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Mary Catherine Docherty was sentenced to 7 days hard labour after being convicted of stealing iron along with her accomplices: Mary Hinnigan, Ellen Woodman and Rosanna Watson.
Age (on discharge): 14
Height: 4.9
Hair: Red
Eyes: Dark Blue
Place of Birth: Newcastle
Status: Single
These photographs are of convicted criminals in Newcastle between 1871 - 1873.
Reference:TWAS: PR.NC/6/1/1208
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
I was tagged by Babs and DeanReen , thanks Babs and Deany!!! :) Anyone who sees this - please feel free to join in!
1.) Well Mod Barbie Lover, How are you?
HOT! The bloody extreme Aussie weather is so getting to me! Everyone just sees our glorious sunshine and beaches, but it is RARELY like that over summer... more like oppressively hot, very humid and sticky, with massive thunderstorms every five minutes that wipe out whole suburbs! ( and no power/water etc!!!)
2.) What is the meaning behind your Flickr name?
Pretty self explanatory!
3.) Sexuality?
Yes PLEASE! LOL
4.) Decorating?
I aspire to clean-lined minimalism (Mickey Rourke's apartment in '9'1/2 weeks' was my dream apartment back in the 80's!) but the reality is more 'shabby chic'- approaching 'Grey Gardens' when I haven't cleaned in a while! (Though minus the wildlife... ewww!)
5.) Did doll collecting influence your life in any way?
ABSOLUTELY!!! Like most people who work in the fashion industry, Barbie was my first 'client' and my first connection to the fashion world, so she was a HUGE influence! Nowadays, my collecting is definitely a form of therapy, as it is with others, but I LOVE the research the most! (One of my first jobs was researcher and editorial assistant at a fashion magazine!)
6.) What does your family think about you as a doll collector?
They don't really know about it yet! Though my workmates do and they think it's really cool, actually!
7.) What might be your biggest fear?
Have TOO MANY to mention and can't rate them! LOL But probably dying alone tops my list.
8.) if you could meet anyone on earth, who would it be?
Yves Saint Laurent when he was young and happy... Christian Dior (just reading his autobiography - yes, he actually wrote one, which is amazing since he died so suddenly and at an age before designers usually write their memoirs!) and he seemed to be a sweet, humble, sensitive and very funny man! Coco Chanel because she would be SOOO entertaining... and I always REALLY get on with b****es! LOL... Nelson Mandela, though I would probably be way too intimidated to say anything!!! Oh and yes, Jon Hamm! OBVIOUSLY!!! hehehehehe
9.) Grab a book nearest to you, turn to page 23, read me line 17 (if it’s the start of a sentence, finish the sentence)
"Eventually I fled from the growing materials on the landing, and even found myself working on the steps of the staircase."
– Dior By Dior (talking about the preparation of his first collection that launched his famous 'New Look'.)
10.) What do you think about the most?
My next deadline, and what on EARTH am I gonna do for it... And of course my Barbie/Francie/Skipper/Christie/Stacey/ Ken etc. etc. addiction, my next purchase, and the next Barbie photo I will take!
11.) What does your latest text message from someone else say?
"Hey how R U today? Hot as HADES, Yah?" (A friend from work)
12.) Do you sleep with or without clothes on?
I wear Chanel No.5! (Not really, but I LOVE when Marilyn Monroe said that when asked what she wore to bed.)
13.) What is your strangest talent?
I can touch my nose with my tongue!!!
14.) Girls.... (finish the sentence); Boys.... (finish the sentence)
Girls... are for dressing
Boys... are for UNdressing! HA!
15.) Ever had a poem or song written about you?
Nope... but my high school buds used to mangle Michael Jackson's 'Smooth Criminal' and sing 'Eddi are you WALKING?' ... so does that count?
16.) When was the last time you played the air guitar?
I play no musical instruments, imaginary or otherwise . (Though I DID play the Tuba in a high school band when I was forced into it by the music teacher. I had chapped lips for months!)
17.) Do you have any strange phobias?
Driving. I learnt and everything, but I always think I will smash into a wall or pole or something... ( and had lots of accidents anyway!)
18.) Ever stuck a foreign object up your nose?
I think some straws at a party while at school... when I was drunk!
19.) Backpacks or satchels?
Backpacks in the 80's ( I had a GORGEOUS faux leather Prada rip-off one from the Gap that I wore to death) But now... DEFINITELY satchels!
"Stop the car!" is probably the most heard sentence of my boyfriend. Dartmoor's simply too beautiful to just pass by.
Evening light at Fehren.
Nikon D800E, AF-S Nikkor 70-200 mm f/2.8 G ED VR II @ 70 mm, Lee Hard 0.6 ND, Lee Circular PL, ISO 50, f/8, 1/13 second.
He is carried towards the light. There lived with superior peace.
Still, there's some stones with which. I can trip over and pepper to eat.
Bryan Mackenzie Redden is serving 44 years to Life for the murder of a mother and her daughter. The two were killed after he had broken into their home to burglarize them while Redden was high. Redden is housed at Elmira Correctional Facility in New York and is eligible for parole in August 2061
The young man above was sentenced to do 14 days hard labour and 5 years reformation for stealing money in 1873.
Age (on discharge): 15
Height: 4.11
Hair: Light Brown
Eyes: Grey
Place of Birth: Gateshead
Status: Single
Occupation: Glassmaker
These photographs are of convicted criminals in Newcastle between 1871 - 1873.
Reference: TWAS: PR.NC/6/1/1135
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
"The patient is young" is true to some degree – the lower the age of the patient (measured e.g. in years), the more the sentence is true. The word Advaita is a composite of two Sanskrit words: Advaita is often translated as "non-duality," but a more apt translation is "non-secondness." Advaita has several meanings: As Gaudapada states, when a distinction is made between subject and object, people grasp to objects, which is samsara. By realizing one's true identity as Brahman, there is no more grasping, and the mind comes to rest. Nonduality of Atman and Brahman, the famous diction of Advaita Vedanta that Atman is not distinct from Brahman; the knowledge of this identity is liberating. Monism: there is no other reality than Brahman, that "Reality is not constituted by parts," that is, ever-changing 'things' have no existence of their own, but are appearances of the one Existent, Brahman; and that there is in reality no duality between the "experiencing self" (jiva) and Brahman, the Ground of Being. The word Vedānta is a composition of two Sanskrit words: The word Veda refers to the whole corpus of vedic texts, and the word "anta" means 'end'. The meaning of Vedānta can be summed up as "the end of the vedas" or "the ultimate knowledge of the vedas". Vedānta is one of six orthodox schools of Hindu philosophy. Truth of a fuzzy proposition is a matter of degree. I recommend to everybody interested in fuzzy logic that they sharply distinguish fuzziness from uncertainty as a degree of belief (e.g. probability). Compare the last proposition with the proposition "The patient will survive next week". This may well be considered as a crisp proposition which is either (absolutely) true or (absolutely) false; but we do not know which is the case. We may have some probability (chance, degree of belief) that the sentence is true; but probability is not a degree of truth. In metrology (the science of measurement), it is acknowledged that for any measure we care to make, there exists an amount of uncertainty about its accuracy, but this degree of uncertainty is conventionally expressed with a magnitude of likelihood, and not as a degree of truth. In 1975, Lotfi A. Zadeh introduced a distinction between "Type 1 fuzzy sets" without uncertainty and "Type 2 fuzzy sets" with uncertainty, which has been widely accepted. Simply put, in the former case, each fuzzy number is linked to a non-fuzzy (natural) number, while in the latter case, each fuzzy number is linked to another fuzzy number.Problems of vagueness and fuzziness have probably always existed in human experience. From ancient history, philosophers and scientists have reflected about those kinds of problems. The ancient Sorites paradox first raised the logical problem of how we could exactly define the threshold at which a change in quantitative gradation turns into a qualitative or categorical difference. With some physical processes this threshold is relatively easy to identify. For example, water turns into steam at 100 °C or 212 °F (the boiling point depends partly on atmospheric pressure, which decreases at higher altitudes). With many other processes and gradations, however, the point of change is much more difficult to locate, and remains somewhat vague. Thus, the boundaries between qualitatively different things may be unsharp: we know that there are boundaries, but we cannot define them exactly. The Nordic myth of Loki's wager suggested that concepts that lack precise meanings or precise boundaries of application cannot be usefully discussed at all.[9] However, the 20th-century idea of "fuzzy concepts" proposes that "somewhat vague terms" can be operated with, since we can explicate and define the variability of their application by assigning numbers to gradations of applicability. This idea sounds simple enough, but it had large implications. The intellectual origins of the species of fuzzy concepts as a logical category have been traced back to a diversity of famous and less well-known thinkers,[10] including (among many others) Eubulides, Plato, Cicero, Georg Wilhelm Friedrich Hegel,[11] Karl Marx and Friedrich Engels, Friedrich Nietzsche, Hugh MacColl,[13] Charles S. Peirce, Max Black,[15] Jan Łukasiewicz,[16] Emil Leon Post, Alfred Tarski,Georg Cantor, Nicolai A. Vasiliev,[19] Kurt Gödel, Stanisław Jaśkowski[20] and Donald Knuth. Across at least two and a half millennia, all of them had something to say about graded concepts with unsharp boundaries. This suggests at least that the awareness of the existence of concepts with "fuzzy" characteristics, in one form or another, has a very long history in human thought. Quite a few logicians and philosophers have also tried to analyze the characteristics of fuzzy concepts as a recognized species, sometimes with the aid of some kind of many-valued logic or substructural logic. An early attempt in the post-WW2 era to create a theory of sets where set membership is a matter of degree was made by Abraham Kaplan and Hermann Schott in 1951. They intended to apply the idea to empirical research. Kaplan and Schott measured the degree of membership of empirical classes using real numbers between 0 and 1, and they defined corresponding notions of intersection, union, complementation and subset.[22] However, at the time, their idea "fell on stony ground".[23] J. Barkley Rosser Sr. published a treatise on many-valued logics in 1952, anticipating "many-valued sets".[24] Another treatise was published in 1963 by Aleksandr A. Zinov'ev and others In 1964, the American philosopher William Alston introduced the term "degree vagueness" to describe vagueness in an idea that results from the absence of a definite cut-off point along an implied scale (in contrast to "combinatory vagueness" caused by a term that has a number of logically independent conditions of application). The German mathematician Dieter Klaua [de] published a German-language paper on fuzzy sets in 1965, but he used a different terminology (he referred to "many-valued sets", not "fuzzy sets"). Two popular introductions to many-valued logic in the late 1960s were by Robert J. Ackermann and Nicholas Rescher respectively.] Rescher's book includes a bibliography on fuzzy theory up to 1965, which was extended by Robert Wolf for 1966–1974.[30] Haack provides references to significant works after 1974.[31] Bergmann provides a more recent (2008) introduction to fuzzy reasoning.
According to the modern idea of the continuum fallacy, the fact that a statement is to an extent vague, does not automatically mean that it is invalid. The problem then becomes one of how we could ascertain the kind of validity that the statement does have.Nondualism is a fuzzy concept, for which many definitions can be found. According to David Loy, since there are similar ideas and terms in a wide variety of spiritualities and religions, ancient and modern, no single definition for the English word "nonduality" can suffice, and perhaps it is best to speak of various "nondualities" or theories of nonduality.[10] Loy sees non-dualism as a common thread in Taoism, Mahayana Buddhism, and Advaita Vedanta,distinguishes "Five Flavors Of Nonduality":
Advaita, nondual awareness, the nondifference of subject and object, or nonduality between subject and object. According to Loy, in the Upanishads " It is most often expressed as the identity between Atman (the self) and Brahman.". Monism, the nonplurality of the world. Although the phenomenal world appears as a plurality of "things", in reality they are "of a single cloth". Brahmanical and non-Brahmanical ascetic traditions of the first millennium BCE developed in close interaction, utilizing proto-Samkhya enumerations (lists) analyzing experience in the context of meditative practices providing liberating insight into the nature of experience. The first millennium CE saw a movement towards postulating an underlying "basis of unity," both in the Buddhist Madhyamaka and Yogacara schools, and in Advaita Vedanta, collapsing phenomenal reality into a "single substrate or underlying principle." From Dualism to Oneness in Psychoanalysis: A Zen Perspective on the Mind-Body Question focuses on the shift in psychoanalytic thought, from a view of mind-body dualism to a contemporary non-dualistic perspective. The Perennial philosophy has its roots in the Renaissance interest in neo-Platonism and its idea of The One, from which all existence emanates. Marsilio Ficino (1433–1499) sought to integrate Hermeticism with Greek and Jewish-Christian thought, discerning a Prisca theologia which could be found in all age Giovanni Pico della Mirandola (1463–94) suggested that truth could be found in many, rather than just two, traditions. He proposed a harmony between the thought of Plato and Aristotle, and saw aspects of the Prisca theologia in Averroes, the Koran, the Cabala and other sources. Agostino Steuco (1497–1548) coined the term philosophia perennis."Dual" comes from Latin "duo," two, prefixed with "non-" meaning "not"; "non-dual" means "not-two." When referring to nondualism, Hinduism generally uses the Sanskrit term Advaita, while Buddhism uses Advaya (Tibetan: gNis-med, Chinese: pu-erh, Japanese: fu-ni). "Advaita" (अद्वैत) is from Sanskrit roots a, not; dvaita, dual. As Advaita, it means "not-two." or "one without a second," and is usually translated as "nondualism", "nonduality" and "nondual". The term "nondualism" and the term "advaita" from which it originates are polyvalent terms. "Advaya" (अद्वय) is also a Sanskrit word that means "identity, unique, not two, without a second," and typically refers to the two truths doctrine of Mahayana Buddhism, especially Madhyamaka.
