alone an odd sight, but yet stranger, how incredibly quiet the town surrounding it sat. The only sounds filling the air were the slow dragging of our feet along the dusty ground of cracking sidewalks and the constant buzz of cicadas echoing from an overgrown path leading directly to the woods, where a road had previously sat.

 

Doors fitted with rotating and locking food trays lined multiple hallways. These same doors had previously been containment for the most insane of patients, while still providing a grated hole near their top so that doctors could observe all actions and behaviors. This is the place nightmares are made of.

 

While most of this empty building lays in ruination through peeling paint, rusted doors and barred windows, a separate side, practically an alternate version of time itself remains sat at its top floors. In this alternate version of time, walls have begun to fall in, while the ceiling overhead resembles a naturally created sunroof, minus the glass, spanning entire lengths of numerous hallways and rooms, inviting the sun above to shine brightly inside. Many windows have abandoned their rusted bars, tossing most of them to a floor now covered in crusted ceiling and overgrowth, while trees push through sinks, vines find their way towards the holy ceiling and gardens reside vibrantly coating fractured porcelain bathtubs. As I observe life all around me reaching in through windows with a bright emerald glow, I realize something…this silence alone could drive one insane. Has it always been this quiet? Has the neighborhood always been so void of any other life, and were people subject to sit here, feeling completely alone? Since these dark days, this type of treatment and practice has been mainly phased out, but one can only wonder what it must have been like inside a madhouse such as this.

 

Now an odd jungle of destruction, the building will slowly deteriorate, years from now becoming nothing more than ruins. Sometimes I wonder though, am I truly part of this perceived reality, or am I stuck inside a room, picturing life in some altered frames of my unconscious mind? Any one of us could be so insane that we will never know it…perception is a strange thought.

 

"Watch out. The gap in the door... it's a separate reality. The only me is me. Are you sure the only you is you?" - Silent Hills

 

www.facebook.com/UrbanExplorationUS

 

www.kickstarter.com/projects/1435240764/from-ohio-to-oreg...

Uttora Mojumder, a woman fish farmer taking care her vegetables garden beside the pond dike for nutrition sensitive aquaculture at Goaldhanga, Jashore.

My computer screen at work showing jobs for January 11th. These jobs are time sensitive and must be picked up on time and delivered on time! Notice we work on military time to avoid AM-PM confusion. Taken with my Blackberry and uploaded from it to Flickr.

Posted a little early for the Monday Photo Challenges and Thursday Retreads Group.

This aircraft is perhaps the ultimate air-to-air fighter of WWII. It is an absolute marvel of engineering and, as always with North American aircraft it is gentle, sensitive, and responsive. In other words, it flies exactly the way an aircraft should fly. Perhaps more interestingly, however, is the manner in which it came into being.

 

The Royal Air Force had been using Curtiss P-40s in North Africa but needed many more aircraft than Curtiss was able to produce. They approached North American with a request to build more P-40s for them. The engineers at North American stated that they could build a new fighter, far superior to the P-40 and do it in the same time than they could tool up to produce P-40s. One hundred and twenty-two days after the first time it was drawn on drafting paper, the first P-51 broke ground for its initial test flight. Needless to say, it was a smashing success.

 

The early P-51s used Allison engines, which had single stage superchargers. These gear-driven superchargers were unable to provide the power required at altitudes above 15,000 feet. After taking delivery of 600 P-51A’s the British made a switch to the British Rolls Royce Merlin engine. The Merlin had a dual-stage supercharger and performed excellently at 35,000 feet. More than that, the Merlin equipped P-51s had more power at 30,000 feet than they did at takeoff with the Allison and they did it on half the fuel consumption.

 

North American changed to the P-51B which had the Packard built Merlin engines and delivered them in large quantities to the British. It was many months before the American military recognized what a great airplane the P-51 was and then started ordering them from North American.

 

It was the British who named this plane the “Mustang.” Originally ordered by the British, redesigned by the British using a British engine and first adopted by the British as an operational fighter, this history makes the P-51 almost a British airplane that eventually became an American airplane.

