View allAll Photos Tagged a-2
Bỗng dưng nổi hứng lên cơn design M-A =.=
2 sign này dành tặng cho:
Mèo (chồng mình)
Baches (người yêu cũ)
Appa Milk (<3)
Appa Lá (:*)
Pjnnie (Không tiếp xúc nhiều nhưng vẫn tặng)
Vivian (:3)
Ruồi (Yêu anh :3)
Táo Bón (Tao yêu mày <3)
Rú (<3)
Kerohyun ^^
Anh Heo :3
Còn rất nhiều người khác nữa, nhưng cũng không phải ai được nhận T_______T (Còn mấy người nữa cơ mà ứ tag được =.=)
Thôi thì với một tình cảm chan chứa nên xin tặng mọi người sign 600x200 (banner?) xấu xí mới làm của mình.
Mod mình được tách bằng pentool (sign 2 chỉ magic eraser là xong.)
{psd will be update soon, don't worry about it!}
1. Along came a . . ., 2. . . . redhead, 3. one fish two fish red fish blue fish, 4. Falls on Raven Cliff Trail, 5. Three's a Crowd, 6. " . . . and black and white all over.", 7. A Bird in the Bush . . ., 8. Crossing the Color Barrier, 9. Denali Fall, 10. At the Foot of the Magic Tree, 11. Maligne Tours, 12. At Work In A Sea Of Scarlet, 13. Open Door Policy, 14. Bubbles, 15. Something Wicked This Way Comes, 16. Cedar Rock Falls
At the end of the year last year I posted a mosaic of some of my favorite posts from that year. I guess I'll make it a tradition. (You might even be able to see them if you view this large!) Thanks to all of you for your support, inspiration and kind comments over the last year. I hope you all have a Happy (and photographically rewarding) New Year!
1. Untitled, 2. Boletus aerus - one of the best 4 bolete types., 3. Untitled, 4. Untitled, 5. wow day 007, 6. Untitled, 7. wow day 006, 8. wow day 005, 9. wow day 014
Created with fd's Flickr Toys
Mushrooms collected :
boletus aureus (3 midle top Models)
Boletus aestivalis (center and bottom ,rght)
Boletus adius, zelleri, subtimentosus(bottom left basket)
© All Rights Reserved.
The EMD E8 is a 2,250-horsepower (1,678 kW), A1A-A1A passenger-train locomotive built by General Motors' Electro-Motive Division (EMD) of La Grange, Illinois. A total of 450 cab versions, or E8As, were built from August 1949 to January 1954: 447 for the U.S. and 3 for Canada. 46 E8Bs were built from December 1949 to January 1954, all for the U.S. The 2,250 hp came from two 12 cylinder model 567B engines, each driving a generator to power the two traction motors on one truck. The E8 was the ninth model in the line of passenger diesels of similar design known as EMD E-units.
My model is of New York Central E8A number 4076, and is powered with Lego Power Functions components, with two L motors inside the body of the locomotive.
Credit to Tony Sava and Nate Brill for the design of the nose and cab, Chris Stone for the drivetrain, Bradley Klouzek for the cab doors, and Monty Smith for the decal artwork, which was printed by OK Brick Works.
**********
This picture is part of a series shot on Kodak ColorPlus 200 film and a Kiev 4A (1963) camera.
Settings for this shot were not recorded (I started doing this later).
The pictures that compose this series are:
1 - Morning glow (flic.kr/p/2qv3ZGi)
2 - I'm spiderman (flic.kr/p/2quWXTt)
3 - Carousel (flic.kr/p/2quWXSS)
4 - Montevideo (flic.kr/p/2quWXSG)
5 - New roads (Nuevos Caminos) is the actual name of the statue by José Belloni (flic.kr/p/2qv3ZFX)
6 - Backlit building (flic.kr/p/2qv4ETF)
**********
Anaconda Aluminum EMD NW3 at Columbia Falls, Montana, July 27, 1976. Photographer: Ed Fulcomer. Scanned from a 2 1/4 x 3 1/4 negative owned by Digital Rail Artist.
Clinchfield EMD NW3 361 at Erwin, Tennessee, date and photographer unknown. Scanned from a 2 1/4 x 2 1/4 negative owned by Digital Rail Artist.
Only seven NW3's were ever built, all for the Great Northern. It was essentially a 1,000 horsepower NW2 on a custom built fish-belly frame and equipped with the road trucks from an FT. A steam generator was squeezed in just in front of the cab.
They were used for branch line runs that still had passenger service. The design predated the 1941 introduction of Alco's RS1 at the request of the Rock Island for the same type of service.