The English term "nondual" was informed by early translations of the Upanishads in Western languages other than English from 1775. These terms have entered the English language from literal English renderings of "advaita" subsequent to the first wave of English translations of the Upanishads. These translations commenced with the work of Müller (1823–1900), in the monumental Sacred Books of the East (1879). Max Müller rendered "advaita" as "Monism", as have many recent scholars. However, some scholars state that "advaita" is not really monism. Nondual awareness, also called pure consciousness or awareness, contentless consciousness, consciousness-as-such, and Minimal Phenomenal Experience, is a topic of phenomenological research. As described in Samkhya-Yoga and other systems of meditation, and referred to as, for example, Turya and Atman, pure awareness manifests in advanced states of meditation. Unitarian Universalism had a strong impact on Ram Mohan Roy and the Brahmo Samaj, and subsequently on Swami Vivekananda. Vivekananda was one of the main representatives of Neo-Vedanta, a modern interpretation of Hinduism in line with western esoteric traditions, especially Transcendentalism, New Thought and Theosophy. His reinterpretation was, and is, very successful, creating a new understanding and appreciation of Hinduism within and outside India, and was the principal reason for the enthusiastic reception of yoga, transcendental meditation and other forms of Indian spiritual self-improvement in the West. Narendranath Datta (Swami Vivekananda) became a member of a Freemasonry lodge "at some point before 1884" and of the Sadharan Brahmo Samaj in his twenties, a breakaway faction of the Brahmo Samaj led by Keshab Chandra Sen and Debendranath Tagore.Ram Mohan Roy (1772-1833), the founder of the Brahmo Samaj, had a strong sympathy for the Unitarians, who were closely connected to the Transcendentalists, who in turn were interested in and influenced by Indian religions early on. It was in this cultic milieu that Narendra became acquainted with Western esotericism. Debendranath Tagore brought this "neo-Hinduism" closer in line with western esotericism, a development which was furthered by Keshubchandra Sen, who was also influenced by transcendentalism, which emphasised personal religious experience over mere reasoning and theology. Sen's influence brought Vivekananda fully into contact with western esotericism, and it was also via Sen that he met Ramakrishna. Vivekananda's acquaintance with western esotericism made him very successful in western esoteric circles, beginning with his speech in 1893 at the Parliament of Religions. Vivekananda adapted traditional Hindu ideas and religiosity to suit the needs and understandings of his western audiences, who were especially attracted by and familiar with western esoteric traditions and movements like Transcendentalism and New thought. In 1897 he founded the Ramakrishna Mission, which was instrumental in the spread of Neo-Vedanta in the west, and attracted people like Alan Watts. Aldous Huxley, author of The Perennial Philosophy, was associated with another neo-Vedanta organisation, the Vedanta Society of Southern California, founded and headed by Swami Prabhavananda. Together with Gerald Heard, Christopher Isherwood, and other followers he was initiated by the Swami and was taught meditation and spiritual practices. Neo-Vedanta was well-received among Theosophists, Christian Science, and the New Thought movement; Christian Science in turn influenced the self-study teaching A Course in Miracles.Pure consciousness is distinguished from the workings of the mind, and "consists in nothing but the being seen of what is seen." Gamma & Metzinger (2021) present twelve factors in their phenomenological analysis of pure awareness experienced by meditators, including luminosity; emptiness and non-egoic self-awareness; and witness-consciousness.A main modern proponent of perennialism was Aldous Huxley, who was influenced by Vivekananda's Neo-Vedanta and Universalism. This popular approach finds supports in the "common-core thesis". According to the "common-core thesis", different descriptions can mask quite similar if not identical experiences:
According to Elias Amidon there is an "indescribable, but definitely recognizable, reality that is the ground of all being." According to Renard, these are based on an experience or intuition of "the Real". According to Amidon, this reality is signified by "many names" from "spiritual traditions throughout the world": [N]ondual awareness, pure awareness, open awareness, presence-awareness, unconditioned mind, rigpa, primordial experience, This, the basic state, the sublime, buddhanature, original nature, spontaneous presence, the oneness of being, the ground of being, the Real, clarity, God-consciousness, divine light, the clear light, illumination, realization and enlightenment. According to Renard, nondualism as common essence prefers the term "nondualism", instead of monism, because this understanding is "nonconceptual", "not graspapable in an idea" Even to call this "ground of reality", "One", or "Oneness" is attributing a characteristic to that ground of reality. The only thing that can be said is that it is "not two" or "non-dual": [N]o unmediated experience is possible, and that in the extreme, language is not simply used to interpret experience but in fact constitutes experience. The idea of a common essence has been questioned by Yandell, who discerns various "religious experiences" and their corresponding doctrinal settings, which differ in structure and phenomenological content, and in the "evidential value" they present. The specific teachings and practices of a specific tradition may determine what "experience" someone has, which means that this "experience" is not the proof of the teaching, but a result of the teaching. The notion of what exactly constitutes "liberating insight" varies between the various traditions, and even within the traditions. Bronkhorst for example notices that the conception of what exactly "liberating insight" is in Buddhism was developed over time. Whereas originally it may not have been specified, later on the Four Truths served as such, to be superseded by pratityasamutpada, and still later, in the Hinayana schools, by the doctrine of the non-existence of a substantial self or person. And Schmithausen notices that still other descriptions of this "liberating insight" exist in the Buddhist canon.nsight (prajna, kensho, satori, gnosis, theoria, illumination), especially enlightenment or the realization of the illusory nature of the autonomous "I" or self, is a key element in modern western nondual thought. It is the personal realization that ultimate reality is nondual, and is thought to be a validating means of knowledge of this nondual reality. This insight is interpreted as a psychological state, and labeled as religious or mystical experience. According to Hori, the notion of "religious experience" can be traced back to William James, who used the term "religious experience" in his book, The Varieties of Religious Experience. The origins of the use of this term can be dated further back. In the 18th, 19th, and 20th centuries, several historical figures put forth very influential views that religion and its beliefs can be grounded in experience itself. While Kant held that moral experience justified religious beliefs, John Wesley in addition to stressing individual moral exertion thought that the religious experiences in the Methodist movement (paralleling the Romantic Movement) were foundational to religious commitment as a way of life. Wayne Proudfoot traces the roots of the notion of "religious experience" to the German theologian Friedrich Schleiermacher (1768–1834), who argued that religion is based on a feeling of the infinite. The notion of "religious experience" was used by Schleiermacher and Albert Ritschl to defend religion against the growing scientific and secular critique, and defend the view that human (moral and religious) experience justifies religious beliefs. Such religious empiricism would be later seen as highly problematic and was – during the period in-between world wars – famously rejected by Karl Barth. In the 20th century, religious as well as moral experience as justification for religious beliefs still holds sway. Some influential modern scholars holding this liberal theological view are Charles Raven and the Oxford physicist/theologian Charles Coulson. The notion of "religious experience" was adopted by many scholars of religion, of which William James was the most influential. The notion of "experience" has been criticised. Robert Sharf points out that "experience" is a typical Western term, which has found its way into Asian religiosity via western influences.Insight is not the "experience" of some transcendental reality, but is a cognitive event, the (intuitive) understanding or "grasping" of some specific understanding of reality, as in kensho,or anubhava. "Pure experience" does not exist; all experience is mediated by intellectual and cognitive activity A pure consciousness without concepts, reached by "cleaning the doors of perception", would be an overwhelming chaos of sensory input without coherence.A major force in the mutual influence of eastern and western ideas and religiosity was the Theosophical Society.It searched for ancient wisdom in the east, spreading eastern religious ideas in the west One of its salient features was the belief in "Masters of Wisdom", "beings, human or once human, who have transcended the normal frontiers of knowledge, and who make their wisdom available to others". The Theosophical Society also spread western ideas in the east, aiding a modernisation of eastern traditions, and contributing to a growing nationalism in the Asian colonies.Transcendentalism was an early 19th-century liberal Protestant movement that developed in the 1830s and 1840s in the Eastern region of the United States. It was rooted in English and German Romanticism, the Biblical criticism of Herder and Schleiermacher, and the skepticism of Hume. The Transcendentalists emphasised an intuitive, experiential approach of religion. Following Schleiermacher, an individual's intuition of truth was taken as the criterion for truth. In the late 18th and early 19th century, the first translations of Hindu texts appeared, which were read by the Transcendentalists and influenced their thinking. The Transcendentalists also endorsed universalist and Unitarianist ideas, leading to Unitarian Universalism, the idea that there must be truth in other religions as well, since a loving God would redeem all living beings, not just Christians.Western esotericism (also called esotericism and esoterism) is a scholarly term for a wide range of loosely related ideas and movements which have developed within Western society. They are largely distinct both from orthodox Judeo-Christian religion and from Enlightenment rationalism. The earliest traditions which later analysis would label as forms of Western esotericism emerged in the Eastern Mediterranean during Late Antiquity, where Hermetism, Gnosticism, and Neoplatonism developed as schools of thought distinct from what became mainstream Christianity. In Renaissance Europe, interest in many of these older ideas increased, with various intellectuals seeking to combine "pagan" philosophies with the Kabbalah and with Christian philosophy, resulting in the emergence of esoteric movements like Christian theosophy."Dual" comes from Latin "duo," two, prefixed with "non-" meaning "not"; "non-dual" means "not-two." When referring to nondualism, Hinduism generally uses the Sanskrit term Advaita, while Buddhism uses Advaya (Tibetan: gNis-med, Chinese: pu-erh, Japanese: fu-ni). "Advaita" (अद्वैत) is from Sanskrit roots a, not; dvaita, dual. As Advaita, it means "not-two."[1][8] or "one without a second,"[8] and is usually translated as "nondualism", "nonduality" and "nondual". The term "nondualism" and the term "advaita" from which it originates are polyvalent terms. "Advaya" (अद्वय) is also a Sanskrit word that means "identity, unique, not two, without a second," and typically refers to the two truths doctrine of Mahayana Buddhism, especially Madhyamaka. The English term "nondual" was informed by early translations of the Upanishads in Western languages other than English from 1775. These terms have entered the English language from literal English renderings of "advaita" subsequent to the first wave of English translations of the Upanishads. These translations commenced with the work of Müller (1823–1900), in the monumental Sacred Books of the East (1879). Max Müller rendered "advaita" as "Monism", as have many recent scholars. However, some scholars state that "advaita" is not really monism
en.wikipedia.org/wiki/Nondualism
A fuzzy concept is a kind of concept of which the boundaries of application can vary considerably according to context or conditions, instead of being fixed once and for all. This means the concept is vague in some way, lacking a fixed, precise meaning, without however being unclear or meaningless altogether.It has a definite meaning, which can be made more precise only through further elaboration and specification - including a closer definition of the context in which the concept is used. The study of the characteristics of fuzzy concepts and fuzzy language is called fuzzy semantics. The inverse of a "fuzzy concept" is a "crisp concept" (i.e. a precise concept).
A fuzzy concept is understood by scientists as a concept which is "to an extent applicable" in a situation. That means the concept has gradations of significance or unsharp (variable) boundaries of application. A fuzzy statement is a statement which is true "to some extent", and that extent can often be represented by a scaled value. The term is also used these days in a more general, popular sense – in contrast to its technical meaning – to refer to a concept which is "rather vague" for any kind of reason. In the past, the very idea of reasoning with fuzzy concepts faced considerable resistance from academic elites. They did not want to endorse the use of imprecise concepts in research or argumentation. Yet although people might not be aware of it, the use of fuzzy concepts has risen gigantically in all walks of life from the 1970s onward. That is mainly due to advances in electronic engineering, fuzzy mathematics and digital computer programming. The new technology allows very complex inferences about "variations on a theme" to be anticipated and fixed in a program. New neuro-fuzzy computational methods make it possible to identify, measure and respond to fine gradations of significance with great precision. It means that practically useful concepts can be coded and applied to all kinds of tasks, even if ordinarily these concepts are never precisely defined. Nowadays engineers, statisticians and programmers often represent fuzzy concepts mathematically, using fuzzy logic, fuzzy values, fuzzy variables and fuzzy sets."There exists strong evidence, established in the 1970s in the psychology of concepts... that human concepts have a graded structure in that whether or not a concept applies to a given object is a matter of degree, rather than a yes-or-no question, and that people are capable of working with the degrees in a consistent way. This finding is intuitively quite appealing, because people say "this product is more or less good" or "to a certain degree, he is a good athlete", implying the graded structure of concepts. In his classic paper, Zadeh called the concepts with a graded structure fuzzy concepts and argued that these concepts are a rule rather than an exception when it comes to how people communicate knowledge. Moreover, he argued that to model such concepts mathematically is important for the tasks of control, decision making, pattern recognition, and the like. Zadeh proposed the notion of a fuzzy set that gave birth to the field of fuzzy logic..."Hence, a concept is generally regarded as "fuzzy" in a logical sense if:defining characteristics of the concept apply to it "to a certain degree or extent" (or, more unusually, "with a certain magnitude of likelihood").
or, the boundaries of applicability (the truth-value) of a concept can vary in degrees, according to different conditions.
or, the fuzzy concept itself straightforwardly consists of a fuzzy set, or a combination of such sets.
