View allAll Photos Tagged behaviour
Standing on one of his court displays on one end of the 'avenue' to his bower, this male Great Bowerbird, Ptilonorhynchus (Chlamydera) nuchalis, inpsects the inside walls of his bower. Does it need more tidying up? Will it impress the ladies?
He spends a lot of time each day working on the bower itself as well as the display areas at either end. There is a female in the area nearby as the crest area on the back of his head is beginning to open slightly letting the bright magenta coloured display begin to emerge.
More shots of this Bowerbird, plumage displays, rituals and behaviour are in this album www.flickr.com/photos/aussiegypsy/albums/72157671900160764
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I'm always fascinated by observing human behaviour, particularly how it varies across cultures. It struck me that certain postures are more prevalent in specific regions. For instance, squatting is a common resting position in many parts of Asia and Africa. Yet, it's far less common in Europe, where people typically sit on chairs, and many struggle to even get into a squat.
Interestingly, I've identified another global posture that transcends cultural boundaries: the phone hunch. No matter where you go, you'll see people hunched over their smartphones, engrossed in the digital world. This modern posture is a testament to our universal connection to technology, yet it also serves as a reminder of the physical impact our digital habits have on our bodies.
The little male mouse was quietly enjoying a meal when the agressive female climbed on the the back of the stone. She was so determined that her ears were back and you can see the power of shove in her back legs. I had not see that behaviour before even though I have often watched them.
What happens next is in the pic below.
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Unfortunately because of anti-social behaviour I decided that it was best to move on so I did not get the opportunity to explore this park which was a pity.
The park has many fine mature trees, beautiful flowers, horticultural displays and grassland areas.
In June 1866, Belfast Corporation (now Belfast City Council) purchased 101 acres of land on Falls Road from the Sinclair family. Some of the land was set aside for the building of Belfast City Cemetery, but the rest was earmarked for a new park.
However, because the land initially fell outside the Belfast city boundary, the area was not considered a public park until the Public Parks (Ireland) Act was passed in 1869.
The area, now known as Falls Park, was eventually established in 1873.
In 1924, an outdoor swimming pool, known locally as ‘the Cooler’, was added to the park. It cost £3,000 to build and was fed by the Ballymurphy Stream, which still flows through the area today. The pool closed in 1979 for public health reasons.
He's going to be the spokesperson for my contest :P. I wanted to get a good image for a banner or a layout, but I think I have to keep on trying.
What drives me nuts is his blushing..the coverage didn't turn out that great, so I think I'm going to try to add some more layers on. If it gets ruined, I'll just redo him completely ^^;.
Seagulls are very clever. They learn, remember and even pass on behaviours, such as stamping their feet in a group to imitate rainfall and trick earthworms to come to the surface.
Seagulls’ intelligence is clearly demonstrated by a range of different feeding behaviours, such as dropping hard-shelled molluscs onto rocks so that they break open so they can eat them, and following ploughs in fields where they know upturned grubs and other food sources will be plentiful.
Seagulls are attentive and caring parents. The male and female pair for life and they take turns incubating the eggs, and feeding and protecting the chicks.
Gulls have a complex and highly developed repertoire for communication which includes a range of vocalisations and body movements.
Seagulls can drink both fresh and salt water. Most animals are unable to do this, but seagulls have a special pair of glands right above their eyes which is specifically designed to flush the salt from their systems through openings in the bill.
This photo captures me in an attempt to set free the female side of my persona. It may not look great but it represents the culmination of a lot of effort and months of arrangements. To say I was delighted to be appearing as a woman can barely describe the inner feelings I was experiencing. I was totally thrilled to once more be Helene my female alter-ego. She is very different in both looks and behaviour to the man I usually am.
I often discuss how despite living as a man I also find I want to be a woman. Living as a man means this is the reality of my life, I have a wife, a family, a job and responsibilities and a commitment to look after and provide for my family, this has to be priority and must always come first.
I actually enjoy my life as a man and will admit to a high degree of contentment and it is not something I wish to give up. So how can I say that after saying earlier in this narrative I also like to be a woman?
Well, therein lies the quandary faced by transgender people. I suppose in my case if I was to be honest I would admit ideally I want it all! I want to be both woman and man and switch between these aspects of myself. Reality is I cannot be so free and easy with my own desires, I have to be aware of the real world.
For me, I now understand I have aspects that others tell me are in their view not correct, that I cannot be one thing or the other so let me lay out how I feel. I personally accept these feelings I have and just see them as various elements that add up to me being who I am.
I think far too often simplistic black and white conclusions are drawn up in the trans-community and also out with it. For example lets take the most common one 'you dress up as a woman so you must be homosexual', that may indeed true for some people but for others it is not correct, many men who dress as women are actually heterosexual.
Getting sexually aroused by cross-dressing is often vehemently denied...oh, come on...it happens for a great many who cross-dress, if it happens then enjoy the pleasure of it. I don't always get sexually aroused but undeniably it does occur. Let's face it cross-dressing and becoming female is rather an erotic thing to do so if I do get aroused then I will indeed enjoy it.
Another taboo in the trans-community is finding other T-girls attractive, and yes, maybe there is some sexual excitement which maybe contains an added frisson, an extra thrill brought on by the knowledge the woman one is seeing is actually a male.
I am a great believer in one changing their thinking, behaviour and attitudes when appearing as a woman. I truly believe one should think themselves into the persona and switch gender inside ones head to being female. I think if one seeks to pass as a female one needs to behave and totally believe they are female in order to remove the tell tale signs you are really male. If you look, move and sound the part people expect from the appearance then that is how you will be perceived...in theory...just my take on it.
I've now employed a simplistic mantra to kick start this process when cross-dressing and that is think of oneself as an heterosexual woman and behave accordingly. Easier said than done but I think cracking that barrier will make one more convincing as a woman.
I have found though when I become Helene she stills finds women attractive, and this can include T-girls that look good, so I get a little added frisson of thinking maybe she is bi-sexual, it's rather fun!
Moving away from the sexuality topic, as I know some are very uncomfortable discussing this, though I do feel we should be more open about it, lets move onto the whole being both a man and a woman thing again. Here is a paradox that is definitely me yet draws derision from many who, as I expressed earlier, I think look at transgender issues with too narrow a focus.
As a teenager I was desperate to be a girl, I used to cry when alone that I was boy, I really did! I could be in the shower and start weeping as I had no developing breasts and had a penis. Counter to that, part of me was happy to be developing as a boy! I had no split personality I was fully aware of these two counter emotions occurring.