Great Northern 5400-5401 were built in November, 1939. GN 5402 came along in September, 1940. Seven more months passed before GN 5403 was built in April, 1941, followed by GN 5404 in December. Two more, GN 5405 and 5406, were built in March, 1942.
All seven were renumbered GN 175-181 in 1943 in the general renumbering.
GN retired the first four in February and March, 1965, and traded them in to EMD. In August GN 181 became Anaconda Aluminum 900 (it survived, was repainted back into GN colors, and is on display at Whitefish, Montana).
The final two, GN 179 and 180, were sold to dealer Railway Equipment Company in June, 1968.
A. E. Stanley of Morristown, Pennsylvania, bought GN 179, while GN 180 became Clinchfield 361, shown here, and was eventually scrapped.
The A. E. Stanley unit survived until 2018, when it was scrapped in November. Attempts were made to donate the unit but the remote plant location meant that transportation costs to a museum would be too high.
-- www.greatnorthernempire.net/index2.htm?GNEGNDieselRosterN...
1. bomaki indigo, 2. detail pleated arashi-indigo, 3. older shibori indigo 026, 4. Clamp Shibori Videos & Pics 012, 5. blue series 7, 6. L7, 1993, 7. 041609_012, 8. HOTHOUSE FLOWERS, 9. Aizenkobo indigo, as floor pillows, 10. Spinning Fiber - Polwarth AVFKW, 11. Aizome I, 12. Indigo T-shirt - Itajime, 13. Aizome I - detail, 14. indigo cotton yarn, 15. double arashi indigo on silk, 16. bowl of indigo moon
Created with fd's Flickr Toys
Rework of a 2 year old photo I took of the sun peeking through the ice laden trees. Normally I won't even look at winter pictures during any other season, but I've been working on this one off and on since I took it. This version is much more abstract than the others ( you can't tell theres ice and snow ), but I do like the colors and how it came out.
15/5/74.Par. A class 120 dmu shortened to a 2 car unit waits for its next turn on the Newquay branch.
1. Jellyfish, 2. jellyfish, 3. Jellyfish, 4. Jellyfish, 5. Jellyfish, 6. Moon Jellyfish, 7. Jellyfish, 8. Jellyfish, 9. Jellyfish, 10. jellyfish, 11. Jellyfish Symphony, 12. jellyfish (2), 13. Jellyfish, 14. Water Jellyfish, 15. Cephea jellyfish / イボクラゲ, 16. jellyfish ball, 17. New England Aquarium: Jellyfish, 18. Jellyfish, #3, 19. Jellyfish, 20. Little Jellyfish, 21. Jellyfish, 22. jellyfish, 23. Osaka jellyfish, 24. New England Aquarium: Jellyfish, 25. Jellyfish, 26. Jellyfish, 27. Sea Nettle Jellyfish, 28. Jellyfish dance, 29. jellyfish (no post processing color adjustment), 30. Jellyfish Cliche , 31. Sea Nettle Jellyfish, 32. Jellyfish, 33. Still more jellyfish, 34. Jellyfish #4, 35. PICT5048/Brown jellyfish, 36. Jellyfish 1
Created with fd's Flickr Toys.
A 2-car Class 101 unit (consisting of cars 56375/51208) crosses the High Level Bridge at Newcastle on a Sunderland-Newcastle working - 28 August 1982
1. Sisters, 2. this is a world filled with love & other things that have the sense not to waste time talking about everything under the sun & see how it glows with no help from us whatsoever, 3. "Strength is hanging on when your heart has had enough, it's giving more, when you feel like giving up...", 4. got love?, 5. DexJan09_02, 6. ::heaven::, 7. February 4 ~ blue heart, 8. L O V E, 9. sweet cheeks xx, 10. ... lovebirds ..., 11. :, 12. focus on what matters, 13. Frosty the Snowman........, 14. delicate newspaper bunting, 15. Cousins, 16. Be Still My...(39/365), 17. oh hai, dad, 18. {love}, 19. a hand to hold :gratitude 104.365, 20. kitchen window, 21. 23/365, 22. I'm Not Searching..., 23. "Love is the greatest refreshment in life.", 24. together :: tea, 25. paper lanterns
Created with fd's Flickr Toys.
The "The Hell Bug" on a run - The top speed winner was this Bugatti at 235 mph. Keep in mind this is a 2 lane scenic mountain highway not a raceway.