The fact that a concept is fuzzy does not prevent its use in logical reasoning; it merely affects the type of reasoning which can be applied (see fuzzy logic). If the concept has gradations of meaningful significance, it is necessary to specify and formalize what those gradations are, if they can make an important difference. Not all fuzzy concepts have the same logical structure, but they can often be formally described or reconstructed using fuzzy logic or other substructural logics.The advantage of this approach is, that numerical notation enables a potentially infinite number of truth-values between complete truth and complete falsehood, and thus it enables - in theory, at least - the greatest precision in stating the degree of applicability of a logical rule..In philosophical logic and linguistics, fuzzy concepts are often regarded as vague concepts which in their application, or formally speaking, are neither completely true nor completely false, or which are partly true and partly false; they are ideas which require further elaboration, specification or qualification to understand their applicability (the conditions under which they truly make sense). The "fuzzy area" can also refer simply to a residual number of cases which cannot be allocated to a known and identifiable group, class or set if strict criteria are used. The collaborative written works of French philosopher Gilles Deleuze and French psychoanalyst Félix Guattari refer occasionally to fuzzy sets in conjunction with their idea of multiplicities. In A Thousand Plateaus, they note that "a set is fuzzy if its elements belong to it only by virtue of specific operations of consistency and consolidation, which themselves follow a special logic", and in What Is Philosophy?, a work dealing with the functions of concepts, they write that concepts as a whole are "vague or fuzzy sets, simple aggregates of perceptions and affections, which form within the lived as immanent to a subject" In mathematics and statistics, a fuzzy variable (such as "the temperature", "hot" or "cold") is a value which could lie in a probable range defined by some quantitative limits or parameters, and which can be usefully described with imprecise categories (such as "high", "medium" or "low") using some kind of scale or conceptual hierarchy.n mathematics and computer science, the gradations of applicable meaning of a fuzzy concept are described in terms of quantitative relationships defined by logical operators. Such an approach is sometimes called "degree-theoretic semantics" by logicians and philosophers, but the more usual term is fuzzy logic or many-valued logic. The novelty of fuzzy logic is, that it "breaks with the traditional principle that formalisation should correct and avoid, but not compromise with, vagueness". The basic idea of fuzzy logic is that a real number is assigned to each statement written in a language, within a range from 0 to 1, where 1 means that the statement is completely true, and 0 means that the statement is completely false, while values less than 1 but greater than 0 represent that the statements are "partly true", to a given, quantifiable extent. Susan Haack comments: "Whereas in classical set theory an object either is or is not a member of a given set, in fuzzy set theory membership is a matter of degree; the degree of membership of an object in a fuzzy set is represented by some real number between 0 and 1, with 0 denoting no membership and full membership." ..."Truth" in this mathematical context usually means simply that "something is the case", or that "something is applicable". This makes it possible to analyze a distribution of statements for their truth-content, identify data patterns, make inferences and predictions, and model how processes operate. Petr Hájek claimed that "fuzzy logic is not just some "applied logic", but may bring "new light to classical logical problems", and therefore might be well classified as a distinct branch of "philosophical logic" similar to e.g. modal logics.Fuzzy logic offers computationally-oriented systems of concepts and methods, to formalize types of reasoning which are ordinarily approximate only, and not exact. In principle, this allows us to give a definite, precise answer to the question, "To what extent is something the case?", or, "To what extent is something applicable?". Via a series of switches, this kind of reasoning can be built into electronic devices. That was already happening before fuzzy logic was invented, but using fuzzy logic in modelling has become an important aid in design, which creates many new technical possibilities. Fuzzy reasoning (i.e., reasoning with graded concepts) turns out to have many practical uses. It is nowadays widely used in:
The programming of vehicle and transport electronics, household appliances, video games, language filters, robotics, and driverless vehicles. Fuzzy logic washing machines are gaining popularity. All kinds of control systems that regulate access, traffic, movement, balance, conditions, temperature, pressure, routers etc. Electronic equipment used for pattern recognition, surveying and monitoring (including radars, satellites, alarm systems and surveillance systems).
Cybernetics research, artificial intelligence,[54] virtual intelligence, machine learning, database design and soft computing research. "Fuzzy risk scores" are used by project managers and portfolio managers to express financial risk assessments. It looks like fuzzy logic will eventually be applied in almost every aspect of life, even if people are not aware of it, and in that sense fuzzy logic is an astonishingly successful invention.[58] The scientific and engineering literature on the subject is constantly increasing.
en.wikipedia.org/wiki/Fuzzy_concept
Advaita Vedanta (/ʌdˈvaɪtə vɛˈdɑːntə/; Sanskrit: अद्वैत वेदान्त, IAST: Advaita Vedānta) is a Hindu sādhanā, a path of spiritual discipline and experience, and the oldest extant tradition of the orthodox Hindu school Vedānta. The term Advaita (literally "non-secondness", but usually rendered as "nondualism",and often equated with monism[note 3]) refers to the idea that Brahman alone is ultimately real, while the transient phenomenal world is an illusory appearance (maya) of Brahman. In this view, jivatman, the experiencing self, is ultimately non-different ("na aparah") from Ātman-Brahman, the highest Self or Reality.The jivatman or individual self is a mere reflection or limitation of singular Ātman in a multitude of apparent individual bodies. In the Advaita tradition, moksha (liberation from suffering and rebirth),is attained through recognizing this illusoriness of the phenomenal world and disidentification from the body-mind complex and the notion of 'doership',[note 5] and acquiring vidyā (knowledge) of one's true identity as Atman-Brahman, self-luminous (svayam prakāśa)[note 6] awareness or Witness-consciousness. Upanishadic statements such as tat tvam asi, "that['s how] you are," destroy the ignorance (avidyā) regarding one's true identity by revealing that (jiv)Ātman is non-different from immortal[note 8] Brahman. While the prominent 8th century Vedic scholar and teacher (acharya) Adi Shankara emphasized that, since Brahman is ever-present, Brahman-knowledge is immediate and requires no 'action', that is, striving and effort,[15][16][17] the Advaita tradition also prescribes elaborate preparatory practice, including contemplation of the mahavakyas and accepting yogic samadhi as a means to knowledge, posing a paradox which is also recognized in other spiritual disciplines and traditions. Advaita Vedānta adapted philosophical concepts from Buddhism, giving them a Vedantic basis and interpretation,and was influenced by, and influenced, various traditions and texts of Indian philosophy, While Adi Shankara is generally regarded as the most prominent exponent of the Advaita Vedānta tradition,[26] his early influence has been questioned, as his prominence started to take shape only centuries later in the 14th century, with the ascent of Sringeri matha and its jagadguru Vidyaranya (Madhava, 14th cent.) in the Vijayanagara Empire.[note 11] While Shankara did not embrace Yoga,[37] the Advaita Vedānta tradition in medieval times explicitly incorporated elements from the yogic tradition and texts like the Yoga Vasistha and the Bhagavata Purana, culminating in Swami Vivekananda's full embrace and propagation of Yogic samadhi as an Advaita means of knowledge and liberation. In the 19th century, due to the influence of Vidyaranya's Sarvadarśanasaṅgraha, the importance of Advaita Vedānta was overemphasized by Western scholarship,[42] and Advaita Vedānta came to be regarded as the paradigmatic example of Hindu spirituality, despite the numerical dominance of theistic Bhakti-oriented religiosity. In modern times, Advaita views appear in various Neo-Vedānta movements. While "a preferred terminology" for Upanisadic philosophy "in the early periods, before the time of Shankara" was Puruṣavāda,[50][note 13] the Advaita Vedānta school has historically been referred to by various names, such as Advaita-vada (speaker of Advaita), Abheda-darshana (view of non-difference), Dvaita-vada-pratisedha (denial of dual distinctions), and Kevala-dvaita (non-dualism of the isolated). It is also called māyāvāda by Vaishnava opponents, akin to Madhyamaka Buddhism, due to their insistence that phenomena ultimately lack an inherent essence or reality,[ According to Richard King, a professor of Buddhist and Asian studies, the term Advaita first occurs in a recognizably Vedantic context in the prose of Mandukya Upanishad.[51] In contrast, according to Frits Staal, a professor of philosophy specializing in Sanskrit and Vedic studies, the word Advaita is from the Vedic era, and the Vedic sage Yajnavalkya (8th or 7th-century BCE is credited to be the one who coined it] Stephen Phillips, a professor of philosophy and Asian studies, translates the Advaita containing verse excerpt in Brihadaranyaka Upanishad, as "An ocean, a single seer without duality becomes he whose world is Brahman.While the term "Advaita Vedanta" in a strict sense may refer to the scholastic tradition of textual exegesis established by Shankara, "advaita" in a broader sense may refer to a broad current of advaitic thought, which incorporates advaitic elements with yogic thought and practice and other strands of Indian religiosity, such as Kashmir Shaivism and the Nath tradition. The first connotation has also been called "Classical Advaita" and "doctrinal Advaita," and its presentation as such is due to mediaeval doxographies,the influence of Orientalist Indologists like Paul Deussen, and the Indian response to colonial influences, dubbed neo-Vedanta by Paul Hacker, who regarded it as a deviation from "traditional" Advaita Vedanta.Yet, post-Shankara Advaita Vedanta incorporated yogic elements, such as the Yoga Vasistha, and influenced other Indian traditions, and neo-Vedanta is based on this broader strand of Indian thought. This broader current of thought and practice has also been called "greater Advaita Vedanta," "vernacular advaita,"and "experiential Advaita." It is this broader advaitic tradition which is commonly presented as "Advaita Vedanta," though the term "advaitic" may be more apt.The nondualism of Advaita Vedānta is often regarded as an idealist monism. According to King, Advaita Vedānta developed "to its ultimate extreme" the monistic ideas already present in the Upanishads. In contrast, states Milne, it is misleading to call Advaita Vedānta "monistic," since this confuses the "negation of difference" with "conflation into one."Advaita is a negative term (a-dvaita), states Milne, which denotes the "negation of a difference," between subject and object, or between perceiver and perceived. According to Deutsch, Advaita Vedānta teaches monistic oneness, however without the multiplicity premise of alternate monism theories.According to Jacqueline Suthren Hirst, Adi Shankara positively emphasizes "oneness" premise in his Brahma-sutra Bhasya 2.1.20, attributing it to all the Upanishads. Nicholson states Advaita Vedānta contains realistic strands of thought, both in its oldest origins and in Shankara's writings.
en.wikipedia.org/wiki/Advaita_Vedanta#Svayam_prakāśa_(self-luminosity)
Poesia di Corrado Baroncini
-----------------------------------
Bologna, massacre of august,the 2nd. (85 morti, 200 feriti -08/02/1980)
A massacre studied, prearranged.
Raving strategy of terror
programmed by great hatred.
Choiced the inauspicious day of the action.
Choiced a public place:the station.
Choiced cynically our and moment
amog those of greatest crowding:
Cool calculation, pitiless execution
towara the final act, the explosicy.
Bologna, massacre of august, the 2nd.
the deadly year was placed.
By following the plot of distorted minds,
the fasist killer carried the death
Hided on the botton of heavy bundle
an arm was ready to the insane trap.
According to the plan from time traced
directed his steps toward the indicated place.
the death and the killer crossed the threshold,
he put the gear, she put the shroud.
Bologna, massacre of august, the 2nd.
All from time has been recomposed.
On the debris and the contorded irons
the same walls have rose.
There's always besides, smooth and whitish
a common marble plate
that has the names incised in file
of many that did not know his destiny cowardly killed.
Humble stone on the fresh wall
put at eternal remember.
Bologna, massacre of august, the 2nd.
By many years awaited, justice has replied.
The law has reached the fierce killers
but not the leaders, only the followers.
In this way repeat themselves the known places
where the principal remain unknown.
Compelled in the limits already definite
the inquiry stops with too many unpunished,
and they covered, powerful and wike,
always threaten fanatic massacres.
Bologna, massacre of august, the 2nd.
The just man is no more inclined.
He refuses the partial and precarios verditct,
is opposed at letting down on curtain.
He sollicits the top nan to do full light
on those which finance and conduct the attempts.
He reaffirms that a massacre how this
pretends justice not only in half.
And he throws a warning: IT DON'T SERVES TO FILE,
ITALY, AUGUST,THE 2nd, WILL CAN REMEMBER!
Poetry of Corrado Baroncini
Traduzione di Piero Tabarroni.
-----------
Bologna. Strage del 2 agosto,
Un eccidio studiato, predisposto.
Strategia delirante del terrore
programmata con livido furore.
Scelto l'infausto giorno dell'azione.