About that time I saw several men on television playing the parts of women. Each time was like a lightning strike, I was completely mesmerised by them. The Scottish entertainer Stanley Baxter used to play lots of female roles and really go for it, it was the full make-up, shaved legs, chest and arms, hair styles, dresses, high heels and acting the part one hundred percent. He was indeed my hero and I found myself fantasising about having a similar job. Then I saw Danny La Rue, a man dressing incredibly feminine, with such high glamour, lots of make-up, wigs, high heels, gorgeous long legs and so confident. He was very popular as a mainstream entertainer. This literally engulfed my mind. I became aware one could make a career out of acting as a woman whilst living as a man, what a fabulous job! Then, the person who really captured me and was a huge influence was Christopher Morley.
To be frank, Christopher Morley had the skill to actually pass one hundred percent as a female and a beautiful one at that, I really wanted to be him more than anything. I saw him in a 1977 film Freebie and the Bean in which he had appeared earlier in the film as a man yet when he appeared as a woman I had no idea it was the man seen earlier. In fact I had no idea she was a man at all! It was only the reveal that made me realise she was a he and I was smitten, totally smitten.
I was desperate to start spending time as a girl after all of this and was envious of girls and wanted to be one of them and not a boy. Yet, and this is when the paradox began to build further, the acting, the illusion of seeing these men impersonating females really appealed to me. I loved the whole idea of the women I had seen were men dressed up and looking convincing as females. I wanted to do that as well.
I had this three way thing going on throughout my teens, of wanting to be female, then happy to be a boy, then wanting to be a boy that worked as a female impersonator, round and round it all went and eventually by my late teens I found I was more keen on being both girl and boy rather than exclusively one gender.
I was far from confident as a person back then, even now I have no real confidence but I was totally meek back then and somewhat confused by the whole gender issues going on. The result was I suppressed all my desires to cross-dress and thought that was for the best. So at the age of twenty one I gave up on the wishing I was a girl.
I am going to admit now that I have reached the age of fifty five and I have a huge regret I did not act on my desires to be a girl. I think I would have enjoyed life as a woman but the reality is I did not transition and suppressed it. I feel I wasted too many years by not being true to myself as around the age of eighteen I was struggling internally with wanting to be a girl. The idea of cross-dressing and establishing a career in acting and female impersonation, well, it was all more than I dared actually do physically or actively engage in for real. I did have a moment that represented salvation for me back then, I came across the word transvestite. To say that word set me free and made my heart sing would be an understatement. It gave me a path, something I could cling to. I could compromise on my transsexual desire and urges to appear as a girl and settle for being a transvestite. I could be the occasional female and still live as a man. I experienced some great joy but as I said, I was meek and fearful and ended up suppressing the whole thing for two decades of my life.
I adore my life with my wife, it means far more to me than my inner dream of being a woman. That is hard to say but I cannot act upon my dream as I know what I would lose would be far more than I would gain. Also, I have no wish to be Helene with my wife. I keep Helene very separate. My wife knows I am transvestite but she has never seen me as a woman. I prefer to keep it that way. She tolerates it and allows me to shave my legs, chest and arms and to pluck my eyebrows as obviously I cannot hide these physical changes from her but she does not like knowing I cross-dress. So it is tolerated but never seen or discussed and that actually suits me.
I have concerns you see, big concerns. When I become Helene I experience an emotional high, real joy and euphoria and I do quite get into being her and want her to be a real woman. Fantasy I know but I'm just admitting to what happens. I really feel at home being a woman and though I can honestly say I like it more than being a man I do get tired of it at some point and I am happy to go back to being the man once more. I think it is the inability to sustain the female illusion for more than a few hours that causes the desire to diminish as the effort required is physically and emotionally too taxing.
While the high is occurring I almost start weeping at the prospect of being a man again yet I now know from previous occasions this emotion will pass within a few hours. I am aware though of wanting the female I have become to be as real as possible and I try to get into that mindset I was discussing earlier in this narrative. For a while the transsexual in me assumes control but then the man, the transvestite takes over and I start enjoying the thrill of being a man trying to be a woman. I am fully aware of my own sexuality now, also of my ego and vanity so I realise much of what I do is driven by these desires.
I think a man can appear and act as a female especially with other men and enjoy themselves in the female role without being homosexual. I think the flirting, being desired by men and maybe the odd tactile moment or even quick kiss is just all part of the performance, its not real it's just playing the role as convincingly as possible.
I have noticed how two T-girls can act and behave (probably without even being aware) like two females often do with each other. Their speech pattern, mannerisms and unconscious comfort in being more tactile often astounds me and yet excites me as I think, yes, it can be done, one can cross the gender line and get into the character in a natural believable way.
Having said that I will also admit to still harbouring the dream of emulating Stanley Baxter, Danny La Rue and Chris Morley. I would still love to act in a television series or film playing a female role on screen and indulging in some of the high glamour and daring costumes those men who had the sheer nerve and confidence to do back in my teenage years.
I really enjoy the preparation required for becoming a woman, all the shaving, plucking, waxing, make-up application, false eyelashes, wigs being fitted, the genital tucking, the false breasts, putting on female lingerie and finally slipping on a dresses, stepping into high heel shoes and dabbing on some perfume while catching sight of my painted nails...it truly is a thrilling experience being a man who dresses as a woman. I do love being a transvestite.
Cock Pheasants squaring up to each other although this encounter ended peacefully with just a bit of posturing before one decided to walk away.
The Wall gets its name from the characteristic behaviour of resting with wings two-thirds open on any bare surface, including bare ground and, of course, walls! Many people will have come across this butterfly on footpaths, especially in coastal areas, where the butterfly flies up when disturbed, before setting again a few metres ahead.
The basking behaviour of this butterfly allows it to benefit from the full warmth of the sun whose rays shine directly on the butterfly, but also get reflected back onto the butterfly from whichever surface it is resting on. This habit allows the butterfly to raise its body temperature sufficiently high for it to fly. In particularly hot weather, however, such basking is avoided and the butterfly may even retreat to a suitably-shaded spot to avoid overheating.
This species was once found throughout England, Wales, Ireland and parts of Scotland. Today, however, is a very different picture, with this species suffering severe declines over the last several decades. It is now confined to primarily-coastal regions and has been lost from many sites in central, eastern and south-east England. In Scotland it is confined to coastal areas in the south-west of the country. It is also found on the Isle of Man and Channel Islands. This butterfly is found in relatively small colonies that are self-contained although some individuals will wander, allowing the species to quickly colonise suitable nearby sites.
Just spotted the highly unusual and possibly illegal activity of this Stagecoach driver whilst on the move...are we to think that maybe he doesnt want to be photographed...July 11 2013.
Some really nice visitors to a local reserve including a pair of Redpolls, unfortunately I couldn't get any shots of the female on this occasion.
Found on the path near the pond at Woods Mill - really large, are these hornets or queen wasps? What are they doing? Fighting or mating? They did now move much and were not distracted by me standing over them.