 

A very agile, nimble and maneuverable fighter, the P-51 was ideally suited for escort duty in Europe. Once fitted with twin drop tanks, the Mustang was able to escort the B-17s and B-24s all the way from East Anglia on the east coast of England to Berlin and back. Once out of enemy territory on the return leg, the P-51s would leave the bombers and dive for the deck looking for targets of opportunity. Trains, truck convoys, troops, airfields, tanks, whatever enemy targets came into view were wide open to these wolf packs, as they were sometimes called. Unfortunately, it was in this role that most of them were lost.

Striking ground installations of any kind is a very dangerous occupation, particularly in the P-51. Typical of any aircraft which had a liquid cooled V-12 engine, there were four coolant lines running along the belly of the aircraft—a hot line to the heat exchanger and a cool return line for each bank of cylinders. These lines present the most vulnerable spot on the aircraft. One stray bullet in any one of these lines would cause a complete loss of cooling and, in a matter of minutes, the engine would overheat and catastrophic engine failure would occur.

 

The P-51 was kept in the USAAF inventory and was still the mainstay fighter when the USAF became a separate service. At the outbreak of the Korean War in June 1950, they became the very first fighter to go into combat. The North Koreans (many of whom were really Russians) were flying MIG-15s and MIG-17s that, of course, were jet fighters. In spite of the terrible mismatch of some 100 miles per hour, or so, the Mustangs made a good showing until they could finally be replaced with the F-80’s, F-84’s and particularly the F-86’s.

 

An interesting side note is that most of the international speed records for prop driven aircraft (usually established at the Reno International Air Races) are held by modified P-51s. This truly was a fabulous aircraft; one of the greatest of all times.

 

The P-51 was built at North American Aviation located at Inglewood, California and Dallas, Texas. A total of 15,019 of these beautiful fighters were built, 200 of them under license in Australia.

 

Operational Information

The P-51 Mustang has had a very long and glorious career as a fighter aircraft. In combat in almost every theatre during World War II, Korea, the racing circuit and airshows throughout the world, there it is—the best of the best.

 

The P-51D was the first model to incorporate the bubble canopy. Vision is a matter of survival with fighter pilots and this was a huge improvement in the area of visibility.

 

Packard Motor Company of Detroit, Michigan built the Merlin engine that powered the P-51, under contract from Rolls Royce. While there may be little bias involved, many pilots rated the Packard-build superior to the Rolls Royce. Several of these aircraft were involved in downing of the German ME-262 jet fighters. In addition to the USAAF, they were operated by 55 different countries.

 

Specifications and Performance

Power Plant:

Rolls Royce Merlin V-1650, 12 Cylinder V Inline, Liquid cooled.

Dimensions:

Length: 32 ft. 10 in.

Wingspan: 37 ft. 1 in.

Height: 13 ft. 8 in.

Weight: 7,125 lb. empty, 11,600 lb. max.

Performance:

Maximum Speed: 435mph

Maximum Range: 2,080 miles.

Service Ceiling: 42,000 ft.

Armament:

Six .50 Caliber Machine Guns, Wing Mounted

Two 1,000 lb. Bombs.

 

History of the P-51D, N151BP, at Palm Springs Air Museum

North American P-51D-25NT, Serial Number 44-84753 was built in Dallas, Texas. It was equipped with racks for four 5-inch rockets, two 500 lb. bombs or two 1,000 lb. bombs. Delivered to the USAAF on 21 June 1945, it was immediately ferried to Bakersfield, California and joined the 31st Fighter Squadron, Fighter Group at Palmdale, California on 10 July 1945. The group deployed immediately thereafter to Santa Maria, Army Air Force, California, where it became a part of the 4th Air Force, responsible for the air defense of the United States.

 

On December 4, 1945, it was transferred to March Army Air Force, California. On May 16, 1946, it was transferred to Hobbs Army Air Force for storage, thence to Kelly Army Air Force for storage and in 1948, designated an F-51D-25.

 

On September 8, 1950, it was sent to Hensley Field, Texas for work. Upon completion, on 31 March 1951 it was assigned to 131st Fighter Squadron, Strategic Air Command, Bergstrom AFB, Texas. The 131st was transferred to George AFB, California on August 10, 1951 and in November 1951, was assigned to Tactical Air Command.

 

On September 5, 1952, the aircraft was transferred to Pope AFB, North Carolina and on November 2, 1953 was transferred to the Kentucky Air National Guard at Louisville, Kentucky. It was ferried to McClellan AFB, California for storage on October 19, 1956 and dropped from the USAF inventory on September 16, 1957 having logged 1,229 hours of flying time.