Scelto un pubblico luogo;la stazione.
Scelti cinicamente ora e momento
tra quelli del maggiore affollamento.
Freddo calcolo, spietata esecuzione
sino all'atto finale, l'esplosione.
Bologna. Strage del 2 agosto.
Il micidiale ordigno fu deposto.
Seguendo la trama di menti distorte
sicario fascista portava la morte.
Calata sul fondo del grave fardello
un'arma era pronta al folle tranello.
Secondo il disegno da tempo tracciato
diresse i suoi passi sul luogo indicato.
Varcaron la soglia la morte e il sicario,
lui pose l'ordigno, lei stese il sudario.
Bologna, strage del 2 agosto.
Tutto da tempo è stato ricomposto.
Sulle memorie e i ferri contorti
gli stessi muri sono risorti.
C'è solo in più, liscia e biancastra,
una comune marmorea lastra
che porta i nomi in fila incisi
di tanti ignari vilmente uccisi.
Umile pietra sul fresco muro
posta a ricordo imperituro.
Bologna. Strage del 2 agosto.
Per anni invocata, giustizia ha risposto.
La legge ha raggiunto i biechi sicari,
ma non i gerarchi, soltanto gregari.
Così si ripetono i luoghi già noti
nei quali i mandanti rimangono ignoti.
Costretta nei limiti già definiti
l'indagine chiude con troppi impuniti,
e loro coperti. potenti e malvagi
minacciano sempre fanatiche stragi.
Bologna. Strage del 2 agosto.
Il giusto all'oblio non è più disposto.
Rifiuta il verdetto parziale e precario,
si oppone che venga calato il sipario.
Sollecita l'alto a far piena luce
su chi gli attentati finanzia e conduce.
Riafferma che eccidio di tale entità
pretende giustizia non solo metà.
E un monito lancia: NON SERVE ARCHIVIARE,
L'ITALIA IL 2 AGOSTO SAPRA' RICORDARE!
Poesia di Corrado Baroncini
-----------------------------------
Poesia di Corrado Baroncini
-----------------------------------
Bologna, massacre of august,the 2nd. (85 morti, 200 feriti -08/02/1980)
A massacre studied, prearranged.
Raving strategy of terror
programmed by great hatred.
Choiced the inauspicious day of the action.
Choiced a public place:the station.
Choiced cynically our and moment
amog those of greatest crowding:
Cool calculation, pitiless execution
towara the final act, the explosicy.
Bologna, massacre of august, the 2nd.
the deadly year was placed.
By following the plot of distorted minds,
the fasist killer carried the death
Hided on the botton of heavy bundle
an arm was ready to the insane trap.
According to the plan from time traced
directed his steps toward the indicated place.
the death and the killer crossed the threshold,
he put the gear, she put the shroud.
Bologna, massacre of august, the 2nd.
All from time has been recomposed.
On the debris and the contorded irons
the same walls have rose.
There's always besides, smooth and whitish
a common marble plate
that has the names incised in file
of many that did not know his destiny cowardly killed.
Humble stone on the fresh wall
put at eternal remember.
Bologna, massacre of august, the 2nd.
By many years awaited, justice has replied.
The law has reached the fierce killers
but not the leaders, only the followers.
In this way repeat themselves the known places
where the principal remain unknown.
Compelled in the limits already definite
the inquiry stops with too many unpunished,
and they covered, powerful and wike,
always threaten fanatic massacres.
Bologna, massacre of august, the 2nd.
The just man is no more inclined.
He refuses the partial and precarios verditct,
is opposed at letting down on curtain.
He sollicits the top nan to do full light
on those which finance and conduct the attempts.
He reaffirms that a massacre how this
pretends justice not only in half.
And he throws a warning: IT DON'T SERVES TO FILE,
ITALY, AUGUST,THE 2nd, WILL CAN REMEMBER!
Poetry of Corrado Baroncini
Traduzione di Piero Tabarroni.
-----------
Bologna. Strage del 2 agosto,
Un eccidio studiato, predisposto.
Strategia delirante del terrore
programmata con livido furore.
Scelto l'infausto giorno dell'azione.
Scelto un pubblico luogo;la stazione.
Scelti cinicamente ora e momento
tra quelli del maggiore affollamento.
Freddo calcolo, spietata esecuzione
sino all'atto finale, l'esplosione.
Bologna. Strage del 2 agosto.
Il micidiale ordigno fu deposto.
Seguendo la trama di menti distorte
sicario fascista portava la morte.
Calata sul fondo del grave fardello
un'arma era pronta al folle tranello.
Secondo il disegno da tempo tracciato
diresse i suoi passi sul luogo indicato.
Varcaron la soglia la morte e il sicario,
lui pose l'ordigno, lei stese il sudario.
Bologna, strage del 2 agosto.
Tutto da tempo è stato ricomposto.
Sulle memorie e i ferri contorti
gli stessi muri sono risorti.
C'è solo in più, liscia e biancastra,
una comune marmorea lastra
che porta i nomi in fila incisi
di tanti ignari vilmente uccisi.
Umile pietra sul fresco muro
posta a ricordo imperituro.
Bologna. Strage del 2 agosto.
Per anni invocata, giustizia ha risposto.
La legge ha raggiunto i biechi sicari,
ma non i gerarchi, soltanto gregari.
Così si ripetono i luoghi già noti
nei quali i mandanti rimangono ignoti.
Costretta nei limiti già definiti
l'indagine chiude con troppi impuniti,
e loro coperti. potenti e malvagi
minacciano sempre fanatiche stragi.
Bologna. Strage del 2 agosto.
Il giusto all'oblio non è più disposto.
Rifiuta il verdetto parziale e precario,
si oppone che venga calato il sipario.
Sollecita l'alto a far piena luce
su chi gli attentati finanzia e conduce.
Riafferma che eccidio di tale entità
pretende giustizia non solo metà.
E un monito lancia: NON SERVE ARCHIVIARE,
L'ITALIA IL 2 AGOSTO SAPRA' RICORDARE!
Poesia di Corrado Baroncini
-----------------------------------
2018 February Alphabet Month
The verdict is in: The Jewel Thief has been sentenced to jail. The evidence on the table clearly put her away. The lawyer filed a brief, but the judge said it was too brief. But this judge did not want any clowning around in his courtroom. He demanded odor in the court. And he got odor alright!
2018 February 19
Two weeks ago, he spoke mainly in single words. Last week, he started speaking mainly in sentences. Learning can come in bursts!
When one this sentence into German translate wanted, could one the fact exploit, that the word order and the punctuation already with the German conventions agree.
Thank you.
View On Black · ƒ/3.5 is too wide for this level of magnification, it seems. Lesson learned.
Sentenced to drift far away now,
Nothing is quite what it seems,
Sometimes entangled in your own dreams.
I couldn't help but notice that these beautiful flowers were doomed to spend the rest of their life in their potted prison.
June 1977. Penn Central Baldwin DRS-4-4-1000 8302's life is over in June of 1977. It's death sentence has been spray painted under the cab: "Naporano Iron & Metal Co, Foot of Hawkins St., Newark, New Jersey, Conrail Delivery, 25 Miles Per HR"
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.
"A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? And he will probably ask himself two more: Could I put it more shortly? Have I said anything that is avoidably ugly?" - George Orwell [in his essay Politics and the English Language]
Information From: en.wikipedia.org/wiki/Brooklyn_bridge
Brooklyn Bridge
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For other uses, see Brooklyn Bridge (disambiguation).
Brooklyn Bridge
Carries Motor vehicles (cars only)
Elevated trains (until 1944)
Streetcars (until 1950)
Pedestrians, and bicycles
Crosses East River
Locale New York City (Manhattan–Brooklyn)
Maintained by New York City Department of Transportation
Designer John Augustus Roebling
Design Suspension/Cable-stay Hybrid
Total length 5,989 feet (1825 m)[1]
Width 85 feet (26 m)
Longest span 1,595 feet 6 inches (486.3 m)
Clearance below 135 feet (41 m) at mid-span
Opened May 24, 1883
Toll Free both ways
Daily traffic 123,781 (2008)[2]
Coordinates 40°42′20″N 73°59′47″W / 40.70569°N 73.99639°W / 40.70569; -73.99639 (Brooklyn Bridge)Coordinates: 40°42′20″N 73°59′47″W / 40.70569°N 73.99639°W / 40.70569; -73.99639 (Brooklyn Bridge)
Brooklyn Bridge
U.S. National Register of Historic Places
U.S. National Historic Landmark
NYC Landmark
Built/Founded: 1883
Architectural style(s): Gothic
Added to NRHP: 1966[3]
Designated NHL: January 29, 1964[4]
NRHP Reference#: 75001237
The Brooklyn Bridge is one of the oldest suspension bridges in the United States. Completed in 1883, it connects the New York City boroughs of Manhattan and Brooklyn by spanning the East River. With a main span of 1,595.5 feet (486.3 m), it was the longest suspension bridge in the world from its opening until 1903, and the first steel-wire suspension bridge.
Originally referred to as the New York and Brooklyn Bridge, it was dubbed the Brooklyn Bridge in a January 25, 1867 letter to the editor of the Brooklyn Daily Eagle,[5] and formally so named by the city government in 1915. Since its opening, it has become an iconic part of the New York skyline. It was designated a National Historic Landmark in 1964[4][6][7] and a National Historic Civil Engineering Landmark in 1972.[8]
Contents [hide]
1 Construction
2 Pedestrian and vehicular access
2.1 Notable events
2.2 100th anniversary celebrations
2.3 125th anniversary celebrations
3 Cultural significance
4 References
5 Further reading
6 External links
[edit] Construction
The Brooklyn Bridge was initially designed by German immigrant John Augustus Roebling, who had previously designed and constructed shorter suspension bridges, such as Roebling's Delaware Aqueduct in Lackawaxen, Pennsylvania, and the John A. Roebling Suspension Bridge in Cincinnati, Ohio.
While conducting surveys for the bridge project, Roebling sustained a crush injury to his foot when a ferry pinned it against a piling. After amputation of his crushed toes he developed a tetanus infection which left him incapacitated and soon resulted in his death, not long after he had placed his 32 year-old son Washington Roebling in charge of the project.[9]
Washington Roebling also suffered a paralyzing injury as a result of decompression sickness shortly after the beginning of construction on January 3, 1870.[10] This condition, first called "caisson disease" by the project physician Dr. Andrew Smith, afflicted many of the workers working within the caissons.[11][12] After Roebling's debilitating condition left him unable to physically supervise the construction firsthand, his wife Emily Warren Roebling stepped in and provided the critical written link between her husband and the engineers on-site.[13] Under her husband's guidance, Emily had studied higher mathematics, the calculations of catenary curves, the strengths of materials, bridge specifications, and the intricacies of cable construction.[14][15][16] She spent the next 11 years assisting Washington Roebling helping to supervise the bridge's construction.
When iron probes underneath the caisson found the bedrock to be even deeper than expected, Roebling halted construction due to the increased risk of decompression sickness. He deemed the aggregate overlying the bedrock 30 feet (9 m) below it to be firm enough to support the tower base.[17]
The Brooklyn Bridge was completed thirteen years later and was opened for use on May 24, 1883. The opening ceremony was attended by several thousand people and many ships were present in the East Bay for the occasion. President Chester A. Arthur and New York Mayor Franklin Edson crossed the bridge to celebratory cannon fire and were greeted by Brooklyn Mayor Seth Low when they reached the Brooklyn-side tower. Arthur shook hands with Washington Roebling at the latter's home, after the ceremony. Roebling was unable to attend the ceremony (and in fact rarely visited the site again), but held a celebratory banquet at his house on the day of the bridge opening. Further festivity included the performance of a band, gunfire from ships, and a fireworks display.[18]
On that first day, a total of 1,800 vehicles and 150,300 people crossed what was then the only land passage between Manhattan and Brooklyn. Emily Warren Roebling was the first to cross the bridge. The bridge's main span over the East River is 1,595 feet 6 inches (486.3 m). The bridge cost $15.5 million to build and approximately 27 people died during its construction.[19]
One week after the opening, on May 30, 1883, a rumor that the Bridge was going to collapse caused a stampede, which crushed and killed at least twelve people.[20] On May 17, 1884, P. T. Barnum helped to squelch doubts about the bridge's stability—while publicizing his famous circus—when one of his most famous attractions, Jumbo, led a parade of 21 elephants over the Brooklyn Bridge.[21][22][23][24]
Plan of one tower for the Brooklyn Bridge, 1867At the time it opened, and for several years, it was the longest suspension bridge in the world—50% longer than any previously built — and it has become a treasured landmark. Since the 1980s, it has been floodlit at night to highlight its architectural features. The towers are built of limestone, granite, and Rosendale cement. Their architectural style is neo-Gothic, with characteristic pointed arches above the passageways through the stone towers. The paint scheme of the bridge is "Brooklyn Bridge Tan", although is has been argued that the original paint was "Rawlins Red".[25]
At the time the bridge was built, the aerodynamics of bridge building had not been worked out. Bridges were not tested in wind tunnels until the 1950s—well after the collapse of the original Tacoma Narrows Bridge (Galloping Gertie) in 1940. It is therefore fortunate that the open truss structure supporting the deck is by its nature less subject to aerodynamic problems. Roebling designed a bridge and truss system that was six times as strong as he thought it needed to be. Because of this, the Brooklyn Bridge is still standing when many of the bridges built around the same time have vanished into history and been replaced. This is also in spite of the substitution of inferior quality wire in the cabling supplied by the contractor J. Lloyd Haigh—by the time it was discovered, it was too late to replace the cabling that had already been constructed. Roebling determined that the poorer wire would leave the bridge four rather than six times as strong as necessary, so it was eventually allowed to stand, with the addition of 250 cables. Diagonal cables were installed from the towers to the deck, intended to stiffen the bridge. They turned out to be unnecessary, but were kept for their distinctive beauty.