1. Lantana, 2. Maryjane Slippers - pastel pink, yellow, white, 3. “If I had my life to live over, I would start barefoot earlier in the spring and stay that way later in the fall. I would go to more dances. I would ride more merry-go-rounds. I would pick more daisies.”, 4. Tamar Mogendorff, 5. Prints charming fabric, 6. FO: twinkle best friend cardigan, 7. A Fix of Green & Gold, 8. P-I-N-K, 9. Spring Pillow, 10. Pink Piggies, 11. embroidered button swap - bunnies, 12. Cotton Time no.77 - Book Vol. 1, 13. Hanako, 14. Vintage Saucers, 15. Baby Pillow, 16. mingky, 17. Ten colourful notebooks, 18. there are stacks of buttons in my sewing box ..., 19. For Little Boy Blue, 20. Quarto dos sonhos..., 21. stitchettes wall hanging, 22. pink_orange_flower_detail, 23. patchwork set, 24. pillows, 25. WIP bunny in teacup (closeup) school of craft assignment 1
Wishing you all a wonderful 2009
Created with fd's Flickr Toys.
Questo laghetto alpino si trova a 2.334 m nella valle di Ollomont (un ramo laterale della Valpelline (in Val d'Aosta). Offre una vista magnifica sulle montagne della cresta di confine italo-svizzera, dominate dal Gran Combin. Può essere raggiunto direttamente da Ollomont, percorrendo il sentiero che sale al colle Cornet (2.354 m) , superato il quale si scende in pochissimi minuti al lago, oppure salendo alla comba delle Acque Bianche e deviando a destra dopo aver raggiunto il Piano di Breuil. E' possibile anche il percorso circolare, percorrendo uno dei due itinerari in salita e l'altro in discesa.
Go-Ahead Blue Triangle SOE25
(LX09 AZL)
Alexander Dennis Enviro200/Optare Esteem
Route 646 to Cranham
Gooshays Drive/Colchester Road (A12), Harold Hill, LB Havering
Taken on 19/05/2020
Buses in London currently have centre door boarding only with no need to touch in due to COVID-19 (though this will revert to front door boarding again in the coming weeks as part of the TfL government bailout).
Photo taken while on daily exercise while maintaining a 2 metre distance from others.
1. HORSES AND BIRD..., 2. Papagaio Charão, 3. Cardellinio vs Verdone, 4. DSC_3028, 5. Webbed Partners, 6. Untitled, 7. Labradors, 8. DSC00755 La belleza es efímera, 9. As vezes me pego sonhando..., 10. Scone Palace Poppies, 11. quando tudo caminha, 12. AugustHotSpell 076, 13. PRETTY...
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you want your photo to be part of a collage
important criterion: You've got to allow me to use the link to your photo!
collect 4 awards of the group beTWO than post it here:
beTWO ADMIN AWARD meeting stream
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~The COLLAGE-COLLECTION: ELITE-photos of my different groups: Collage-Collection
By the way: I am looking forward to feedback on my work with those fantastic images, Florette
***Interested in my stream?: please klick here , Florette***
Another year of treasure hunting completed :)
13. Affection,
14. Alter,
15. Bank,
16. Blue Glass,
17. Bridge Over (Troubled) Water,
18. Bud,
19. Cake,
20. Chess,
21. Chips,
22. Collar,
23. Crescent,
24. Crisp,
25. Disposable,
26. Drop,
27. Energy,
28. Expensive,
29. Feathers,
30. Firm
31. Fold,
32. Future,
33. Goblin(s),
34. Hexagonal,
35. Insect,
36. Jacket,
37. Jigsaw,
38. Kernel,
39. Light Painting,
40. Loaded,
41. Magazine,
42. Milk,
43. Mint,
44. Model,
45. Muffin,
46. Nature,
47. Numbers,
48. Open,
49. Opposites,
50. Pen,
51. Pom Pom,
52. Poppy,
53. Rock,
54. Ruby,
55. Sci-fi,
56. Screen,
57. Shelter,
58. Skyscrapper,
59. Square,
60. Squirrel
61. Stamp,
62. Tablet,
63. Ties,
64. Tinsel,
65. Tomato,
66. Tower,
67. Traffic Lights,
68. Triangles,
69. Twigs,
70. Underneath,
71. Variety,
72. Whiskers,
73. Wires,
74. Wreath,
75. Yarn
Chester lies at the southern end of a 2-mile (3.2 km) Triassic sandstone ridge that rises to a height of 42 m within a natural S-bend in the River Dee (before the course was altered in the 18th century). The bedrock, which is also known as the Chester Pebble Beds, is noticeable because of the many small stones trapped within its strata. Retreating glacial sheet ice also deposited quantities of sand and marl across the area where boulder clay was absent.