ID as European Hornets (Vespa crabro)
The word werewolf is thought to derive from Old English wer (or were)— pronounced variously as /ˈwɛər, ˈwɪər, ˈwɜr/— and wulf. The first part, wer, translates as "man" (in the specific sense of male human, not the race of humanity generally). It has cognates in several Germanic languages including Gothic wair, Old High German wer, and Old Norse verr, as well as in other Indo-European languages, such as Sanskrit 'vira', Latin vir, Irish fear, Lithuanian vyras, and Welsh gŵr, which have the same meaning. The second half, wulf, is the ancestor of modern English "wolf"; in some cases it also had the general meaning "beast."
An alternative etymology derives the first part from Old English weri (to wear); the full form in this case would be glossed as wearer of wolf skin. Related to this interpretation is Old Norse ulfhednar, which denoted lupine equivalents of the berserker, said to wear a bearskin in battle.
Facsimile of the first seven lines of the 14th century English translation of the 12th century French manuscript The Romance of William of PalerneYet other sources derive the word from warg-wolf, where warg (or later werg and wero) is cognate with Old Norse vargr, meaning "rogue," "outlaw," or, euphemistically, "wolf".[1] A Vargulf was the kind of wolf that slaughtered many members of a flock or herd but ate little of the kill. This was a serious problem for herders, who had to somehow destroy the rogue wolf before it destroyed the entire flock or herd. The term Warg was used in Old English for this kind of wolf. Possibly related is the fact that, in Norse society, an outlaw (who could be murdered with no legal repercussions and was forbidden to receive aid) was typically called vargr, or "wolf."
Other terms
The term lycanthropy, a synonym, comes from Ancient Greek lykánthropos (λυκάνθρωπος): λύκος, lýkos ("wolf") + άνθρωπος, ánthrōpos ("human").[2] A compound of which "lyc-" derives from the Proto-Indo-European root *wlkwo-, meaning "wolf", formally denotes the "wolf - man" transformation. Lycanthropy is but one form of therianthropy, the ability to metamorphose into animals in general. The term therianthrope literally means "beast-man." The word has also been linked to the original werewolf of classical mythology, Lycaon, a king of Arcadia who, according to Ovid's Metamorphoses, was turned into a ravenous wolf in retribution for attempting to serve his own son to visiting Zeus in an attempt to disprove the god's divinity.
There is also a mental illness called lycanthropy in which a patient believes he or she is, or has transformed into, an animal and behaves accordingly. This is sometimes referred to as clinical lycanthropy to distinguish it from its use in legends. Despite its origin as a term for man-wolf transformations only, lycanthropy is used in this sense for animals of any type. This broader meaning is often used in modern fictional references, such as in roleplaying game culture.
Another ancient term for shapeshifting between any animal forms is versipellis, from which the English words turnskin and turncoat are derived.[3] This Latin word is similar in meaning as words used for werewolves and other shapeshifters in Russian (oboroten) and Old Norse (hamrammr).
The French name for a werewolf, sometimes used in English, is loup-garou (pronounced /lugaˈru/), from the Latin noun lupus meaning wolf.[4] The second element is thought to be from Old French garoul meaning "werewolf." This in turn is most likely from Frankish *wer-wulf meaning "man-wolf."[5]
Folk beliefs
Description and common attributes
Werewolves were said to bear physical tell-tale traits in European folklore. These included the meeting of both eyebrows at the bridge of the nose, curved fingernails, low set ears and a swinging stride. One method of identifying a werewolf in its human form was to cut the flesh of the accused, under the pretense that fur would be seen within the wound. A Russian superstition recalls a werewolf can be recognised by bristles under the tongue.[6] The appearance of a werewolf in its animal form varies from culture to culture, though they are most commonly portrayed as being indistinguishable from ordinary wolves save for the fact that they have no tail (a trait thought characteristic of witches in animal form), and that they retain human eyes and voice. After returning to their human forms, werewolves are usually documented as becoming weak, debilitated and undergoing painful nervous depression.[6] Many historical werewolves were written to have suffered severe melancholia and manic depression, being bitterly conscious of their crimes.[6] One universally reviled trait in medieval Europe was the werewolf's habit of devouring recently buried corpses, a trait which is documented extensively, particularly in the Annales Medico-psychologiques in the 19th century.[6] Fennoscandian werewolves were usually old women who possessed poison coated claws and had the ability to paralyse cattle and children with their gaze.[6] Serbian vulkodlaks traditionally had the habit of congregating annually in the winter months, where they would strip off their wolf skins and hang them from trees. They would then get a hold of another vulkodlaks skin and burn it, releasing the vulkodlak from whom the skin came from its curse.[6] The Haitian jé-rouges typically try to trick mothers into giving away their children voluntarily by waking them at night and asking their permission to take their child, to which the disoriented mother may either reply yes or no.[6]
Becoming a werewolf
Various methods for becoming a werewolf have been reported, one of the simplest being the removal of clothing and putting on a belt made of wolfskin, probably as a substitute for the assumption of an entire animal skin (which also is frequently described).[7] In other cases, the body is rubbed with a magic salve.[7] To drink rainwater out of the footprint of the animal in question or to drink from certain enchanted streams were also considered effectual modes of accomplishing metamorphosis.[8] The 16th century Swedish writer Olaus Magnus says that the Livonian werewolves were initiated by draining a cup of specially prepared beer and repeating a set formula. Ralston in his Songs of the Russian People gives the form of incantation still familiar in Russia.
In Italy, France and Germany, it was said that a man could turn into a werewolf if he, on a certain Wednesday or Friday, slept outside on a summer night with the full moon shining directly on his face.[6]
In other cases, the transformation was supposedly accomplished by Satanic allegiance for the most loathsome ends, often for the sake of sating a craving for human flesh. "The werewolves", writes Richard Verstegan (Restitution of Decayed Intelligence, 1628),
are certayne sorcerers, who having annoynted their bodies with an ointment which they make by the instinct of the devil, and putting on a certayne inchaunted girdle, does not only unto the view of others seem as wolves, but to their own thinking have both the shape and nature of wolves, so long as they wear the said girdle. And they do dispose themselves as very wolves, in worrying and killing, and most of humane creatures.
Such were the views about lycanthropy current throughout the continent of Europe when Verstegan wrote.
The phenomenon of repercussion, the power of animal metamorphosis, or of sending out a familiar, real or spiritual, as a messenger, and the supernormal powers conferred by association with such a familiar, are also attributed to the magician, male and female, all the world over; and witch superstitions are closely parallel to, if not identical with, lycanthropic beliefs, the occasional involuntary character of lycanthropy being almost the sole distinguishing feature. In another direction the phenomenon of repercussion is asserted to manifest itself in connection with the bush-soul of the West African and the nagual of Central America; but though there is no line of demarcation to be drawn on logical grounds, the assumed power of the magician and the intimate association of the bush-soul or the nagual with a human being are not termed lycanthropy. Nevertheless it will be well to touch on both these beliefs here.