After the collapse in 2007 of the I-35W highway bridge in the city of Minneapolis, increased public attention has been brought to bear on the condition of bridges across the US, and it has been reported that the Brooklyn Bridge approach ramps received a rating of "poor" at its last inspection.[26] According to a NYC Department of Transportation spokesman, "The poor rating it received does not mean it is unsafe. Poor means there are some components that have to be rehabilitated." A $725 million project to replace the approaches and repaint the bridge was scheduled to begin in 2009.[27]
The construction of the Brooklyn Bridge is detailed in the 1978 book The Great Bridge by David McCullough[13] and Brooklyn Bridge (1981), the first PBS documentary film ever made by Ken Burns.[28] Burns drew heavily on McCullough's book for the film and used him as narrator.[29] It is also described in Seven Wonders of the Industrial World, a BBC docudrama series with accompanying book.
[edit] Pedestrian and vehicular access
Cross section diagramAt various times, the bridge has carried horse-drawn and trolley traffic; at present, it has six lanes for motor vehicles, with a separate walkway along the centerline for pedestrians and bicycles. Due to the roadway's height (11 ft (3.4 m) posted) and weight (6,000 lb (2,700 kg) posted) restrictions, commercial vehicles and buses are prohibited from using this bridge. The two inside traffic lanes once carried elevated trains of the BMT from Brooklyn points to a terminal at Park Row via Sands Street. Streetcars ran on what are now the two center lanes (shared with other traffic) until the elevated lines stopped using the bridge in 1944, when they moved to the protected center tracks. In 1950 the streetcars also stopped running, and the bridge was rebuilt to carry six lanes of automobile traffic.
The Brooklyn Bridge is accessible from the Brooklyn entrances of Tillary/Adams Streets, Sands/Pearl Streets, and Exit 28B of the eastbound Brooklyn-Queens Expressway. In Manhattan, motor cars can enter from either direction of the FDR Drive, Park Row, Chambers/Centre Streets, and Pearl/Frankfort Streets. Pedestrian access to the bridge from the Brooklyn side is from either Tillary/Adams Streets (in between the auto entrance/exit), or a staircase on Prospect St between Cadman Plaza East and West. In Manhattan, the pedestrian walkway is accessible from the end of Centre Street, or through the unpaid south staircase of Brooklyn Bridge-City Hall IRT subway station.
View from the pedestrian walkway. The bridge's cable arrangement forms a distinct weblike pattern.The Brooklyn Bridge has a wide pedestrian walkway open to walkers and cyclists, in the center of the bridge and higher than the automobile lanes. While the bridge has always permitted the passage of pedestrians across its span, its role in allowing thousands to cross takes on a special importance in times of difficulty when usual means of crossing the East River have become unavailable.
During transit strikes by the Transport Workers Union in 1980 and 2005, the bridge was used by people commuting to work, with Mayors Koch and Bloomberg crossing the bridge as a gesture to the affected public.[30][31]
Following the 1965, 1977 and 2003 Blackouts and most famously after the September 11, 2001, attacks on the World Trade Center, the bridge was used by people in Manhattan to leave the city after subway service was suspended. The massive numbers of people on the bridge could not have been anticipated by the original designer, yet John Roebling designed it with three separate systems managing even unanticipated structural stresses. The bridge has a suspension system, a diagonal stay system, and a stiffening truss. "Roebling himself famously said if anything happens to one of [his] systems, 'The bridge may sag, but it will not fall.'"[32] The movement of large numbers of people on a bridge creates pedestrian oscillations or "sway" as the crowd lifts one foot after another, some falling inevitably in synchronized cadences. The natural sway motion of people walking causes small sideways oscillations in a bridge, which in turn cause people on the bridge to sway in step, increasing the amplitude of the bridge oscillations and continually reinforcing the effect. High-density traffic of this nature causes a bridge to appear to move erratically or "to wobble" as happened at opening of the London Millennium Footbridge in 2000.[33]
Frank Leslie's Illustrated Newspaper c.1883[edit] Notable events
First jumper
The first person to jump from the bridge was Robert E. Odlum on May 19, 1885. He struck the water at an angle and died shortly thereafter from internal injuries.[34] Steve Brodie was the most famous jumper, or self-proclaimed jumper (in 1886).
Bungee jump
On June 1993, following 13 reconnoiters inside the metal structure, and with the help of a mountain guide, Thierry Devaux performed (illegally) eight acrobatic bungee jumps above the East River close to the Brooklyn pier, in the early morning. He used an electric winch between each acrobatic figure.[35]
1994 Brooklyn Bridge shooting
Main article: Brooklyn Bridge Shooting
On March 1, 1994, Lebanese-born Rashid Baz opened fire on a van carrying members of the Chabad-Lubavitch Orthodox Jewish Movement, striking sixteen-year-old student Ari Halberstam and three others traveling on the bridge.[36] Halberstam died five days later from his wounds. Baz was apparently acting out of revenge for the Hebron massacre of 29 Muslims by Baruch Goldstein that had taken place days earlier on February 25, 1994. Baz was convicted of murder and sentenced to a 141-year prison term. After initially classifying the murder as one committed out of road rage, the Justice Department reclassified the case in 2000 as a terrorist attack. The entrance ramp to the bridge on the Manhattan side was named the Ari Halberstam Memorial Ramp in memory of the victim.[37]
The 2003 plot
In 2003, truck driver Iyman Faris was sentenced to about 20 years in prison for providing material support to Al-Qaeda, after an earlier plot to destroy the bridge by cutting through its support wires with blowtorches was thwarted through information the National Security Agency uncovered through wiretapped phone conversations and interrogation of Al-Qaeda militants.[38]
2006 bunker discovery
In 2006, a Cold War era bunker was found by city workers near the East River shoreline of Manhattan's Lower East Side. The bunker, hidden within the masonry anchorage, still contained the emergency supplies that were being stored for a potential nuclear attack by the Soviet Union.[39]
[edit] 100th anniversary celebrations
The centennary celebrations on May 24, 1983, saw a cavalcade of cars crossing the bridge, led by President Ronald Reagan. A flotilla of ships visited the harbor, parades were held, and in the evening the sky over the bridge was illuminated by Grucci fireworks.[40] The Brooklyn Museum exhibited a selection of the original drawings made for the bridge's construction, some by Washington Roebling himself.
[edit] 125th anniversary celebrations
Beginning on May 22, 2008, festivities were held over a five-day period to celebrate the 125th anniversary of the opening of the Brooklyn Bridge. The events kicked off with a live performance of the Brooklyn Philharmonic in Empire–Fulton Ferry State Park, followed by special lighting of the bridge's towers and a fireworks display.[41] Other events held during the 125th anniversary celebrations, which coincided with the Memorial Day weekend, included a film series, historical walking tours, information tents, a series of lectures and readings, a bicycle tour of Brooklyn, a miniature golf course featuring Brooklyn icons, and other musical and dance performances.[42]
Just before the anniversary celebrations, the Telectroscope, which created a video link between New York and London, was installed on the Brooklyn side of the bridge. The installation lasted for a few weeks and permitted viewers in New York to see people looking into a matching telectroscope in front of London's Tower Bridge.[43] A newly renovated pedestrian connection to DUMBO was also unveiled before the anniversary celebrations.[44]
[edit] Cultural significance
Contemporaries marveled at what technology was capable of and the bridge became a symbol of the optimism of the time. John Perry Barlow wrote in the late 20th century of the "literal and genuinely religious leap of faith" embodied in the Brooklyn Bridge ... "the Brooklyn Bridge required of its builders faith in their ability to control technology."[45]
References to "selling the Brooklyn Bridge" abound in American culture, sometimes as examples of rural gullibility but more often in connection with an idea that strains credulity. For example, "If you believe that, I've got a bridge to sell you."[citation needed] References are often nowadays more oblique, such as "I could sell you some lovely riverside property in Brooklyn ...".[citation needed] George C. Parker and William McCloundy are two early 20th-century con-men who had (allegedly) successfully perpetrated this scam on unwitting tourists.[46] The 1949 Bugs Bunny cartoon Bowery Bugs is a joking reference to Bugs "selling" a story of the Brooklyn Bridge to a naive tourist.
In his second book The Bridge, Hart Crane begins with a poem entitled "Proem: To Brooklyn Bridge." The bridge was a source of inspiration for Crane and he owned different apartments specifically to have different views of the bridge.
[edit] References
^ "NYCDOT Bridges Information". New York City Department of Transportation. www.nyc.gov/html/dot/html/bridges/bridges.shtml#brooklyn. Retrieved 2008-08-23.
^ "New York City Bridge Traffic Volumes 2008" (PDF). New York City Department of Transportation. March 2010. p. 63. www.nyc.gov/html/dot/downloads/pdf/bridgetrafrpt08.pdf. Retrieved 2010-07-10.
^ "National Register Information System". National Register of Historic Places. National Park Service. 2007-01-23. www.nr.nps.gov/.
^ a b "Brooklyn Bridge". National Historic Landmark summary listing. National Park Service. tps.cr.nps.gov/nhl/detail.cfm?ResourceId=376&Resource....
^ E.P.D. (January 25, 1867). "Bridging the East River – Another Project". The Brooklyn Daily Eagle: p. 2. www.brooklynpubliclibrary.org/eagle/. Retrieved 2007-11-26.
^ "The Brooklyn Bridge", February 24, 1975, by James B. Armstrong and S. Sydney Bradford "National Register of Historic Places Inventory-Nomination"]. National Park Service. 1975-02-24. pdfhost.focus.nps.gov/docs/NHLS/Text/66000523.pdf "The Brooklyn Bridge", February 24, 1975, by James B. Armstrong and S. Sydney Bradford].
^ The Brooklyn Bridge—Accompanying three photos, from 1975. "National Register of Historic Places Inventory-Nomination"]. National Park Service. 1975-02-24. pdfhost.focus.nps.gov/docs/NHLS/Photos/66000523.pdf The Brooklyn Bridge—Accompanying three photos, from 1975.].
^ "Brooklyn Bridge". ASCE Metropolitan Section. www.ascemetsection.org/content/view/339/872/. Retrieved 2010-06-30.
^ "THE BUILDING OF THE BRIDGE.; ITS COST AND THE DIFFICULTIES MET WITH-- DETAILS OF THE HISTORY OF A GREAT ENGINEERING TRIUMPH.". The New York Times. May 24, 1883. query.nytimes.com/gst/abstract.html?res=9F01E5DC1431E433A.... Retrieved 2009-10-27.
^ Butler WP (2004). "Caisson disease during the construction of the Eads and Brooklyn Bridges: A review". Undersea Hyperb Med 31 (4): 445–59. PMID 15686275. archive.rubicon-foundation.org/4028. Retrieved 2008-06-19.
^ Smith, Andrew Heermance (1886). The Physiological, Pathological and Therapeutical Effects of Compressed Air. Detroit: George S. Davis. books.google.com/?id=hLq981_A5bMC&printsec=frontcover.... Retrieved 2009-04-17.
^ Acott, Chris (1999). "A brief history of diving and decompression illness.". South Pacific Underwater Medicine Society journal 29 (2). ISSN 0813-1988. OCLC 16986801. archive.rubicon-foundation.org/6004. Retrieved 2009-04-17.
^ a b Amazon.com: The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge: J'aime Drisdelle: Books
^ Weigold, Marilyn (1984). Silent Builder: Emily Warren Roebling and the Brooklyn Bridge. Associated Faculty Press.
^ McCullough, David (1983). The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge. New York: Simon & Schuster. p. 421.
^ "Emily Warren Roebling". American Society of Civil Engineers. www.asce.org/PPLContent.aspx?id=2147487328. Retrieved 2010-06-30.
^ "GlassSteelandStone: Brooklyn Bridge-tower rests on sand". www.glasssteelandstone.com/BuildingDetail/435.php. Retrieved 2007-02-20.
^ Reeves, Thomas C. (1975). Gentleman Boss. New York: Alfred A. Knopf. pp. 359–360. ISBN 0-394-46095-2.
^ "Brooklyn Daily Eagle 1841–1902 Online". Archived from the original on 2007-11-14. web.archive.org/web/20071114135249/http://eagle.brooklynp.... Retrieved 2007-11-23.
^ "Dead on the New Bridge; Fatal Crush at the Western Approach". The New York Times. May 31, 1883. query.nytimes.com/gst/abstract.html?res=980DE3DA1431E433A.... Retrieved 2010-02-20.