The eastern and northern part of Chester consisted of heathland and forest. The western side towards the Dee Estuary was marsh and wetland habitats.
2015 02 18 114226 Chester 1HDR
1. Dots in the doll house || Rood met witte stippen, 2. Dots and a heart. 3. Serviesjes rood met witte stippen, 4. Dots in the doll house || Rood met witte stippen, 5. Dots in the doll house || Rood met witte stippen, 6. Miniserviesje rood met witte stippen, 7. Coffee and cake in the doll house, 8. Dots in the doll house || Rood met witte stippen, 9. Dots in the doll house || Rood met witte stippen
A 2 alarm fire destroyed several vehicles and a car port at the rear of a Sunnyvale apartment complex in October 2013.
Sunnyvale DPS handled the fire while calling on Mountain View and Santa Clara Fire Departments to provide Station coverage. FIre Associates and County EMS were on hand to Rehab the fire crews.
Santa Clara County EMS crews on scene consisted of two Ambulance crews, and Paramedic Supervisor 2. These are all operated by Rural/Metro under an exclusive 911 Ambulance contract with County EMS. The Supervisors rig is a Chevy Silverado 2500 HD.
For more images from this incident check out YourFireDepartment.org, Taylor IC.
A 2 alarm fire destroyed several vehicles and a car port at the rear of a Sunnyvale apartment complex in October 2013.
Sunnyvale DPS handled the fire while calling on Mountain View and Santa Clara Fire Departments to provide Station coverage. FIre Associates and County EMS were on hand to Rehab the fire crews.
DPS officers serve both Fire and Patrol functions, with a standard fire dispatch including 6 Patrol vehicles to work as Fire, they rush to the scene Code 3 and don Turnout gear from the back of their cruisers and join the fire crews. Additional Patrol officers are dispatched for traffic control and other more typical Police work.
For more images from this incident check out YourFireDepartment.org, Taylor IC.
Mount Amigasa is a 2,523m mountain on the border of Fujimimachi City, Nagano Prefecture, and Hokuto City, Yamanashi Prefecture, Japan.
The mountain is located at the most southern part of the Southern Yatsugatake Volcanic Group and is part of the Yatsugatake-Chushin Kogen Quasi-National Park.
I thought these were all really awesome. Maybe you will too.
1. guy at the bank, 2. Untitled, 3. Sunny Days, 4. Outfit, 5. Atomic, 6. Test Shot, 7. Hmmmm, 8. week 2, 9. Go Sixers and Sonics?, 10. 14/365, 11. flickr.com/photos/38040232@N03/8390310149/, 12. This is a remix, 13. [ * ], 14. samantha, 15. Untitled, 16. adventures remain, 17. Youth, 18. Shadows, 19. What Remains, 20. where all footprints lead to the sea, 21. “For last year's words belong to last year's language. And next year's words await another voice.”, 22. 5, 23. Untitled, 24. 7/365 - "this is a magical beast that holds the secret of light & shadow in a safe place in her heart" ~ Story People, 25. Day: Eight "Life of Dom"
Created with fd's Flickr Toys
2020 Julia Kay's Portrait Party! portraits
1. Smile!, 2. 1st Cut, 3. Thomas, 4. Venesa, 5. Masked, 6. Sandi,
7. Anne, 8. Rajesh, 9. Philip, 10. Julia, 11. Sally, 12. Tammy, 13. Ray, 14. Buttons, 15. Michael, 16. Gazing Mary, 17. No Teeth, 18. Paul, 19. Thomas - Take Three, 20. Gary, 21. The Big Green Ring, 22. Art Pals, 23. Anne, 24. Graca, 25. Janice, 26. Julia, After the Fact, 27. Julia, with Corona Hair, 28. Janice, 29. Bonnie, 30. Facing a New Day, 31. Jerry, 32. Maxime, 33. Patricio, 34. Another Nicole, 35. Thomas - Take One, 36. Walking Stick
This is a 2 shot stitch panorama of the Ramapo River in Oakland, New Jersey. Taken about 2 years ago. Finally getting around to some photos that needed post processing. Hope you like!