The curse of lycanthropy was also considered by some scholars as being a divine punishment. Werewolf literature shows many examples of God or saints allegedly cursing those who invoked their wrath with werewolfism. Those who were excommunicated by the Roman Catholic Church were also said to become werewolves.[6]
The power of transforming others into wild beasts was attributed not only to malignant sorcerers, but to Christian saints as well. Omnes angeli, boni et Mali, ex virtute naturali habent potestatem transmutandi corpora nostra ("All angels, good and bad have the power of transmutating our bodies") was the dictum of St. Thomas Aquinas. St. Patrick was said to have transformed the Welsh king Vereticus into a wolf; Natalis supposedly cursed an illustrious Irish family whose members were each doomed to be a wolf for seven years. In other tales the divine agency is even more direct, while in Russia, again, men supposedly became werewolves when incurring the wrath of the Devil.
A notable exception to the association of Lycanthropy and the Devil, comes from a rare and lesser known account of an 80-year-old man named Thiess. In 1692, in Jurgenburg, Livonia, Thiess testified under oath that he and other werewolves were the Hounds of God.[9] He claimed they were warriors who went down into hell to do battle with witches and demons. Their efforts ensured that the Devil and his minions did not carry off the grain from local failed crops down to hell. Thiess was steadfast in his assertions, claiming that werewolves in Germany and Russia also did battle with the devil's minions in their own versions of hell, and insisted that when werewolves died, their souls were welcomed into heaven as reward for their service. Thiess was ultimately sentenced to ten lashes for Idolatry and superstitious belief.
A distinction is often made between voluntary and involuntary werewolves. The former are generally thought to have made a pact, usually with the Devil, and morph into werewolves at night to indulge in nefarious acts. Involuntary werewolves, on the other hand, are werewolves by an accident of birth or health. In some cultures, individuals born during a new moon or suffering from epilepsy were considered likely to be werewolves.
Becoming a werewolf simply by being bitten by another werewolf as a form of contagion is common in modern horror fiction, but this kind of transmission is rare in legend, unlike the case in vampirism.[6]
Even if the denotation of lycanthropy is limited to the wolf-metamorphosis of living human beings, the beliefs classed together under this head are far from uniform, and the term is somewhat capriciously applied. The transformation may be temporary or permanent; the were-animal may be the man himself metamorphosed; may be his double whose activity leaves the real man to all appearance unchanged; may be his soul, which goes forth seeking whom it may devour, leaving its body in a state of trance; or it may be no more than the messenger of the human being, a real animal or a familiar spirit, whose intimate connection with its owner is shown by the fact that any injury to it is believed, by a phenomenon known as repercussion, to cause a corresponding injury to the human being.
Vulnerabilities
Most modern fiction describes werewolves as vulnerable to silver weapons and highly resistant to other attacks. This feature does not appear in stories about werewolves before the 19th century. (The claim that the Beast of Gévaudan, an 18th century wolf or wolf-like creature, was shot by a silver bullet appears to have been introduced by novelists retelling the story from 1935 onwards and not in earlier versions.[10])
Unlike vampires, they are not generally thought to be harmed by religious artifacts such as crucifixes and holy water. In many countries, rye and mistletoe were considered effective safeguards against werewolf attacks.[citation needed] Mountain ash is also considered effective, with one Belgian superstition stating that no house was safe unless under the shade of a mountain ash.[6] In some legends, werewolves have an aversion to wolfsbane.[citation needed]
Remedies
Various methods have existed for removing the werewolf form. In antiquity, the Ancient Greeks and Romans believed in the power of exhaustion in curing people of lycanthropy. The victim would be subjected to long periods of physical activity in the hope of being purged of the malady. This practice stemmed from the fact that many alleged werewolves would be left feeling weak and debilitated after committing depredations.[6]
In medieval Europe, traditionally, there are three methods one can use to cure a victim of werewolfism; medicinally (usually via the use of wolfsbane), surgically or by exorcism. However, many of the cures advocated by medieval medical practitioners proved fatal to the patients. A Sicilian belief of Arabic origin holds that a werewolf can be cured of its ailment by striking it on the forehead or scalp with a knife. Another belief from the same culture involves the piercing of the werewolf's hands with nails. Sometimes, less extreme methods were used. In the German lowland of Schleswig-Holstein, a werewolf could be cured if one were to simply address it three times by its Christian name, while one Danish belief holds that simply scolding a werewolf will cure it.[6] Conversion to Christianity is also a common method of removing werewolfism in the medieval period. A devotion to St. Hubert has also been cited as both cure for and protection from lycanthropes.
Classical literature
Zeus turning Lycaon into a wolf, engraving by Hendrik Goltzius.Herodotus in his Histories[11] wrote that the Neuri, a tribe he places to the north-east of Scythia, were transformed into wolves once every nine years. These rituals were apparently meant to symbolise earthly regeneration and rebirth. Virgil was also familiar with human beings transforming into wolves.[12]
In Greek mythology, the story of Lycaon provides one of the earliest examples of a werewolf legend. According to one version, Lycaon was transformed into a wolf as a result of eating human flesh; one of those who were present at periodical sacrifice on Mount Lycæon was said to suffer a similar fate.
In Metamorphoses, the Roman poet Ovid vividly described stories of men who roamed the woods of Arcadia in the form of wolves.[13]
The Roman scholar Pliny the Elder, relates two tales of lycanthropy. Quoting Euanthes,[14] he mentions a man who hung his clothes on an ash tree and swam across an Arcadian lake, transforming him into a wolf. On the condition that he attacked no human being for nine years, he would be free to swim back across the lake to resume human form. Pliny also quotes Agriopas regarding a tale of a man who was turned into a wolf after tasting the entrails of a human child.