^ Bildner, Phil (2004). Twenty-One Elephants. New York: Simon & Schuster. ISBN 0689870116.
^ Prince, April Jones (2005). Twenty-One Elephants and Still Standing. Boston: Houghton Mifflin. ISBN 061844887X.
^ "P.T. Barnum – MSN Encarta". Archived from the original on 2009-10-31. www.webcitation.org/5kwQPajtQ.
^ Strausbaugh, John (November 9, 2007). "When Barnum Took Manhattan". The New York Times. www.nytimes.com/2007/11/09/arts/09expl.html. Retrieved 2008-09-21.
^ Gary Buiso, New York Post (May 25, 2010). "A True Cover Up. Brooklyn Bridge Paint Job Glosses over History". www.nypost.com/p/news/local/brooklyn/true_cover_up_brookl.... Retrieved October 23, 2010.
^ Chan, Sewell (August 2, 2007). "Brooklyn Bridge Is One of 3 With Poor Rating". The New York Times. cityroom.blogs.nytimes.com/2007/08/02/brooklyn-bridge-is-.... Retrieved 2007-09-10.
^ "Brooklyn Bridge called 'safe' – DOT says span is okay despite getting a 'poor' rating". Courier-Life Publications. www.baynewsbrooklyn.com/site/news.cfm?newsid=18685076&.... Retrieved 2007-08-12.
^ Burns, Ken. "Why I Decided to Make Brooklyn Bridge". Public Broadcasting Service. www.pbs.org/kenburns/brooklynbridge/about/. Retrieved 2010-02-20.
^ "Burns, Ken – U.S. Documentary Film Maker". The Museum of Broadcast Communications. www.museum.tv/eotvsection.php?entrycode=burnsken. Retrieved 2010-02-20.
^ Quindlen, Anna (April 2, 1980). "Koch Faces Day Ebulliently; He Looks Well Rested". The New York Times. select.nytimes.com/gst/abstract.html?res=F3061EFB395C1272.... Retrieved 2010-06-30.
^ Rutenberg, Jim (December 21, 2005). "On Foot, on Bridge and at City Hall, Bloomberg Is Irate". The New York Times. www.nytimes.com/2005/12/21/nyregion/nyregionspecial3/21ma.... Retrieved 2010-06-30.
^ Julavits, Robert (August 26, 2003). "Point of Collapse". The Village Voice. www.villagevoice.com/2003-08-26/news/point-of-collapse/. Retrieved 2010-02-20.
^ Steven Henry, Strogatz (2003). Sync: The Emerging Science of Spontaneous Order. New York: Hyperion. pp. 174–175, 312, 320. ISBN 0786868449.
^ "Odlum's Leap to Death". The New York Times: p. 1. May 20, 1885. query.nytimes.com/gst/abstract.html?res=990DE4D91739E533A.... Retrieved 2008-04-15.
^ "Brooklyn Bridge". SunnyDream. www.sunnydream.info/index.php?page=brooklyn. Retrieved 2010-06-25.
^ Sexton, Joe (March 2, 1994). "4 Hasidic Youths Hurt in Brooklyn Bridge Shooting". The New York Times. www.nytimes.com/1994/03/02/nyregion/4-hasidic-youths-hurt.... Retrieved 2010-06-30.
^ "In Memoriam". Ari Halberstam Memorial Site. www.arihalberstam.com/in-memoriam/. Retrieved 2010-06-30.
^ "Iyman Faris". GlobalSecurity.org. www.globalsecurity.org/security/profiles/iyman_faris.htm. Retrieved 2010-06-30.
^ Lovgren, Stefan (March 24, 2006). "Cold War "Time Capsule" Found in Brooklyn Bridge". National Geographic. news.nationalgeographic.com/news/2006/03/0324_060324_broo.... Retrieved 2010-02-20.
^ NYC Roads. "The Brooklyn Bridge". www.nycroads.com/crossings/brooklyn/. Retrieved October 23, 2010.
^ Burke, Kerry; Hutchinson, Bill (May 23, 2008). "Brooklyn Bridge turns 125 with a bang". Daily News (New York). www.nydailynews.com/ny_local/brooklyn/2008/05/22/2008-05-.... Retrieved 2009-08-01.
^ "Brooklyn Bridge 125th Anniversary Celebration". ASCE Metropolitan Section. www.ascemetsection.org/content/view/121/830/. Retrieved 2009-08-01.
^ Ryzik, Melena (May 21, 2008). "Telescope Takes a Long View, to London". The New York Times. www.nytimes.com/2008/05/21/arts/design/21tele.html. Retrieved 2009-08-01.
^ Farmer, Ann (May 21, 2008). "This Way to Brooklyn, This Way". The New York Times. cityroom.blogs.nytimes.com/2008/05/21/welcome-to-dumbo-it.... Retrieved 2009-08-01.
^ Cultural Significance
^ Cohen, Gabriel (November 27, 2005). "For You, Half Price". The New York Times. www.nytimes.com/2005/11/27/nyregion/thecity/27brid.htm. Retrieved 2010-02-20.
[edit] Further reading
Cadbury, Deborah. (2004), Dreams of Iron and Steel. New York: HarperCollins. ISBN 0-00-716307-X
Haw, Richard. (2005). The Brooklyn Bridge: A Cultural History. New Brunswick: Rutgers University Press. ISBN 0-8135-3587-5
Haw, Richard. (2008). Art of the Brooklyn Bridge: A Visual History. New York: Routledge. ISBN 0-415-95386-3
McCullough, David. (1972). The Great Bridge. New York: Simon & Schuster. ISBN 0-671-21213-3
Strogatz, Steven. (2003). Sync: The Emerging Science of Spontaneous Order. New York: Hyperion books. 10-ISBN 0-7868-6844-9; 13-ISBN 978-0-7868-6844-5 (cloth) [2nd ed., Hyperion, 2004. 10-ISBN 0-7868-8721-4; 13-ISBN 978-0-7868-8721-7 (paper)]
Strogartz, Steven, Daniel M. Abrams, Allan McRobie, Bruno Eckhardt, and Edward Ott. et al. (2005). "Theoretical mechanics: Crowd synchrony on the Millennium Bridge," Nature, Vol. 438, pp, 43–44.link to Nature articleMillennium Bridge opening day video illustrating "crowd synchrony" oscillations
Trachtenberg, Alan. (1965). Brooklyn Bridge: Fact and Symbol. Chicago: University of Chicago Press. ISBN 0226811158 [2nd ed., 1979, ISBN 0-226-81115-8 (paper)]
[edit] External links
New York City portal
Wikimedia Commons has media related to: Brooklyn Bridge
360° Interactive panorama from the top of the Brooklyn Bridge
The Brooklyn Bridge: A Study in Greatness
NYCroads.com – Brooklyn Bridge
Transportation Alternatives Fiboro Bridges – Brooklyn Bridge
The story of Brooklyn Bridge – by CBS Forum
Panorama of Brooklyn Bridge 1899 – Extreme Photo Constructions
Structurae: Brooklyn Bridge
Great Buildings entry for the Brooklyn Bridge
American Society of Civil Engineers
Railroad Extra – Brooklyn Bridge and its Railway
Images of the Brooklyn Bridge from the Brooklyn Museum
Brooklyn Bridge Photo Gallery with a Flash VR 360 of the Brooklyn Bridge Pedestrian Walkway
Opening Ceremonies of the New York and Brooklyn Bridge, May 24, 1883 at Project Gutenberg
Brooklyn Bridge at Historical Marker Database
I am going to risk putting myself out on a limb here (oh god, not even beyond the first sentence without a pun, bodes ill this does), but I want to discuss a bit about what makes photography...worthwhile, at least on a personal level. It is often a bit awkward for me to tackle such subjects in a forum such as Flickr, much easier to discuss things like this in a more personal nature, I often worry that tone or intent will be misconstrued. A small worry, but a bit of one nonetheless. Mainly because I don't want to sound like a know-it-all. I don't, in case you wondered. And as I often say, I don't even necessarily believe much of what I write to be true. I am perfectly capable of being wrong as well. But it is not really the being wrong or right, for which I write, it is the attempt to make myself more aware of how I think and act in regards to photography that is a valuable exercise in and of itself. Hence these "essays".
But moving on now. I get a fair number of e-mails, of which I try to answer most every one. My photography does a fair amount of inspiring ( a good thing, which always flatters me) but it also does a fair amount of impressing ( less of a good thing). I get a lot of e-mails asking for advice, which I happily give even if I never really feel like I know exactly what to say. Seems like such a simple question, but each time I wonder if I managed to say just the right thing to fan the flame of their creative spark, or if I missed the target altogether.
Anyway, I was laying on the couch just now, trying to drift off and take a nap and my brain had other ideas, some of them good enough that I decided to get up and make a post of them regarding the value we assign our photography, because this is an important concept when it comes to becoming a better photographer, in my opinion.
First off: Your photography is not limited by your camera, nor your lens. It is not limited by shutter speeds, aperture, film, focus, flash, white balance, color, black and white, grain, noise, etc. It is not limited by your budget nor your education. It is not, and I repeat, not, limited by light. It is certainly not limited by where you live or where you go. Your photography is limited simply and quite importantly, only by your own imagination and vision. All those factors I mentioned (and more) can certainly affect your photography, but ultimately you make of it what you will. Photography begins and ends with the photographer, the best light in the world, or most advanced metering system will not change that.
Second: Getting published is great. So is selling photographs. Making explorer can be flattering. So is getting hundreds of comments and favorites. Being profiled with a book or on TV is impressive. A long resume of accomplishments always looks nice. So does a polished portfolio of stunning images that draws oohs and aahs. But when it comes down to it, all this stuff is icing on the cake. Sweet but not too fulfilling. Whether you are just starting out in photography or not, but particularly if you are, don't approach it thinking one or more of things these have to be accomplished before you become a worthwhile photographer. As I said above, all your photography begins and ends with you, not with Popular Photography Magazine or MOMA or contest prizes or Explorer hits.
Your photography will never be more valuable than the value you place in it that split second before you hit the shutter button.
What matters most happens before the picture is even taken, not after. The worth of your photography is in what gets you up at 4 am in the morning to brave freezing conditions in hopes of a sunrise. It is what makes you follow your children around all day long patiently snapping frame after frame. It is what causes you to drive for miles, or walk them, in search of that moment, be it in the middle of a sprawling urban landscape or a natural one. It is significantly in what keeps you picking up that camera as the fractions of seconds become days, the days months, the months pool into years, and beyond. It is in this desire to see, to experience, to feel, to celebrate, to remember, to be a part of, to be amazed or amused, that you will find what makes your photography worthwhile. Everything that comes after the snap of the shutter is merely added drama, and it is never as important as you think it is.
If you can take this to heart, and mind, to shoot more freely from so many of these false limitations that we impose on ourselves way too often, the most common of which is to model your photography off of other people's expectations of it. Then you will also discover that the most important thing is to pursue your photography in a way that is your own. Make your photography yours, it will show.
And I will be honest, regardless of how lucid I described what I am hoping I described, or how easy I made it sound, the process is neither to go through, at least for me it wasn't. It does not happen overnight. Sometimes the proverbial lightbulb will switch on, but count yourself lucky if you experience this. I think most people reach that point by stumbling through murky gray areas feeling out their own creative nature. And this is something important to remember too. All those really good photographers you look up to and wish to emulate? They were all awkward novices at one point too. Stumbling along lost at times themselves. If a photographer tries to tell you otherwise, he is either full of himself (or herself) or has an awful memory. Really, one of the most important traits to adopt in your photography is not actually creativity, but dedication. You know, long term patience. Passion helps too. Passion is fuel for dedication.
Hmm, this is about the part where I finally decided to get up and start typing, so this is kind of the end of this train of thought (sorry another bad pun to close this out). I do hope some of this helps. I sometimes think photography is all about vision, but not always in terms of how well we see what is in front of us, quite often it involves how we see ourselves too. We each come with all the truly essential tools we need to be good photographers, but make no mistake, we can still do quite a bit to sabotage our own abilities if we aren't aware of the subversive ways in which we do it.
In terms of this photo, I took this one night a month or so ago out shooting the St. Johns Bridge with Aaron. In fact you can see his shot taken right beside me here. I figured the bridge would make a good subject to accompany what I wanted (to try) to say today.
Thanks again for reading along this far.
I hope Kwame Kilpatrick will be making this for me.
Former Detroit Mayor Kwame Kilpatrick sentenced to 28 years in Federal Prison.
Danish postcard by Kai Brommers Boghandel, Helsingor, no. 7064. Caption: Kronborg 1938, Gustaf Gründgens in 'Hamlet'.
Gustaf Gründgens (1899-1963) was one of the most famous and influential but also controversial German actors and artistic directors of the twentieth century. He launched himself as a comet during the Weimar Republic. His most beautiful role was Mephisto, the devil in Goethe's 'Faust'. With that role he celebrated triumphs. His best-known film role was the criminal 'Der Schränker' (The Safecracker), the chief judge of Peter Lorre's character in Fritz Lang's M – Eine Stadt sucht einen Mörder/M (1931). After 1933, Gründgens became the stage favourite of the Nazi top. Although Reich Propaganda Minister Joseph Goebbels hated the homosexual Gründgens to the bone, Field Marshal Hermann Göring protected him personally. In 1946, Gründgens again acquired an important position in the German theatre. He triumphed in Berlin, amidst returned exiles and survivors from the concentration camps and was again respected as an actor.