1. aqua vs. red, 2. my spankin' new pastel set, 3. Red and aqua rings, 4. red and aqua, 5. Aqua, 6. trio of subtlety, 7. Tray and more swap things, 8. Vintage red and aqua apron, 9. Daily outfit 1, 10. Aqua & Red MAILBOX?!!, 11. kimono silk buttons, 12. red + aqua, 13. life is beautiful atc, 14. a sneak peek, 15. cherries, 16. soup month: soup can caddie, 17. red and aqua retro doll quilt, 18. Doll Quilt, 19. archipelago, 20. Christmas bush on blue, 21. Ice blue, 22. matchbox aqua and red - sent, 23. Jen Duncan's super cute kitchen!, 24. a custom mosaic cupcake giftie from my sweet friend Michelle Legler!!
Created with fd's Flickr Toys.
Österreich / Vorarlberg / Kleinwalsertal - Hoher Ifen (2.229 m)
The Hoher Ifen (also Hochifen) is a 2,230 metre (according to German survey: 2,229 m) high mountain in the Allgäu Alps, west of the Kleinwalsertal valley. In winter it forms the backdrop for a small ski area. It lies on the border between Germany and Austria. The summit is the highest point on the gently, tilted Ifen plateau.
Northeast of the Ifen plateau is the Gottesacker plateau, a karst landscape which has been designated a nature reserve and which has numerous caves and rare mountain plants. The most important caves are the Hölloch im Mahdtal and the Schneckenloch Cave near Schönenbach. On the eastern slopes of the massif a Stone Age dwelling site was discovered on the mountain pasture of Schneiderkürenalpe at a height of about 1,500 m.
On the southern side of the mountain an undisturbed wildlife area has been declared by the Bregenz district commission at the instigation of the Walser Hunting Club (Walser Jägerschaft), that has restricted the usual Austrian freedom of passage in accordance with § 33 of the Forestry Act. Mountaineering clubs, in particular the German Alpine Club, the Austrian Alpine Club and Allgäu Climbing Group (IG Klettern Allgäu) have criticised the regulation by the Bregenz district commission, because, within its boundaries, on the southern edge of the plateau and at Bärenköpfe is one of the best sport climbing areas in the Alps. The south faces are called the Céüse of the Allgäu, a comparison to the most famous climbing area in Europe.
At the beginning of the 1970s the first ski lifts appeared on the Ifen, from which today's company, the Ifen-Bergbahn-Gesellschaft, emerged. For a long time it was mostly owned by Ruth Merckle, the wife of the pharmaceutical businessman Adolf Merckle. By taking over the Merckle family's 82% share and the 18% share of the family of Kleinwalsertal tourism pioneer, Alfons Herz, on 1 July 2009, the Ifen Bergbahn GmbH u. Co gained full ownership of the Kleinwalsertaler Bergbahn (KBB), Riezlern, whose main shareholders are the Allgäuer Überlandwerk and the Raiffeisen Holding Kleinwalsertal. The Kleinwalsertaler Bergbahn AG plans to build a link lift to the Walmendinger Horn The expansion plans were sharply criticised by several associations because they were viewed as damaging to the environment and would promote mass tourism. The Austrian Alpine Club section in the Kleinwalsertal criticised the plans as follows: The construction of this lift cannot be done in harmony with nature as we would wish to remind those launching such an initiative!
The Kleinwalsertal Landscape Protection Society (Landschaftsschutz Kleinwalsertal) expressed similar views. On October 21, 2012 a referendum was held. About 55% of the voters rejected the proposal to build the lift.
(Wikipedia)
Der Hohe Ifen (auch Hochifen) ist ein 2230 m ü. A. bzw. 2229 m ü. NHN hoher Berg in den Allgäuer Alpen, westlich des Kleinwalsertals. Im Winter bildet er die Kulisse für ein kleines Skigebiet. Er liegt an der Grenze zwischen Deutschland und Österreich. Der Gipfel stellt den höchsten Punkt des leicht geneigten Ifenplateaus dar. Auf ihm treffen die Gemeindegrenzen von Egg, Mittelberg (beide Vorarlberg) und Oberstdorf (Allgäu/Schwaben/Bayern) zusammen.
Nordöstlich des Ifenplateaus befindet sich das Gottesackerplateau, eine unter Naturschutz stehende Karstlandschaft mit zahlreichen Höhlen und seltenen Gebirgspflanzen. Die bedeutendsten Höhlen sind das Hölloch im Mahdtal und die Schneckenlochhöhle bei Schönenbach. Am östlichen Abhang des Bergstocks wurde 1998 auf der Schneiderkürenalpe in etwa 1500 m Höhe vom Amateurarchäologen Detlef Willand eine steinzeitliche Wohnstätte entdeckt und mit fachlicher Begleitung durch die Universität Innsbruck freigelegt.