In the Latin work of prose, the Satyricon, written about 60 C.E. by Gaius Petronius Arbiter, one of the characters, Niceros, tells a story at a banquet about a friend who turned into a wolf (chs. 61-62). He describes the incident as follows, "When I look for my buddy I see he'd stripped and piled his clothes by the roadside...He pees in a circle round his clothes and then, just like that, turns into a wolf!...after he turned into a wolf he started howling and then ran off into the woods."[15]
European cultures
Many European countries and cultures influenced by them have stories of werewolves, including Albania (oik), Armenia (mardagayl) France (loup-garou), Greece (lycanthropos), Spain (hombre lobo), Argentina (lobizón), Mexico (hombre lobo and nahual), Bulgaria (върколак - varkolak), Turkey (kurtadam), Czech Republic/Slovakia (vlkodlak), Serbia/Montenegro/Bosnia (vukodlak, вукодлак), Belarus (vaukalak, ваўкалак), Russia (vourdalak, оборотень), Ukraine (vovkulak(a), vurdalak(a), vovkun, перевертень), Croatia (vukodlak), Poland (wilkołak), Romania (vârcolac, priculici), Macedonia (vrkolak), Slovenia (volkodlak), Scotland (werewolf, wulver), England (werewolf), Ireland (faoladh or conriocht), Wales (bleidd-ddyn), Germany (Werwolf), the Netherlands (weerwolf), Denmark/Sweden/Norway (Varulv), Norway/Iceland (kveld-ulf, varúlfur), Galicia (lobishome), Portugal/Brazil (lobisomem), Lithuania (vilkolakis and vilkatlakis), Latvia (vilkatis and vilkacis), Andorra/Catalonia (home llop), Hungary (Vérfarkas and Farkasember), Estonia (libahunt), Finland (ihmissusi and vironsusi), and Italy (lupo mannaro). In northern Europe, there are also tales about people changing into animals including bears, as well as wolves.
A German woodcut from 1722Werewolves in European tradition were mostly evil men who terrorized people in the form of wolves on command of the Devil, though there were rare narratives of people being transformed involuntarily. In the 10 century, they were given the binomial name of melancholia canina and in the 14th century, daemonium lupum.[6] In Marie de France's poem Bisclavret (c. 1200), the nobleman Bizuneh, for reasons not described in the lai, had to transform into a wolf every week. When his treacherous wife stole his clothing needed to restore his human form, he escaped the king's wolf hunt by imploring the king for mercy and accompanied the king thereafter. His behaviour at court was so much gentler than when his wife and her new husband appeared at court, that his hateful attack on the couple was deemed justly motivated, and the truth was revealed. Other tales of this sort include German fairy tales, Märchen, in which several aristocrats temporarily transform into beasts. See Snow White and Rose Red, where the tame bear is really a bewitched prince, and The Golden Bird where the talking fox is also a man.
Werewolf folklore is rare in England, possibly because wolves had been eradicated by authorities in the Anglo-Saxon period.[16]
Harald I of Norway is known to have had a body of Úlfhednar (wolf coated), which are mentioned in Vatnsdœla saga, Haraldskvæði, and the Völsunga saga resemble some werewolf legends. The Úlfhednar were fighters similar to the berserkers, though they dressed in wolf hides rather than those of bears and were reputed to channel the spirits of these animals to enhance effectiveness in battle.[6] These warriors were resistant to pain and killed viciously in battle, much like wild animals. Ulfhednar and berserkers are closely associated with the Norse god Odin.
In Latvian folklore, a vilkacis was someone who transformed into a wolf-like monster, which could be benevolent at times.[citation needed] Another collection of stories concern the skin-walkers. The vilkacis and skin-walkers probably have a common origin in Proto-Indo-European society, where a class of young unwed warriors were apparently associated with wolves[citation needed].
In other hand, in the Hungarian folklore, the concept of werewolf goes back to the Middle Ages. The werewolves used to live specially in the region of Transdanubia, and it was thought that the ability to change into a wolf it was obtained in the infant age, after the suffering of abuse by the parents or by a curse. At the age of seven the boy leaves the house and goes hunting by night and can change to person or wolf whenever he wants. The curse can also be obtained when in the adulthood the person passed three times through an arch made of a Birch with the help of a wild rose's spine.
The werewolves were known to exterminate all kind of farm animals, especially sheep. The transformation usually occurred in the Winter solstice, Easter and full moon. Later in the XVII and XVIII century, the trials in Hungary not only were conduced against witches, but against werewolves too, and many records exist creating connections between both kinds. Also the vampires and werewolves are closely related in Hungary, being both feared in the antiquity.[17]
According to the first dictionary of modern Serbian language (published by Vuk Stefanović-Karadžić in 1818) vukodlak / вукодлак (werewolf) and vampir / вампир (vampire) are synonyms, meaning a man who returns from his grave for purposes of fornicating with his widow. The dictionary states this to be a common folk tale.
Common amongst the Kashubs of what is now northern Poland, and the Serbs and Slovenes, was the belief that if a child was born with hair, a birthmark or a caul on their head, they were supposed to possess shape-shifting abilities. Though capable of turning into any animal they wished, it was commonly believed that such people preferred to turn into a wolf.[18]
According to Armenian lore, there are women who, in consequence of deadly sins, are condemned to spend seven years in wolf form.[19] In a typical account, a condemned woman is visited by a wolfskin-toting spirit, who orders her to wear the skin, which causes her to acquire frightful cravings for human flesh soon after. With her better nature overcome, the she-wolf devours each of her own children, then her relatives' children in order of relationship, and finally the children of strangers. She wanders only at night, with doors and locks springing open at her approach. When morning arrives, she reverts to human form and removes her wolfskin. The transformation is generally said to be involuntary, but there are alternate versions involving voluntary metamorphosis, where the women can transform at will.
The 11th Century Belarusian Prince Usiaslau of Polatsk was considered to have been a Werewolf, capable of moving at superhuman speeds, as recounted in The Tale of Igor's Campaign: "Vseslav the prince judged men; as prince, he ruled towns; but at night he prowled in the guise of a wolf. From Kiev, prowling, he reached, before the cocks crew, Tmutorokan. The path of Great Sun, as a wolf, prowling, he crossed. For him in Polotsk they rang for matins early at St. Sophia the bells; but he heard the ringing in Kiev."
There were numerous reports of werewolf attacks – and consequent court trials – in sixteenth century France. In some of the cases there was clear evidence against the accused of murder and cannibalism, but none of association with wolves; in other cases people have been terrified by such creatures, such as that of Gilles Garnier in Dole in 1573, there was clear evidence against some wolf but none against the accused[citation needed]. The loup-garou eventually ceased to be regarded as a dangerous heretic and reverted to the pre-Christian notion of a "man-wolf-fiend." The lubins or lupins were usually female and shy in contrast to the aggressive loups-garous.[citation needed]
Some French werewolf lore is associated with documented events. The Beast of Gévaudan terrorized the general area of the former province of Gévaudan, now called Lozère, in south-central France. From the years 1764 to 1767, an unknown entity killed upwards of 80 men, women, and children.[citation needed] The creature was described as a giant wolf by the sole survivor of the attacks, which ceased after several wolves were killed in the area.