Gustav Heinrich Arnold Gründgens was born in Düsseldorf in 1899, ten days before the turn of the century. The Gründgens family (the father descended from a Dutch family) was already in serious financial problems when Gründgens was born. The young Gustaf Gründgens volunteered for the military in 1916, immediately after secondary school, and was sent to the Westfront. In 1917 he became a member of the front theater company Saarlouis, one year later he managed this company. He completed his training at the drama school of the Schauspielhaus Düsseldorf in one year, 1919-1920. A month later, he made his first appearance as a footman in Tolstoy's 'The Living Corpse'. Via smaller theatres in Halberstadt, Kiel (where he played Mephisto for the first time) and a short engagement in Berlin, Gründgens ended up in 1923 at the Kammerspiele in the second important German theatre city of those days, Hamburg. From the age of twenty-five, Gründgens had to support his parents completely on his own financially. In Hamburg, he met Klaus and Erika Mann. He directed the curious teenage fairy tale 'Anja und Esther' in which Klaus Mann and Gründgens played parts, and which was considered a scandalous performance for that time. He married Erika Mann in 1925 (or 1926 - the sources differ) and the marriage lasted three years. In a short time, Gründgens became too big for Germany's second-largest theatre city. In 1928, Max Reinhardt engaged him for the Deutsches Theater on Berlin's Schumannstrasse. Gründgens plunged into Berlin theatre life with boundless energy. He tackled everything he could get: film, revue, cabaret, big stage roles. One of his first film roles is the gangster leader 'Der Schränker' (The Safecracker) who is the chief judge of the kangaroo court presiding over Hans Beckert (Peter Lorre) in Fritz Lang's timeless classic M – Eine Stadt sucht einen Mörder/M (1931). In 1932, the Berliners see Gründgens for the first time as Mephisto in 'Faust I', in the Staatliches Schauspielhaus am Gendarmenmarkt opposite Werner Krauss in the title role. Critic Herbert Ihering wrote in the Berliner Börsen Courier (3 December 1932): 'Gründgens flashes and sparks. He plays a hundred variations on the Mephisto theme, but never the theme itself. He plays commentary on Mephisto, witty footnotes, against the Goethe exegetes.'
In 1933, after the seizure of power by Hitler et al., and the fire in the Reichstag, many artists left Germany. Thomas Mann's children call their father in Switzerland and tell him to stay there. Klaus and Erika Mann themselves started the anti-fascist cabaret Die Pfeffermühle, with which they celebrated triumphs all over Europe. Gustaf Gründgens stayed in Germany. In the summer and early autumn of 1933 Gründgens made a film in Spain. In October 1933 he returned to Berlin to play a leading role in Hermann Bahr's comedy 'Das Konzert', alongside Emmy Sonnemann, Mrs. Göring. Hermann Göring, who had become Prime Minister of Prussia, was looking for a new Intendant for the 'Preussisches Staatstheater' and his wife pointed out Gründgens' leadership qualities. Gründgens was appointed to that position for the 1934-1935 season. Joseph Goebbels was furious and contacted Hitler about Gründgens and his alleged homosexuality. Göring took the longest straw. The general dismissed the argument of Gründgens' alleged homosexuality with the sentence: 'I decide who is a fagot'. Gründgens formed a brilliant ensemble with actors like Werner Krauss, Kurt Meisel, Bernhard Minetti and Heinz Rühmann, and actresses like Marianne Hoppe and Pamela Wedekind. He also became a member of the Presidential Council of the Reichstheaterkammer (Theatre Chamber of the Reich), which was an institution of the Reichskulturkammer (Reich Chamber of Culture). In 1936, Gründgens married the famous German actress Marianne Hoppe. Despite this "lavender marriage", Gründgens was widely known as homosexual, according to Wikipedia In the 1930s Gustaf Gründgens increasingly alienated himself from his progressive circle of friends from the Weimar Republic. Klaus Mann wrote a novel about a career fighter in the Third Reich with Gründgens as a metaphor. Klaus Mann had had a short-lived relationship with Gründgens, and the novel was said to resemble an act of personal revenge. In 1936, 'Mephisto - Roman einer Karriere' was published in Amsterdam. The qualifier 'key novel' will haunt the book of Mephisto well into the 1970s. The novel remained banned in Germany until more than thirty years after the victory over the Nazis. Gründgens's adopted son and heir Peter Gorski, who had directed Faust, successfully sued the publisher on his late father's behalf in 1966. The judgment was upheld by the Federal Court of Justice in 1968. In the time-consuming lawsuit, the controversy over libel and the freedom of fiction from censorship was finally decided by the Federal Constitutional Court in 1971. It ruled that Gründgens's post-mortem personality rights prevailed and upheld the prohibition imposed on the publisher. However, the novel met with no further protests when it was published again in 1981 by Rowohlt. The novel was made into the film Mephisto (István Szabó, 1981), with Klaus Maria Brandauer in the role of Hendrik Höfgen. The film was a huge commercial and critical success and won the Academy Award for Best Foreign Language Film in 1981.
Loek Zonneveld wrote in a 1995 article in the Dutch magazine De Groene Amsterdammer: "Of course Gründgens' overt flirtations with the barbarians are unpalatable. And of course, it is quite wrong that through his theatre he provided the Nazis with an aesthetically and artistically sound civilizational alibi, as it were. But that is why Gründgens' argument (to continue to prevent worse and to help individuals) cannot simply be thrown into the trash by means of the tight right/wrong scheme. First of all: Gründgens has helped, supported, and rescued people from the hands of the Nazi executioners. When the anti-Semitic paper Der Stürmer by Julius Streicher starts a smear campaign in September 1934 against the 'verjudung' of the theatre in Gründgens' birthplace Düsseldorf, in particular by attacking the actress Louise Dumont (wife of his former teacher Lindemann), the Intendant writes an open letter to Streicher's obscure paper. In the same year, the theatre critic Alfred Mühr tackles Gründgens' theater mercilessly. Göring feels addressed and proposes to his Intendant to send the critic to a concentration camp 'for a short vacation'. Gründgens replies: 'Unfortunately that is not possible. I have engaged him to your theater today, as a dramaturge.' When his old chief from Hamburg, Erich Ziegel, is caught by the Nazis, Gründgens takes him to Berlin and saves him from the clutches of the Hamburg Gestapo. The most famous man who survived Gründgens is Ernst Busch, the communist singer/actor. Busch barely disappears to a concentration camp in 1943, on the intercession of the Intendant, who recruits (and pays for) the best lawyers for Busch. It takes courage to defend a communist in the year the Nazis suffer their first major defeat at Stalingrad."
During the 1930s, Gustaf Gründgens had a second successful career in German cinema. He specialised on-screen in portraying icy intellectuals, cynical snobs, villains, and bon vivants, and appeared in such hits as Liebelei/Flirtation (Max Ophüls, 1933) starring Magda Schneider. and Der Tunnel/The Tunnel (Kurt Bernhardt, 1933) with Paul Hartmann. Another hit was Pygmalion (Erich Engel), 1935) in which he played Professor Higgins opposite Jenny Jugo as Elisa Doolittle. Gründgens tried to keep away from the 'Propaganda and amusement rubbish' in the UFA films. In 1938, he formed his own production company at Terra Filmkunst. For quite some time he managed to fend off the Nazi culture bosses, but in 1941 he was forced to take part in Ohm Krüger/Uncle Krüger (Hans Steinmhoff, 1941), starring Emil Jannings. This propaganda film claimed that the British invented the phenomenon of 'concentration camp' in South Africa. He also acted in the historical drama Friedemann Bach (Traugott Müller, 1941), a film he also produced. The film depicts the life of Johann Sebastian Bach's son Wilhelm Friedemann Bach (Gründgens), who is shown as a gifted son trying to escape his father's (Eugen Klöpfer) shadow. When the pressure from Goebbels became too much for him, Gründgens enlisted in the Wehrmacht in 1944, and he ended up in a Russian internment camp in 1945. On the intercession of Ernst Busch, he was released after nine months. In 1946, he played again, on the stages of the Deutsches Theater on Berlin's Schumannstrasse in 'Der Snob' by Carl Sternheim in the role of an opportunist. Klaus Mann - in the uniform of a US army correspondent - sat in the front row. He became again the undisputed darling of the Berlin theatre. In 1946, Gustaf Gründgens was in dramatically bad health. For years, he had been keeping himself going with painkillers and sleeping pills, and he is heavily addicted to morphine. Yet he became an Intendant twice: first in Düsseldorf and from 1955 in Hamburg. There he staged his last 'Faust' in 1957 and played Mephisto one more time. The lines at the cash register were front-page news one more time. In 1960, the film Faust (Peter Gorski, 1960) was adapted from this theater production at the Deutsches Schauspielhaus with Will Quadflieg as Faust. Gründgens' last role was Phillips II in Schiller's 'Don Carlos', in 1962. In the summer of 1963, he gave his last television interview on the ZDF, in which he said 'For the past thirty years I have played roles all the time, I have forgotten to live.' In September 1963 Gründgens left for a world tour. On 7 October 1963, Gustaf Gründgens died lonely in a hotel room in Manila, Philippines, of an internal hemorrhage. He was 63. It has never been ascertained whether or not he committed suicide by an overdose of sleeping pills. His last words, written on an envelope, were, "I believe that I took too many sleeping pills. I feel a little funny or strange. Let me sleep long." He is buried at the Ohlsdorf Cemetery in Hamburg.
Sources: Loek Zonneveld (Dutch), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
‘Filma Flats’ was built in 1934 for cinema manager Richard Francis Stephens. It was designed by experienced architectural firm R Coutts and Sons. The four brick flats of ‘Filma Flats’ were designed as a ‘better class suburban flat’ during the flat-building boom in Brisbane in the 1930s, when high density dwellings became popular in inner-city suburbs.
For much of the nineteenth and early twentieth centuries Dutton Park was not a popular residential area. A small amount of residential growth followed the 1884 gazettal of the park which gave the suburb its name. Gladstone Road was the focus of the development, with a school, orphanage and the Boggo Road Gaol also constructed in the decade. At the turn of the twentieth century, however, Dutton Park began to gain renown as a popular recreation area. The Dutton Park tramline extension was opened in 1901 and, in an attempt to encourage passengers, the Brisbane Tramway Company provided a garden theatre and held concerts in the Dutton Park reserve. In 1909 the company engaged R MacCallum and RF Stephens to run a moving picture ‘Continentals’ program in the park. The scheme proved a success, with thousands using the tramline to attend the entertainment. Dutton Park, however, remained a largely non-residential suburb until after World War One. As the demand for inner-city housing increased in the 1920s, the suburb’s proximity to the city, ready transport, and views of the river made it a more appealing residential suburb.
In 1924, Lily Maud Stephens became the owner of subdivision 7 of portion 189, a 22 perch site on the corner of Gladstone Road and Pope Street, Dutton Park. Her husband Richard Francis Stephens purchased subdivision 8, the adjacent block on Gladstone Road, two years later. Stephens was a theatre proprietor, and had run the Continentals in Dutton Park in 1909. In business with a range of partners, he went on to establish many of Brisbane’s early theatres, including the Paddington Pavilion, Ascot Astoria, Lutwyche Imperial, Toowong Jubilee and New Farm Earl’s Court, as well as theatres at Spring Hill and West End. Of these theatres only two remain, both on Brunswick Street: Earl’s Court and the Merthyr Picture Palace, part of a highly successful theatre chain which Stephens ran with Charles Munro. By the time Mrs Stephens purchased the Dutton Park site, Stephens’ main focus was ‘Stephens’ New Paddington Theatre’, on Given Terrace.
In addition to their Gladstone Road properties, the Stephens’ owned the adjoining land on the corner of Waterview and Pope Streets, where their home ‘Hollywood’ stood. A house was also built on the Gladstone Road and Pope Street intersection, which was leased to tenants.
One night in January 1932, returning to ‘Hollywood’ from the Paddington Theatre, the family was held up in an armed robbery and Mrs Stephens was killed. The trial was featured heavily in the media at the time. Theatre proprietors at the time were local identities, and Mrs Stephens was an ‘attractive and well-known’ woman. Her killers were sentenced to life imprisonment.
The Gladstone Road properties passed to Richard Stephens after his wife’s death. In May 1934 Stephens engaged architectural firm R Coutts and Sons to design four brick flats on the Gladstone Road and Pope Street corner. Brisbane residents were slow to adapt to flat dwelling, preferring detached single family houses. Terrace houses and other multi-tenanted dwellings were discouraged by nineteenth century legislators, who were concerned about fire, disease and the development of slums. In the early twentieth century accommodation for temporary residents was provided in the form of boarding houses, usually created from old houses too large for their owners. This kind of accommodation was viewed as acceptable for city-workers and bachelors, but flat dwelling was considered to have a ‘demoralising effect’ on its inhabitants. After World War One, however, the growing population in inner-city Brisbane demanded closer development, while the exemption of flats from the Fair Rent Act 1920 encouraged investors to this new type of dwelling.