 

On February 12, 1958, it was purchased by Hammer Crop Dusters, Sacramento, California. The fuselage tank was removed and a rear seat installed. On December 3, 1961 it was sold to R. L. Rodman and painted red. It was again sold to M.L. Grant on 24 May 1965. In May 1984, it was sold again to Ted Contri of Reno, Nevada and painted all red with black and white trim and stripes.

 

In 1987, it was purchased by Planes of Fame East, registered and painted in a blue and white scheme which was common but incorrect as an interpretation of an Eighth Air Force configuration.

 

In the spring of 1997, it became a part of the Palm Springs Air Museum, where it participated in several flight demonstrations.

 

In January 2012, the aircraft was painted to replicate the fighter of Lt. Bob Friend to honor the Tuskegee Airmen. The signatures of the airmen attending its dedication adorn the horizontal elevator.

 

Today the aircraft is a part of the Palm Springs Air Museum Warbird Ride Program. When it is not flying, P-51D, NL151BP is at home in the museums European Hangar.

   

special thnx to green butttt...lol...

bubba found some very delicate light, and i photographed him in it.

The course of life brought me here.

Was it my choice? well, I suppose it was.

It was my choice, but life had its course paved for me already.

Facebook

My blog

My pictures on 500px

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.

I hope that isn't the hole they have cut out for the dog flap.

Buma Boy Edgar Price 2015

Tineke Postma

@ Bimhuis

Amsterdam (NL)

 

TINEKE POSTMA QUARTET

Tineke Postma - alto saxophone, soprano saxophone

Marc van Roon - piano

Frans van der Hoeven - bass

Martijn Vink - drums

 

DUO TINEKE POSTMA & JASPER VAN ’T HOF

Tineke Postma - alto saxophone

Jasper van ’t Hof - piano, keyboards, electronics

 

SONIC HALO FEAT. TERRI LYNE CARRINGTON

Tineke Postma - alto saxophone, soprano saxophone

Greg Osby - alto saxophone, soprano saxophone

Reinier Baas - guitar

Florian Weber - piano

Clemens van der Feen - bass

Terri Lyne Carrington - drums

 

PRESENTATION

Hadassah de Boer

 

AFTER PARTY

DJ Ruben van Roon

 

The Buma Boy Edgarprijs, the most important Dutch prize for jazz and improvised music, has been awarded to saxophonist, composer and band leader Tineke Postma. As part of the prize, Postma will curate a concert night at the Bimhuis on December 9, 2015. During that occasion she will be presented with the award, consisting of a sum of €12,500 and a sculpture made by Jan Wolkers.

 

Even before she graduated cum laude at the Conservatory of Amsterdam, Tineke Postma’s extraordinary talent was noted in The Netherlands and abroad. Technique, lyricism, a startling sense of harmony, innovative compositions and an instantly recognizable sound characterize the 1978 born saxophonist. She often travelled to New York to live and work there and become part of the local jazz scene. Thus she gradually built a name for herself in the Mecca of jazz. For For American top notch musicians such as Geri Allen (piano), Terri Lyne Carrington (drums), Esperanza Spalding (bass) it’s a creative challenge to work with her. With her former mentor saxophonist Greg Osby she leads the group ‘Tineke Postma & Greg Osby Sonic Halo’. She tours all over the world, also with her Dutch groups like the Tineke Postma Quartet. Postma has numerous prestigious music prizes to her name and received rave reviews for the six albums she released.

 

Excerpts from the jury report:

“Tineke Postma has a remarkable combination of cosmopolitanism and Dutch levelheadedness. How a modest Frisian musician made a career for herself with her own American band and collaborated with the best.

…. both on alto and soprano saxophone her tone is direct and without adornment. Her luggage has no room for clichés, snags or frills, she picks her notes fastidiously relying on a great sense of melody and harmony.

Throughout her career the saxophonist has proved to be an excellent band leader…..

Due to her respect for other people’s talents, she leads her own groups with a sensitive and therefore natural authority – a quality that pays off in her sidemen’s contributions, surely lifting her ensembles to a higher level.

Notwithstanding the fact that Tineke Postma is an established name and an unmistakable ambassador of Dutch jazz, she disposes over enough individuality, guts, passion and potential to develop her own style of contemporary jazz both in the Netherlands and abroad.”