Auf der Südseite des Berges befindet sich ein Wildruhegebiet, dessen Errichtung von Bergsteigerverbänden wie dem IG Klettern Allgäu heftig kritisiert wurde, da es auch zuvor beliebte Sportklettergebiete umfasst. Trotz einer späteren Aufweichung des Kletterverbotes hält die Kritik an. Auch bei der Planung von Skitouren ist das Wildruhegebiet zu berücksichtigen.
Anfang der 1970er Jahre entstanden erste Skilifte am Ifen, aus denen die heutige Ifen-Bergbahn-Gesellschaft entstand. Sie war lange Zeit mehrheitlich im Besitz von Ruth Merckle, der Ehefrau des Pharmaunternehmers Adolf Merckle. Durch die Übernahme des 82-%-Anteils der Familie Merckle und des 18-%-Anteils der Familie des Kleinwalsertaler Tourismuspioniers Alfons Herz gehört die Ifen Bergbahn GmbH u. Co seit 1. Juli 2009 vollständig der Kleinwalsertaler Bergbahn (KBB), Riezlern, deren Hauptaktionäre das Allgäuer Überlandwerk und die Raiffeisen Holding Kleinwalsertal sind.
Im Jahr 1961 wurde der Olympialift als Schlepplift/Hotellift errichtet. In den Jahren 1971/1972 folgten die Doppelsesselbahn Ifenhütte zwischen Auenhütte und Ifenhütte und der Schlepplift Ifen, der von der Ifenhütte weiter bergaufwärts führte. Seit 1976 besteht der Tellerlift/Übungslift Gaisbühl, der eine Übungswiese zugänglich macht. Die kuppelbare Doppelsesselbahn Hahnenköpflebahn, deren Talstation sich nordöstlich der Ifenhütte befand, wurde im Jahr 1978 gebaut. Die beiden Doppelsesselbahnen wurden in den Jahren 1991/1992 modernisiert.
Der Ifenlift musste im Jahr 2016 dem kuppelbaren 6er-Sessellift Olympiabahn weichen, die vom Tal bis zur Mitte des Schleppliftes führte. In der Sommersaison 2017 wurden die beiden Sessellifte abgebaut, dadurch war keine Liftbeförderung von Personen zur Ifenhütte möglich. Zur Wintersaison 2017/2018 ersetzte die 10er-Gondelbahn Ifen (System D-Line von Doppelmayr) in zwei Sektionen die alte Ifenbahn und Hahnenköpflebahn.
Den Skifahrern stehen etwa 22 Pistenkilometer in allen Schwierigkeitsgraden zur Verfügung, wobei der Anteil schwarz markierter Pisten verglichen mit den Nachbarskigebieten hoch ist. Wegen der Länge und geringen Anzahl der Lifte sind auch die Abfahrten überdurchschnittlich lang.
Die Talstation der Ifenbahn stellt den Einstieg in das Skigebiet dar. Dieser ist über eine durch das Schwarzwassertal führende Straße von Hirschegg aus erreichbar. Auf dieser Straße verkehrt auch ein Linienbus; außerdem besteht eine Busverbindung zwischen der Talstation und der benachbarten Heuberg-Arena.
Eine Anfang der 2010er Jahre geplante Verbindungsbahn über das Schwarzwassertal zum Walmendinger Horn wurde von verschiedenen Verbänden als umweltzerstörend und den Massentourismus fördernd scharf kritisiert.
Die Kleinwalsertaler Bergbahn AG hielt dagegen, dass diese Infrastrukturmaßnahme dazu beitragen würde, den touristischen Abwärtstrend der Region zu stoppen, da durch die neue Bahn ein zusammenhängendes Skigebiet geschaffen würde. Die Mehrheit der Mittelberger Gemeindevertreter sprach sich für den Bau der Bahn aus, für die auch rund 1.600 Unterschriften gesammelt und dem Bürgermeister übergeben wurden. Da auch die Gegner des Projekts mehr als 1.200 Unterstützungsunterschriften sammeln konnten, kam es am 21. Oktober 2012 schließlich zu einer Volksabstimmung. Bei einer Wahlbeteiligung von 74,4 % sprachen sich dabei 55 % der Stimmberechtigten gegen den Bau der geplanten Panoramabahn aus und verhinderten damit eine Umsetzung der Pläne.
(Wikipedia)
been having a problem with sharpness on my photos lately ,so did a micro adjust last night .seems to have worked as i now have the "bite " back in the files .it appears to have been front focussing previously not enough to show up after p/p but this has definitely improved things with a +8 setting
1. Baldur ble nesten borte i snøen, 2. there is something on your nose!, 3. this is life, 4. Matrixbaldur, 5. Give, 6. What? Is there something on my face? .....47/52, 7. Snow snow snow! . . . . and Ditte loves it, 8. bliss, 9. Hello Winter
Created with fd's Flickr Toys
Created with fd's Flickr Toys.