At the beginning of the seventeenth century witchcraft was prosecuted by James I of England, who regarded "warwoolfes" as victims of delusion induced by "a natural superabundance of melancholic."[20]
American cultures
Main article: Skin-walker
During the Norse colonization of the Americas, it is thought by Woodward that the Vikings brought with them their beliefs in werewolves, which would manifest themselves in the folklore of some Native American tribes.[6]
The Naskapis believed that the caribou afterlife is guarded by giant wolves which kill careless hunters venturing too near. The Navajo people feared witches in wolf's clothing called "Mai-cob".[21]
When the European colonization of the Americas occurred, the pioneers brought their own werewolf folklore with them and were later influenced by the lore of their neighbouring colonies and those of the Natives. Belief in the loup-garou present in Canada, the Upper and Lower Peninsulas of Michigan[22] and upstate New York, originates from French folklore influenced by Native American stories on the Wendigo. In Mexico, there is a belief in a creature called the nahual, which traditionally limits itself to stealing cheese and raping women rather than murder. In Haiti, there is a superstition that werewolf spirits known locally as Jé-rouge (red eyes) can possess the bodies of unwitting persons and nightly transform them into cannibalistic lupine creatures.[6]
Origins of werewolf beliefs
Many authors have speculated that werewolf and vampire legends may have been used to explain serial killings in less rational ages. This theory is given credence by the tendency of some modern serial killers to indulge in practices commonly associated with werewolves, such as cannibalism, mutilation, and cyclic attacks. The idea is well explored in Sabine Baring-Gould's work The Book of Werewolves.
Until the 20th century, wolf attacks on humans were an occasional, but widespread feature of life in Europe.[23] Some scholars have suggested that it was inevitable that wolves, being the most feared predators in Europe, were projected into the folklore of evil shapeshifters. This is said to be corroborated by the fact that areas devoid of wolves typically use different kinds of predator to fill the niche; werehyenas in Africa, weretigers in India,[6] as well as werepumas ("runa uturunco")[24][25] and werejaguars ("yaguaraté-abá" or "tigre-capiango")[26][27] of southern South America.
In his Man into Wolf (1948), anthropologist Robert Eisler drew attention to the fact that many Indo-European tribal names and some modern European surnames mean "wolf" or "wolf-men". This is argued by Eisler to indicate that the European transition from fruit gathering to predatory hunting was a conscious process, simultaneously accompanied by an emotional upheaval still remembered in humanity's subconscious, which in turn became reflected in the later medieval superstition of werewolves.[28]
Werewolf, by Lucas Cranach der Ältere, 1512Some modern researchers have tried to explain the reports of werewolf behaviour with recognised medical conditions. Dr Lee Illis of Guy's Hospital in London wrote a paper in 1963 entitled On Porphyria and the Aetiology of Werewolves, in which he argues that historical accounts on werewolves could have in fact been referring to victims of congenital porphyria, stating how the symptoms of photosensitivity, reddish teeth and psychosis could have been grounds for accusing a sufferer of being a werewolf[29]. This is however argued against by Woodward, who points out how mythological werewolves were almost invariably portrayed as resembling true wolves, and that their human forms were rarely physically conspicuous as porphyria victims.[6] Others have pointed out the possibility of historical werewolves having been sufferers of hypertrichosis, a hereditary condition manifesting itself in excessive hair growth. However, Woodward dismissed the possibility, as the rarity of the disease ruled it out from happening on a large scale, as werewolf cases were in medieval Europe.[6] People suffering from Downs Syndrome have been suggested by some scholars to have been possible originators of werewolf myths.[21] Woodward suggested rabies as the origin of werewolf beliefs, claiming remarkable similarities between the symptoms of that disease and some of the legends. Woodward focused on the idea that being bitten by a werewolf could result in the victim turning into one, which suggested the idea of a transmittable disease like rabies.[6] However, the idea that lycanthropy could be transmitted in this way is not part of the original myths and legends and only appears in relatively recent beliefs.
Vampiric connections
In Medieval Europe, the corpses of some people executed as werewolves were cremated rather than buried in order to prevent them from being resurrected as vampires.[6] Before the end of the 19th century, the Greeks believed that the corpses of werewolves, if not destroyed, would return to life as vampires in the form of wolves or hyenas which prowled battlefields, drinking the blood of dying soldiers. In the same vein, in some rural areas of Germany, Poland and Northern France, it was once believed that people who died in mortal sin came back to life as blood-drinking wolves. This differs from conventional werewolfery, where the creature is a living being rather than an undead apparition. These vampiric werewolves would return to their human corpse form at daylight. They were dealt with by decapitation with a spade and exorcism by the parish priest. The head would then be thrown into a stream, where the weight of its sins were thought to weigh it down. Sometimes, the same methods used to dispose of ordinary vampires would be used.[6] The vampire was also linked to the werewolf in East European countries, particularly Bulgaria, Serbia and Slovakia. In Serbia, the werewolf and vampire are known collectively as one creature; Vulkodlak.[6] In Hungarian and Balkan mythology, many werewolves were said to be vampiric witches who became wolves in order to suck the blood of men born under the full moon in order to preserve their health. In their human form, these werewolves were said to have pale, sunken faces, hollow eyes, swollen lips and flabby arms.[6] The Haitian jé-rouges differ from traditional European werewolves by their habit of actively trying to spread their lycanthropic condition to others, much like vampires.[6]
In fiction
Main article: Werewolf fiction
The first feature film to use an anthropomorphic werewolf was Werewolf of London in 1935. The main werewolf of this film is a dapper London scientist who retains some of his style and most of his human features after his transformation,[30] as lead actor Henry Hull was unwilling to spend long hours being made up by makeup artist Jack Pierce.[31] Universal Studios drew on a Balkan tale of a plant associated with lycanthropy as there was no literary work to draw upon, unlike the case with vampires. There is no reference to silver nor other aspects of werewolf lore such as cannibalism.[32]
However, he lacks warmth, and it is left to the tragic character Talbot played by Lon Chaney, Jr. in 1941's The Wolf Man to capture the public imagination. With Pierce's makeup more elaborate this time,[33] this catapulted the werewolf into public consciousness.[30] Sympathetic portrayals are few but notable; the comedic but tortured protagonist David Naughton in An American Werewolf In London,[34] and a less anguished and more confident and charismatic Jack Nicholson in the 1994 film Wolf.[35] Rachel Hawthorne's Dark Guardian novels examine a secret society of werewolves who live peacefully alongside normal humans, are able to initiate the change at will to protect their kind, and generally retain control of themselves when transformed.[36] Other werewolves are decidedly more willful and malevolent, such as those in the novel The Howling and its subsequent sequels and film adaptations.
The form a werewolf assumes was generally anthropomorphic in early films such as The Wolf Man and Werewolf of London, but larger and powerful wolf in many later films.[37]
The transmogrification process is often portrayed as painful in film and literature within the horror genre. The resulting wolf is typically cunning but merciless and prone to killing and eating people without compunction, regardless of the moral character of its human counterpart.