 

The jury of the Buma Boy Edgarprijs 2015 consists of:

Micha de Kanter, Chairman (recording engineer of Mideka Music Recording)

Willem Kniknie, Secretary (director of MuziekPodium Zeeland, programmer of International Jazz Festival Middelburg)

Nicolle Leenhouwers (programmer ProJazz, Jazz070 and Cutting Edge Jazz Festival, The Hague)

Niels Nieuborg (programmer of the North Sea Jazz Club, Amsterdam)

Cees van de Ven (journalist/photographer of draaiomjeoren.com, programmer JazzCase, Neerpelt, Belgium)

The prize and its history

 

The Buma Boy Edgarprijs is awarded every year to an artist that has been distinguishing for quite some time because of his significant contribution, creatively, to the buoyancy of Dutch jazz and improvised music. The organisers of the Buma Boy Edgarprijs and the concert night are the Boy Edgarprijs Foundation together with the Bimhuis. Recent prize winners are Anton Goudsmit (2010), Ferdinand Povel (2011), Yuri Honing (2012), Oene van Geel (2013) and Jeroen van Vliet (2014).

  

Photo © Eddy Westveer

www.eddywestveer.com

All rights reserved.

 

The use of this photo without written permission is prohibited.

 

This photo and more are available in high resolution.

Contact me for license to use.

Visit www.jazzisnotdead.com.

 

PHOTO 20151209_EW

Usually, I don't like stickers... but there are a few exceptions.

Or just reading her cell-phone...

Animated-Gif-A-Day by Nick DeMarco 2009

 

view at full size or at

 

gifaday.tumblr.com

One of the perks of being a blogger is all the products that I receive all the time for review. I try to only accept the ones I think will work for me and my skin type; because my skin type is extremely sensitive. Here I am sharing with you a few of my favorite Fall beauty products for the month ...

 

rossanavanoni.com/fall-beauty-products-review-october-2015/

Closing workshop of the Project “Sustainable Soil Management for Nutrition-sensitive Agriculture in sub-Saharan Africa and Southeast Asia” held in Dhaka, Bangladesh in August 2022. ©FAO Bangladesh

Walk at Burham Overy Staithe

Executives International hosted a Forum Dinner at Lausanne Palace Hotel, titled: Workplace privacy and sensitive data protection

 

Guest Speaker: Sébastien Fanti

Find out more about Executives International and our upcoming events in Suisse Romande region www.executives-int.ch/

myhealingmoments.blogspot.com.es/2012/04/day-175.html

 

Annotation: I´m developing a 365 project which includes not only a daily photo, but also a daily post in my blog. This is the number 175. If you want to see all the photos: www.flickr.com/photos/healingmoments/sets/72157627759889118/

[WALLPAPER] 4minute: Hyuna - her sensitive side #Hyuna #4minute #KPop bit.ly/J67Dda 5 sizes FREE

An afternoon in the field, low light, and a small but warm image before my eyes.

Taken for '52 in 2019 Challenge' group. Theme '45. Sensitive'.

 

August 31, 2022 - New York City - Governor Kathy Hochul today, with New York City Mayor Eric Adams, addressed new public safety actions ahead of new gun laws going into effect in New York state. Starting tomorrow, concealed weapons will no longer be permitted on subways, in bars, and in sensitive locations including Times Square. The boundaries around Times Square will extend from Sixth Avenue to Eighth Avenue and from West 40th Street to West 53rd Street. “Guns Free Zone” signage will be posted along those boundaries and within Times Square saying guns are prohibited in the area. Learn more at gun safety.ny.gov Joining the Governor and the Mayor at today’s announcement were New York City Police Department Commissioner Keechant Sewell, New York State Police First Deputy Superintendent Steven Nigrelli, and New York City Council Speaker Adrienne Adams. (Kevin P. Coughlin / Office of Governor Kathy Hochul)

Sensitive & colorful knitting

for the SariSilkProject

on the Silk Road to heaven....

 

incorporated buttons

not only for fastening issues

mixed with stashed materials of all sorts & processed blindfolded

to create a result

much different from anything

you have ever seen so far....