1.The Sea Calls, 2. Green fields, 3. baseball, 4. Tegula, 5. Foot traffic, 6. Colorblind test kit (large), 7. Green shadow, 8. Robinia hout, 9. flowing steel I, 10. hat, 11. Dried Mud Pattern, 12. Ondas en el agua, 13. P, 14. A, 15. T, 16. Eclipsed, 17. A Real Corker, 18. Birchington Seafront, 19. Monoman ©Robert Jarvis, 20. Untitled, 21. T, 22. Eeee, 23. R, 24. N, 25. anabolismo..., 26. koi, 27. conflict, 28. kack-ibis-berlin, 29. Untitled, 30. Aloe polyphylla Schönland ex Pillans, 31. Untitled, 32. disciprine, 33. Doing lines, 34. IMGP0062, 35. Optical Illusion ;~), 36. Walking path at a temple
A 2-car refurbished Class 101 DMU is seen departing Hellifield with a Morecambe-Leeds service in September 1978.
Daniel LaRusso is a fictional character and the protagonist of The Karate Kid media franchise.
He is portrayed by Ralph Macchio.
Overview
Daniel LaRusso was born in Newark, New Jersey, on December 18, 1966, into an Italian-American family. When he was eight, his father died after a 2-year battle with stomach cancer. Daniel's mother Lucille never remarried. In September 1984, Daniel and Lucille moved to Reseda, California, after Lucille accepted a job offer at a computer firm. Shortly after moving to California, Daniel meets and starts a rivalry with Johnny Lawrence, the two-time winner of the All Valley Under-18 Karate Championship after the latter mistakened him for having a fling towards his ex-girlfriend Ali Mills. Luckily for Daniel, after being jumped by Johnny and his friends, he met Mr. Miyagi, the maintenance man at his apartment, who becomes his karate mentor and also a perfect friend of his, as well as a father figure. Through this training, Daniel becomes skilled enough to defeat Johnny in the tournament's final match and become the new champion. Despite their mutual respect afterward, Daniel and Johnny become rivals.
Over the summer, Daniel gets to spend more time with Mr. Miyagi as they go to Okinawa, where Daniel ends up meeting a girl named Kumiko who becomes his love interest and eventual girlfriend along with also getting into a rivalry with Chozen, who is Sato's karate student and nephew. He ends up defeating Chozen in a fight to the death, although instead of killing him, he obeys Mr. Miyagi's teachings and instead shows mercy to Chozen. After returning home, Daniel picks up one more karate championship in the All-Valley Tournament after being forced to compete in the tournament and defeats the national karate champion Mike Barnes, becoming a 2-time champion, and ending Terry Silver and John Kreese's vision of opening up multiple Cobra Kai dojos all across the valley.
Thirty-three years later, Daniel becomes the owner of a successful car dealership in Southern California and is married to his co-owner, Amanda, with whom they have two children named Samantha (nicknamed Sam) and Anthony. They live in a large home with a swimming pool in Encino. Despite his success as an adult, he lacks the life balance he had in his youth, as Mr. Miyagi had died in 2011. Daniel's interest in karate reignites after LaRusso learns of the return of the Cobra Kai dojo, now run by Lawrence. This drives Daniel to reopen Miyagi-Do, passing on the teachings of the dojo to a new generation of students, leading to a massive rivalry between the two dojos and their students.
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.
1. fashionista in shells, 2. my neighbor's wall, 3. data guarded, 4. found his own trash (a loaf of bread), 5. heavy wet sticky snow, 6. bolted to the wall, 7. crystal ocean, 8. burying cables, 9. a little table-- how could i resist??, 10. peek-a-boo, 11. sacre bleu!! i said cover *it* in chocolate, not *me*, 12. the baker's retaliation: cover me with chocolate chips, will you?? ha, ha, 13. bicycle with a basket, 14. seeing things a little differently, 15. spatulas, 16. as american as a hot dog, 17. you stay here, i'll be back as soon as i vote :), 18. then and now, 19. it's really sticky snow, 20. chocolate sauce as a fun house mirror, 21. a sequin, 22. pizza - zzeria, 23. a sequin valentine, 24. their 'apartment' is a tad overcrowded but they are all smiling ~grin~, 25. love is.... a glimpse of heaven, 26. flags, 27. frost, 28. the lake, 29. duct tape to the rescue, again, 30. what does this even mean??
there are actually only 20 items and 4 challenge pics -- i invariably do extras, which should come as no surprise ~grin~
Created with fd's Flickr Toys
This will be a tiny true story in a few minutes. I have to write it. It is going to have a sadder note than most of my stories, kind of a 2 or 3 hankie story, you might say. So, if you don't like any pathos in your stories, then stop right here. The picture right before this will have the same story, but I will only submit one of these photo/stories to the various groups that like them.