Werewolves are often depicted as immune to damage caused by ordinary weapons, being vulnerable only to silver objects, such as a silver-tipped cane, bullet or blade; this attribute was first adopted cinematically in The Wolf Man.[33] This negative reaction to silver is sometimes so strong that the mere touch of the metal on a werewolf's skin will cause burns. Current-day werewolf fiction almost exclusively involves lycanthropy being either a hereditary condition or being transmitted like an infectious disease by the bite of another werewolf. In some fiction, the power of the werewolf extends to human form, such as invulnerability, super-human speed and strength and falling on their feet from high falls. Also aggressiveness and animalistic urges may be harder to control (hunger, sexual harassment). Usually in these cases the abilities are diminished in human form. In other fictions it can even be cured by medicine men or even antidotes.
Fantastic literature sometimes includes the painful element to the change, but often does not. For example, J. K. Rowling maintains the painful transition between forms while Charles de Lint, Terry Pratchett, Fritz Leiber, and myriad others reach back to the non-painful medieval literary sources. Poul Anderson in Operation Chaos presents a modernised American werewolf, in complete control of himself and free of the traditional taints, while in Three Hearts and Three Lions appears a far more traditional (though not unsympathetic) female werewolf.
The 1961 Hammer film The Curse of the Werewolf, adapted from the 1933 novel The Werewolf of Paris by American author Guy Endore, in 1961 draws on traditional legends of a child born on Christmas Eve being cursed.[38]
"_ I use alcohol or drugs before entering a feared social situation"
_ If I attend a social situation I stay only a certain length of time
_ I'm likely to avoid eye contact
_ I'm likely to set other conditions on attendance such as staying close to certain "safe" people or staying in a certain place
_ I frequently try to distract myself by daydreaming or thinking about other things
Other: _____"
Ring-billed Seagulls. The female is whining & circling the male. I had no idea that he held a present for her!
Member of the Flickr Bird Brigade
Activists for birds and wildlife
As a white stone draws down the fish
she on the seafloor of the afternoon
draws down men's glances and their cruel wish
for love. Slyly her red lip on the spoon
slips-in a morsel of ice-cream; her hands
white as a milky stone, white submarine
fronds, sink with spread fingers, lean
along the table, carmined at the ends.
A cotton magnate, an important fish
with great eyepouches and a golden mouth
through the frail reefs of furniture swims out
and idling, suspended, stays to watch.
A crustacean old man clamped to his chair
sits coldly near her and might see
her charms through fissures where the eyes should be
or else his teeth are parted in a stare.
Captain on leave, a lean dark mackerel
lies in the offing, turns himself and looks
through currents of sound. The flat-eyed flatfish sucks
on a straw, staring from its repose, laxly.
And gallants in shoals swim up and lag,
circling and passing near the white attraction;
sometimes pausing, opening a conversation:
fish pause so to nibble or tug.
Now the ice-cream is finished,
is paid for. The fish swim off on business:
and she sits alone at the table, a white stone
useless except to a collector, a rich man.
The breeding behaviour of kestrels is a fascinating process that typically takes place in spring and is strongly influenced by their adaptation to human settlements as building-nesting birds. Key aspects of their breeding behaviour:
Breeding season: The breeding season usually begins in late March to early April.
Nest location: As building-nesting birds, they use niches in church towers, old buildings and high-rise blocks, or readily accept nest boxes. They do not bring in nesting material, but use the existing substrate.
Clutch & egg-laying: The female usually lays 3 to 6 eggs at intervals of one to two days.
Breeding behaviour: The incubation period lasts around 28 to 30 days. During this time, the female incubates the eggs almost exclusively, whilst the male provides her with food.
Rearing: After hatching, the chicks are kept warm by the mother (brooding), whilst the male hunts. After about four weeks, the young falcons leave the nest, but are often still fed for some time afterwards.
Kestrels are site-faithful breeders and often return to the same nesting site. Their main food source during the breeding season is small rodents.
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.
The black-headed gull (Chroicocephalus ridibundus) is a small gull that breeds in much of the Palearctic including Europe and also in coastal eastern Canada. Most of the population is migratory and winters further south, but some birds reside in the milder westernmost areas of Europe. The species also occurs in smaller numbers in northeastern North America, where it was formerly known as the common black-headed gull. As is the case with many gulls, it was previously placed in the genus Larus.
The genus name Chroicocephalus is from Ancient Greek khroizo, "to colour", and kephale, "head". The specific ridibundus is Latin for "abundant".
The black-headed gull displays a variety of compelling behaviours and adaptations. Some of these include removing eggshells from the nest after hatching, begging co-ordination between siblings, differences between sexes, conspecific brood parasitism, and extra-pair paternity. They are an overwintering species, found in a variety of different habitats.
Description
This gull is 37–44 cm (14+1⁄2–17+1⁄2 in) long with a 94–110 cm (37–43+1⁄2 in) wingspan and weighs 190–400 g (6+3⁄4–14+1⁄8 oz).
In flight, the white leading edge to the wing is a good field mark. The summer adult has a chocolate-brown head (not black, although does look black from a distance), pale grey body, black tips to the primary wing feathers, and red bill and legs. The hood is lost in winter, leaving just two dark spots. Immature birds have a mottled pattern of brown spots over most of the body, and a black band on the tail. There is no difference in plumage between the sexes.
It breeds in colonies in large reed beds or marshes, or on islands in lakes, nesting on the ground. Like most gulls, it is highly gregarious in winter, both when feeding or in evening roosts. It is not a pelagic species and is rarely seen at sea far from coasts.
The black-headed gull is a bold and opportunistic feeder. It eats insects, fish, seeds, worms, scraps, and carrion in towns, or invertebrates in ploughed fields with equal relish. It is a noisy species, especially in colonies, with a familiar "kree-ar" call. Its scientific name means laughing gull.
This species takes two years to reach maturity. First-year birds have a black terminal tail band, more dark areas in the wings, and, in summer, a less fully developed dark hood. Like most gulls, black-headed gulls are long-lived birds, with a maximum age of at least 32.9 years recorded in the wild, in addition to an anecdote now believed of dubious authenticity regarding a 63-year-old bird.
Distribution
Black-headed gulls can be found over much of Europe. It is also found in across the Palearctic to Japan and east China. Small numbers also breed in northeastern Canada and can be seen in winter in northeast North America as far south as Virginia, often with the similar-looking Bonaparte's Gull and also in some Caribbean islands. Recorded as a very rare transient gull in the Carolina coast.