 

infinite wearing options

like most of my creations

 

The long term project

was initiated & inspired

by a totally unexpected donation

of a gorgeous assortment

of precious sarisilk

ready to knit

by my dear friend

Kerstin & her Wollmobil

- VIELEN DANK nach Detmold ;-))

 

www.das-wollmobil.de/

   

www.lampadesign.com/scheda.php?id=48

 

This shady spot is brought to you by our private lands biologists who restore habitat for wildlife and people across the region. Enjoy!

 

Photo by Meredith Bryant/USFWS.

Pattern or design produced by placing opaque or transparent objects between a light sensitive emulsion and a light source.By this method images can be produced direct onto printing paper without the use of a camera.After exposure to light the photographic material is developed normally.

  

Some of the first photographic images made were photograms. William Henry Fox Talbot called these photogenic drawings, which he made by placing leaves and pieces of material onto sensitized paper, then left them outdoors on a sunny day to expose. This produced a dark background with a white silhouette of the object used.

all rights reserved © Pedro Miguel Barreiros

 

the copy, edition, publication, commercialization or reproduction of any images of this gallery are not allowed without my expressed permission.

Mimosa pudica

I've added Shadow Tracker's head for a decidedly stranger alternate take on my small-scale (1:18) attempt at the never-produced Sigma 6 Short-Fuze figure. See the first comment below for a close-up portrait.

Pampers Nappies. Click here for more details.

Sari silk longterm project

sari silk fusion

with stashed art yarns

kamikaze knitting

pattern crochet

freeform experimental

some call it visionary vanguard

 

wearable flipped

upside down

flipped & upside down

 

front closure with 2 matching fabric ribbons

 

www.MizzieMorawez.etsy.com

 

www.mizziemorawez.blogspot.com

 

This work on nutrition-sensitive landscapes is carried out by Bioversity International in partnership with the Farming Systems Ecology (FSE) group from Wageningen University and the Earth Institute at Columbia University, to characterize the Barotse landscape and its current farming systems. It is part of the CGIAR Research Program on Aquatic Agricultural Systems (AAS) and the CGIAR Research Program on Agriculture for Nutrition and Health (A4NH).

 

www.bioversityinternational.org/news/detail/farming-syste...

 

www.bioversityinternational.org/news/detail/a-gender-pers...

 

Credit: Bioversity International/E.Hermanowicz

 

Alfredo Ceschiatti

Alfredo Ceschiatti (Belo Horizonte MG 1918 - Rio de Janeiro 1989). Sculptor, designer, teacher. In 1938, he traveled to Italy and is interested, above all, works by Renaissance artists. In 1940, in Rio de Janeiro, he entered the National School of Fine Arts - Enba, where he studied sculpture with Corrêa Lima (1878-1974). Attended the studio installed in the National Library, Rio de Janeiro, along with Bruno Giorgi (1905 - 1993) and José Pedrosa (1915-2002). Creates, in 1944, the bas-relief of the Church of St. Francis of Assisi in Pampulha in Belo Horizonte, ordered by Oscar Niemeyer (1907-2012). The following year he wins with this work the prize trip abroad at the 51st National Salon of Fine Arts in Rio de Janeiro. Between 1946 and 1948 remains in Europe. His first solo exhibition takes place at the headquarters of the Institute of Architects of Brazil - IAB, in Rio de Janeiro in 1948. In 1956 he is part of the winning team of the design competition for the Monument to the Dead of World War II, in Rio de Janeiro. In the early 1960s, he teaches sculpture and drawing at the University of Brasilia - UNB. Several of his works are in public spaces and buildings, including the Palácio da Alvorada, the Praça dos Três Poderes and the Palácio dos Arcos in Brasilia; the Memorial da América Latina and the Praça da Sé in São Paulo; and the Embassy of Brazil in Moscow.

The Alfredo Ceschiatti sculptures are present in important public spaces of Brasilia as the Duas Irmãs (1966), in the Palácio dos Arcos; and the Angels (1970) and the Evangelists (1968) in the Cathedral of Brasilia. The sculptor explores quite the female figure, represented in his works with curvilinear forms, pure, rounded, they have, as a counterpoint, the movement of the draperies.

Ceschiatti develops his sculptures through a sensitive route, as pointed out by the art critic Sheila Leimer, providing balance and lightness to works like the Angels in the Cathedral of Brasilia, or Contorcionista (1952). The artist, who is very interested by the baroque, rescues some elements of this tradition in several of his works, combining them to more formal simplification.