The little girl on the guardrail represents me as a child. There are a few problems with her. One is I didn't have brown hair at the age of 5 or 6. I was blonde until age 9 or 10. Two is that my eyes are blue, and hers are not.. Three is that I didn't wear my hair in pigtails. Four is that I was tall, but not that tall. You might be asking yourself, "Self, then why on Earth do you think that represents you?" Well, she looks very sweet, as I did. She has rosy pink cheeks and a cute little smile, as I also did.. She likes bridges as I did from a very young age. She looks very innocent. The main thing that helps her represent me as a little girl is her white blouse and red plaid skirt, which will be the main thing in my story, if you can endure the next 3 or 4 paragraphs first.
I knew my mother didn't touch me very often, but I didn't realize how bereft she was of warmth, giving and receiving hugs and so on until all these years later. Various bouts of poison oak I had were savage. I knew she had tried to prick each horrible blister of poison oak, not getting them all, but trying. She would then apply Calamine Lotion with little cotton Coty brand pads. She still didn't touch me, but she ministered to me. That was when I was 5 or 6. Later when I was 8, 9 and 10 and got other cases of infected Poison Oak, could barely see out of one eye, and my other eye was closed, she did not administer anything at all. She and my Dad left for work 25 miles away. They got home that evening and my mouth was swollen closed all but the tiniest amount. My parents heated Campbell's Vegetable Beef Soup for me, and put it in a Waring Blender so I could manage to drink it through a straw. I shall not forget that. It was warm and comforting and tasted pretty good.
I had thought for most of my life that at least my mother must have held me and caressed me, bathed me, etc., when I was a baby and toddler. No, she held my hand a few times when we walked somewhere, but the family maid, Mildred, took care of me when I was a baby to age 3. After about age 3 and a half, I was left alone with 2 older brothers that my mother was fond of saying had hated me from the day I was born. The pictures of me with my mother show her positioning herself with my brothers, rather than me, or touching me but not close. When I had my own children she sort of held them out from her body, as if she wasn't quite sure what to do with them, or as if she felt they might infect her with something. .
Several times when she wanted me to look nice because company was coming, she curled my hair with a curling iron. She, herself, did not actually touch me. The curling iron surely did. It was so hot, and it burned my scalp. I don't believe she was trying to burn me, but she surely did. I would say "Ow" many times. Each time, she'd say "Sorry" but then she would do it again. I did look nice afterward, and have a picture of myself on our patio with my nice dress, Mary Janes (shoes) and my hard-won curls. There were no hugs.
Bath time involved her running the water and me getting in, and then her tossing about a cup of Tide detergent, the large chunky powdered kind, in the water. It didn't dissolve easily either. Very rough on children's skin! Then she left the room. There were other times when she was pretty cold, but they are not the reason for my story. I'm only telling about some of them; so that the one time she was very tender and warm will stand out for me and my readers as a banner moment in my childhood. I'm close to 70 now, and don't kid yourself, your childhood memories, impressions, etc. stay with you. At least mine did and do.
You probably thought I'd never tie this altogether, but I'm going to. There is one time, a time I cherish, that my mother, though not consciously trying to, was warm. What she was doing was so I would "look nice" for appearances at kindergarten or first grade, not because she had decided I needed some affection. I had on my little red plaid skirt with straps and a white blouse. My white blouse was rather carelessly tucked in, which made it look wrinkled. My mother reached up under my skirt and pulled my white blouse downward until it looked very smooth around my waist. To accomplish this maneuver, she sort of "walked" her hands around my tummy, tugging gently on my blouse until it looked neat as could be. Her hands were warm and gentle, so much so that I wished I could pull some of my blouse back out again; so she would gently tug, tuck and pat again. That's it! That's the whole story of why I like this big dolly with all her innocence, and her blouse that occasionally needs to be tucked in.
THE END
P. S. Most people that see her on the bridge, smile and wave. One lady even rolled her window down and wanted to know if I made her.
(IMGP1385MePengraCoveredBridgerealismearlyDAPrealismoilME-flickr042317)