Not least in the effort to have the value of flats recognised was Joseph Vaudville Douyere Coutts, principal architect of R Coutts and Sons. Coutts was the editor of the Architectural and Building Journal of Queensland, and is believed to have written the journal’s guidelines for successful flat development in 1933. The article emphasised aesthetic design, site selection – including size, topography and accessibility – and the importance of light and air for each flat.
Stephens’ site met the all article’s criteria. The large, flat allotment had ample room for four flats. Its corner position enabled maximum light and air to reach the flats. It had access to transport, with the Dutton Park tramline running past the property on Gladstone Road, and was within walking distance of shopping facilities, workplaces and schools. It was also on the border of Dutton Park and Highgate Hill; despite Dutton Park’s growing popularity the latter was still the more recognised suburb.
By 1934 the popularity of flats in Brisbane was nearing a peak. In June 1934 twelve purpose-built flat buildings were under or pending construction, an unprecedented number for Brisbane. Focus shifted to the quality of the accommodation, and Coutts’ design reflected increasing calls for a better class of flats. ‘The demand for first-class compact flats in Brisbane is still undiminished,’ announced the Courier Mail, describing Stephens’ flats for its readers:
The building will be of two stories, each containing two flats, separated by sound-proof brick walls… Four garages, a complete laundry, and separate lavatories are provided. Each flat will have an 8ft. balcony to the front and a service balcony at the rear. The flats will have polished hardwood floors, ceilings of fibrous plaster, while the inside walls will be of plaster and the outside will be texture finished.
Although R Coutts and Sons were in practice from 1914, and Coutts was outspoken on the importance of flats, this appears to be one of the few flat buildings that the firm designed. It is likely to be the only surviving example of Coutts’s flat design, as later designs ‘Clarence Court’ in South Brisbane and ‘Gloria Court’ in Spring Hill do not appear to be extant.
The successful tenderer for the flats, contractor Charles Day, completed work by November 1934, when the ‘recently erected’ flats were featured in the Courier Mail:
‘Filma Flats’ were ready for occupation by 1935. In addition to the features listed in the Courier Mail article, each two-bedroom flat had its own refrigerator, and faced east on the Pope Street frontage of the site. While not reaching the luxury of some of the flats erected in Brisbane around the same time (such as ‘San Remo’ in South Brisbane or ‘Coronet’ in New Farm), Stephens’ flats offered a level of ‘sophistication’ to its tenants, appealing to a wealthier group of flat-dwellers than those who occupied the converted boarding houses. At an estimated cost of £2,100, they had also cost considerably more than the conversion of a house on site would.
The Stephens family continued to reside in ‘Hollywood’ and leased ‘Filma Flats’ to tenants. Occupants included Bruce Young, who built a braille globe from the sunroom of his Pope Street flat for blind French organist André Marchal, in 1953. The globe appears to be in the museum Valentin Haüy in Paris.
In 1957 Stephens added his two sons to the title of the flats, and died the following year. The brothers retained the property until 1982. In 1983 the property was amalgamated with subdivision 8, which had its own block of flats (circa 1950s). Each flat is now owned by an individual owner.
Source: Brisbane City Council Heritage Register.
Challenge -Complete the Sentence 2
Owner : Gibby Frogett
Art work by me. |Hugs,1Westie xxx
Link to challenge :
www.flickr.com/groups/3940040@N21/discuss/721577219212839...
1924 August 12
Pennsylvania Governor Gifford Pinchot allegedly sentenced Pep "The Cat-Murdering Dog" to a life sentence at Eastern State. Pep allegedly murdered the governor’s wife’s cherished cat. Prison records reflect that Pep was assigned an inmate number (no. C-2559), which is seen in his mug shot. However, the reason for Pep’s incarceration remains a subject of some debate. A newspaper article reported that the governor donated his own dog to the prison to increase inmate morale. ~ easternstate.org/learn/timeline
More images can be found in my FB album.
Leica Summilux 25mm f/1.4 on a G2
[ 0.013 sec (1/80) | f/1.6 | FLength 25 mm | ISO 400 ]
Hades
Sentenced to find their true Self
And some of the "Hell-Drivers" return - wise... :-)
HKD
Zur Selbsterkenntnis Verurteilte
Man kommt nicht nach dem Tod in die Hölle, die Erde, das Leben unter bestimmten äußeren oder psychischen Bedingungen ist die Hölle. Die glühenden Emotionen, die nicht ausgelebt werden dürfen und unterdrückt werden müssen, das ist die Hölle. Selbstverurteilung, Selbstunterdrückung und Selbstkasteiung, das ist die innere Hölle.
Die äußere Hölle erleben jene, die von Krieg oder Katastrophen heimgesucht werden. Menschen, die an ihrer Psyche leiden, die Psychopathen, sie erleben die Hölle. Manche vergessen in ihrem Leid, dass es einen Wiederaufstieg gibt. Die Auferstehung als Metapher ist eine psychisch erfahrbare Möglichkeit. Die griechische Göttin Persephone (Hades’ Gattin) zeigt in ihrem Mythos, dass man die eine Hälfte des Jahres in der Unter- und die andere Hälfte in der Oberwelt verbringen kann. Das ergibt die Weisheit der Tiefe mit den Freuden und Festen des Olymp. Gute Aussichten für Psychonauten und Unterweltreisende. Der unangenehme Spaß hat einen Sinn…
HKD
Sentenced to carry out 4 months hard labour in Newcastle City Gaol, Thomas Tweedy was found guilty of stealing money on 26 December 1872.
Age (on discharge): 20
Height: 5.4
Hair: Brown
Eyes: Blue
Place of Birth: Newcastle
Status: Single
Occupation: Labourer
Tweedy has four previous convictions listed on his particulars sheet covering the period 1863-1872, including a conviction in 1869 for stealing a toilet cover.
These photographs are of convicted criminals in Newcastle between 1871 - 1873.
Reference:TWAS: PR.NC/6/1/1166
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
Colosseum
Following, a text, in english, from the Wikipedia the Free Encyclopedia:
The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.
Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).
Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]
The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]
Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.
The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.
In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.
The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.
Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.
During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.
In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.
The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.
Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).
Exterior
Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.
The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.
The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.
Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]
The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]
Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.
Interior
According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.
The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.
Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.
Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.
The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]
The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]
Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.
The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.
Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.
Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.
Right next to the Colosseum is also the Arch of Constantine.
he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.
During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]
Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.
The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]
The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.
In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.
It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.
Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.
At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.
Coliseu (Colosseo)
A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:
O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.
O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.
Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.
O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.
Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.
Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.
Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.
Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.
O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".
A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.
Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.
O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.
Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.
O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.
Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.
Alaa Abd El-Fattah has endured much of the last twelve years in some of the worst prison conditions anywhere for his brave work in promoting democracy in Egypt. He was last arrested in September 2019 while attending Cairo's Dokki Police Station and in December last year was sentenced to five years imprisonment for "spreading false news undermining state security." More precisely, he had shared social media posts explaining the hell-hole reality of Egyptian prison conditions.
PROTEST OUTSIDE THE FOREIGN OFFICE
When this photo was taken, Alaa's two sisters, Mona and Sana'a Seif, were staging a protest in London's King Charles Street outside the British Foreign Office in the hope that the Egyptian government can be pressured to release him, as media attention began to focus on the upcoming COP27 conference at Sharm El Sheikh on Egypt's Red Sea coast.
UPDATE AS OF WEDNESDAY 9 NOVEMBER 2022
Starting from Sunday 6 November, Alaa escalated his hunger strike, and stopped taking water. His sister Sanaa Seif took a flight the same weekend to attend the COP27 conference at Sharm El Sheikh in a last-minute effort to save Alaa's life.
For the latest on Alaa's situation listen to his sister's Sanaa Seif's speech to journalists attending the conference on Tuesday 8 November - "They are very happy for him to die. The only thing they care about is that it doesn't happen while the world is watching."
www.youtube.com/watch?v=BqXibJ7PUTY
TORA PRISON - "A DAY HERE, IS LIKE A YEAR IN BELMARSH"
In April, Alaa began his hunger strike in a cell in one of the most secure sections of Cairo's sprawling and notorious Tora Prison - a maze of grim high concrete walls and watch towers, which strike fear into even the thousands of commuters who have to pass daily.
In 2012, one young Londoner confined to one of the least uncomfortable and most survivable wings of Tora prison, contrasted it with his own previous experience at Britain's high security Belmarsh. I can never forget his exact words. "A day here, is like a year at Belmarsh!" A little over 12 months later, he died of TB - the prison authorities had refused to listen to the pleas of his aunt, who fell on her knees during a rare visit, begging that he be admitted to the prison hospital.
ALAA'S HUNGER STRIKE CONTINUES AT WADI EL NATRUN PRISON
More than 200 days have passed since Alaa started his hunger strike. He has now been moved to the Wadi El Natrun prison complex in the desert north of Cairo, dubbed by inmates as the "Valley of Hell."
He may not survive much longer. However, as he holds British-Egyptian nationality, one would hope that the British government would be doing everything they could to secure his immediate release and it would be reasonable to suppose that the Foreign Office could get an immediate pledge in this regard, especially given that the British companies, including the likes of British Petroleum and BP, are the biggest investors in Egypt.
NO CONSULAR ACCESS
However, the British government have failed even to get him any consular access - think about that. That's an outrage. Even a convicted mass murderer, if British, would be entitled to consular access while in prison. That meeting would obviously not take place in his cell - but in a designated room in the prison or the highly supervised prison visiting area.
British men and women convicted of drug smuggling and other crimes in Egypt have received consular visits, so why not Alaa? The answer is because Alaa's crime is that he dared to tell the truth about Egypt, and the injustice both inside and outside its many prison walls. Nobody knows exactly how many political prisoners Egypt now has, but the number is estimated to be at least 60,000.
ALAA WAS ONE OF THE LEADERS OF THE MOST INSPIRATIONAL DEMOCRATIC REVOLT THE WORLD HAS EVER SEEN
Alaa Abd El-Fattah was one of the leaders of arguably the most inspirational democratic revolt the world has seen in the last hundred years. Although the first phase of the 2011 uprising in Egypt lasted just 18 days, and although it followed the toppling of the dictator Ben Ali in Tunisia - the streets and bridges around Tahrir Square became a deadly stage watched by the world, where protesters from every walk of life were pitted against Egypt's feared state security forces. Against all the odds, and at the cost of many lives, Egyptians refused to leave the square, sleeping in front of the tanks and fending off attacks from government militia.
The Egyptian people's initial success in toppling the dictator Mubarak led to further revolts not just across the Middle East (most notably in Libya, Bahrain, Yemen and Syria) - the highly organised Tahrir-Square sit-in provided the inspiration for strikes and workplace sit-ins against austerity across the United States and Europe and to the Occupy Movement of the same year. The people of Egypt showed that it does not matter how brutal, feared and authoritarian a government is, it can be toppled if people act collectively.
THE MILITARY BACKLASH
It's true that Egypt's flirtation with the path to greater freedom seemed to be only temporary - the Egyptian authorities deployed the usual divide and rule tactics - encouraging the less committed protesters to return home - and then rushed to elections without allowing time for genuinely democratic opposition parties to develop.
Mohamed Morsi of the Muslim Brotherhood won the presidential election in 2012 - the Brotherhood (contrary to the perception many people have here in the West) had genuinely progressive elements within it, but the chance for any transformative radical programme was prevented partly by the corruption and self-interest of some of the main political actors and partly by opposition to its democratic mandate from the deep state (the military, the Interior Ministry, State Security, the police etc.)
The army, seeing its chance, seized power in 2013, superficially in the name of the people, but in reality, to advance the interests of the generals. The new president, Abdel Fattah El-Sissi, moved quickly to crush all opposition, and ordering his security forces to attack Muslim Brotherhood supporters who had gathered in eastern Cairo at Rabaa al-Adaweya Square, killing at least 800 people - the bloodiest massacre of civilians in Egypt's modern history.
DON'T ALLOW EGYPT TO USE COP27 TO GREENWASH ITS REGIME - AND PLEASE SIGN THE PETITION TO SAVE ALAA
Now COP27 is scheduled to take place in Sharm El-Sheikh and Sisi has been given a golden opportunity to greenwash his murderous regime, which has also seen ever increasing levels inequality and corruption. While British representatives at COP27 will be given accommodation in the most luxurious five star hotels in Sharm El-Sheikh and fall asleep listening to the sound of the waves, another British citizen, Alaa Abdel El-Fatah is near death, on a painful hunger strike in the darkest of places - his dimly lit cell. The only thing he might hear at night is the desperate cry from some prisoner in another cell appealing for medical help which most likely never comes.
If we care for freedom, real democracy and justice, we can't allow the British Foreign Office to forget Alaa - especially if it's simply not to upset the highly profitable relationship British multinationals have with one of the world's most authoritarian and corrupt regimes - a relationship which only benefits the wealthiest of Egyptians.
If you live in London, please show your support at the protest at King Charles Street - and wherever you live please sign the petition -
www.change.org/p/help-free-my-brother-before-it-s-too-lat...
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