See: enciclopedia itaú cultural

 

Cathedral of Brasília

The Catedral Metropolitana Nossa Senhora Aparecida (Metropolitan Cathedral of Our Lady of Aparecida) is the Roman Catholic cathedral serving Brasília, Brazil, and serves as the seat of the Archdiocese of Brasília. It was designed by Oscar Niemeyer, and was completed and dedicated on May 31, 1970. The cathedral is a hyperboloid structure constructed from 16 concrete columns, weighing 90 tons each.

A 20-meter tall bell tower containing four large bells, donated by Spanish residents of Brazil and cast in Miranda de Ebro, stands outside the cathedral.

Visitors enter into the cathedral through a dark tunnel and emerge into a bright space with a glass roof. The outer roof of the cathedral is composed of sixteen pieces of fiberglass, each 10 meters wide at the base and 30 meters long inserted between the concrete pillars. Under this is suspended a 2,000-square-meter stained glass work originally created in 1990 by Marianne Peretti, in shades of blue, green, white, and brown.

Inside the cathedral over the nave are sculptures of three angels, suspended by steel cables. The shortest is 2.22 meters long and weighs 100 kilograms, the middle one 3.4 meters long and weighs 200 kilograms, and the largest is 4.25 meters long and weighs 300 kilograms. The sculptures are by Alfredo Ceschiatti, with the collaboration of Dante Croce in 1970.

The altar was donated by Pope Paul VI. The image of the patron saint Our Lady of Aparecida is a replica of the original which is in Aparecida - São Paulo. The Way of the Cross is a work of Di Cavalcanti.

The Cathedral of Brasilia, officially the Metropolitan Cathedral of Our Lady of Aparecida (Catedral Metropolitana Nossa Senhora Aparecida), dedicated to the Blessed Virgin Mary under her title of Our Lady of Aparecida, proclaimed by the Church as Queen and Patroness of Brazil, was designed by the architect Oscar Niemeyer.

This concrete-framed hyperboloid structure, appears with its glass roof to be reaching up, open, to heaven. Most of the cathedral is below ground, with only the 70-meter diameter 42-meter roof of the cathedral, the ovoid roof of the baptistry, and the bell tower visible above ground. The shape of the roof is based in a hyperboloid of revolution with asymmetric sections. The hyperboloid structure consists of 16 identical concrete columns assembled on site. These columns, having hyperbolic section and weighing 90 tonnes, represent two hands moving upwards to heaven.

The cornerstone was laid on September 12, 1958, and the structure was finished on April 21, 1960, with only the roof structure visible above ground. The cathedral was consecrated on October 12, 1968 (still with no roof), and was officially opened by Cardinal D. Eugenio Salles on May 31, 1970. The ovoid baptistry was dedicated on October 5, 1977, and the cathedral was declared a national historic and artistic monument on July 15, 1990.

The cathedral receives 1,000,000 visitors each year.

See: Cathedral of Brasília

Beautiful flower, but the neat trait of this plant is that the leaves close when touched.

Carlyn and I encountered this interesting plant on our visit to a coffee grower near Kona on the Big Island. It's called the Sensitive Plant (Mimosa pudica). Our tour guide, a young high school, pointed it out and said that she loved the plant as a kid. I was immediately fascinated, so I used the video features of my new Canon G9 to grab some quick footage. Apparently this plant is native to central america and is now officially a weed in Hawaii. It's still cool though.

Sensitive plant / Sensitive

This is one of the dishes prepared on site for a food fair held by Bioversity and WorldFish in the Barotse floodplain, Zambia. The food was judged in a competition for the most nutritious dish.

 

This work on nutrition-sensitive landscapes is carried out by Bioversity International in partnership with the Farming Systems Ecology (FSE) group from Wageningen University and the Earth Institute at Columbia University, to characterize the Barotse landscape and its current farming systems. It is part of the CGIAR Research Program on Aquatic Agricultural Systems (AAS) and the CGIAR Research Program on Agriculture for Nutrition and Health (A4NH).

 

www.bioversityinternational.org/news/detail/farming-syste...

 

www.bioversityinternational.org/news/detail/a-gender-pers...

 

Credit: Bioversity International/E.Hermanowicz