Behaviour
Eggshell removal is a behaviour seen in birds once the chicks have hatched, observed mostly to reduce risk of predation. Removing the eggshell acts as a way of camouflage to avoid predators seeing the nest. The further away egg shells are from the nest, the lower the predation risk. Black-headed gull eggs experience predation from different species of birds, foxes, stoats, and even other black-headed gulls. Although mothers show some form of aggressiveness when a predator is near, in the first 30 minutes, wet chicks can be easily taken by other black-headed gulls after hatching when the parents of the wet chick are distracted.
Black headed gulls also carry away other objects that do not belong in the nest. The removal of eggshells and other objects is important not only in the incubation period but also during the first few days after the eggs hatch. However, the removal process seems to increase as time goes on. The removal is done by both the male and female parents, normally lasts a few seconds and is done three times a year.
A black-headed gull is able to differentiate an egg shell from an egg by acknowledging its thin, serrated, white, edge. Therefore, the weight of the egg or eggshell does not play a role when determining its value.
Earlier eggshell removal hypotheses
Other hypotheses have attempted to explain the survival value of black-headed gulls removing their eggshells from the nest, including:
The sharp edges of the shells after hatching could harm the chicks
The eggshell could somehow intrude during the brooding
The eggshell could slip over the unhatched egg, creating a double shell
Some of the moist organic material left from the shell could lead to a production of bacteria and mould
Breeding
Begging coordination between siblings
Black-headed gulls feed their young by regurgitating onto the ground, rather than into each chick one at a time. The parents tend to accommodate their regurgitation amounts for how intense the nest begging is, from both an individual chick or a group of chicks begging together. Chicks who are siblings, have learned this behaviour and begin synchronizing their begging signals to decrease the costs as an individual and increase the benefits as a whole. The rate of parental food regurgitation to chicks increases with begging intensity.
The amount and response of begging signals differs throughout the nestling period. Usually, there are 3-5 begging events/hour, each lasting around one minute. High intensity begging behaviour appears at the end of the first week in the nest, but the coordination between multiple chicks emerge during the last week of the nestling period. The more siblings present, the more they coordinate their begging while decreasing the number of begging.
Sex differences
Male chicks have less of a chance of survival when compared to female chicks. Black-headed gulls are a sexually size-dimorphic species, so the larger sex is at a disadvantage when the amount of food sources are low.
Male birds are more likely to be born in the first egg and female birds are more likely to be born in the third. The position of a female black-headed gull in response to the food available when laying the eggs can predict the offspring's characteristics.
Conspecific brood parasitism is a behaviour that occurs when females lay their eggs in another female's nest, of the same species.[16] It can reduce the cost of incubation and nestling young by passing it on to another bird. Black-headed gulls usually lay three egg clutches, and the first two are normally larger than the third. The third egg normally has the lowest survival rate, while the first or second are usually the parasitic eggs.
Most of the egg dumping occurs within the beginning of the egg laying period. The parasitic eggs being laid in another conspecific's nest increases the chance of hatching and may occur because of nest desertion or a nest being taken over by another bird.
Multiple eggs in a nest from different mothers may also result from intra-specific nest parasitism, joint female nesting, and nest takeover. Intra-specific nest parasitism is a disadvantage to the hosts because the female could end up taking care of the parasitic chicks over her own and therefore neglecting them and reducing their fitness. Another disadvantage for the host is that incubating more chicks than their own takes up more energy.
Extra-pair paternity
The rate of extra-pair paternity (EPP) has a large variation between populations of black-headed gulls. It is primarily a context-dependent strategy, meaning not all black headed gulls experience this behaviour. The variation between populations of extra-pair paternity can be explained by the variation it has on the advantages and disadvantages it has on a female, as well, as the variation in pressure on a females choice.
The differences in the rate of EPP may be determined by multiple different factors: life history traits, ecological factors or different behavioural strategies of males.
Central–periphery gradient within colonies
Egg-laying can be earlier in Black-headed Gulls nesting in the centre of the colony, with central pairs tending to lay larger eggs, which have a higher hatching success, than pairs nesting at the periphery of the colony. Centrally nesting individuals have also been found to be in better condition and have higher genetic quality.
Walking displays
Black-headed gulls display both head-bobbing walking (HBW) and non-bobbing walking (NBW). Head-bobbing walking is expressed by a hold phase and a thrust phase. The hold phase in black-headed gulls occurs mainly during the single support phase and is when the bird balances its head to equal the environment. Head-bobbing walking occurs during a seeking type foraging by walking through water and includes benefits such as enhancing motion and pattern detection and gathering depth information from motion parallax during the thrust phase. Non-bobbing walking occurs when black-headed gulls are displaying a waiting behaviour while foraging on flat surfaces.
Uses
The eggs of the black-headed gull are considered a delicacy by some in the UK and are eaten hard boiled. The collection of black-headed gull eggs is heavily regulated by the UK government. Eggs may only be taken by a small number of licensed individuals at six sites between 1 April and 15 May each year and only a single egg may be taken from each nest. No eggs are permitted to be sold after 30 June. As the gulls tend to lay in late April and early May, the eggs are only available to purchase for 3 or 4 weeks per year.
Synchronization
Observations on the behavior of black-headed gulls show that black-headed gulls individuals synchronize their vigilance activity with other black-headed gulls neighbors. Synchronization in black-headed gulls groups is dependent on the distance between the black-headed gulls members.
Australian discovery
On 19 October 1991, local Broome birder Brian Kane saw a strange species of bird while trawling the local sewer ponds. Upon seeing this bird, he contacted the Broome Bird Observatory by telephone to verify the species, however there was conjecture regarding its identity. Kane took photos of the bird and recorded field notes, before sending this information to the Appraisals Committee in Hobart, Tasmania, who were able to confirm that it was indeed a black-headed gull. This was the first recorded sighting of the species in Australia.
In popular culture
In Richard Adams' 1972 novel Watership Down, a black-headed gull named Kehaar (who claims his name is the onomatopoeia of waves breaking against the shore) plays a major part in the story. Injured by a farm cat and left behind during the seasonal migrations, Kehaar finds himself stranded on the Downs and is taken in by a warren of European rabbits. He later becomes their friend and ally, and helps to save the rabbits from danger many times; instincts eventually force him to return to his colony, but he promises to visit the rabbits each winter. True to Adams' stated intentions of trying to keep the animals' behavior close to reality, Kehaar is characterized as intelligent, gregarious, noisy, messy, and impatient. He has a guttural accent, inspired by a Norwegian Resistance fighter Adams once had known. Kehaar appears in all three screen adaptations of the novel; the character was voiced by Zero Mostel in the 1978 film, Rik Mayall in the 1999 TV series, and Peter Capaldi in the 2018 miniseries.
The black-headed gull is the official bird of Tokyo, Japan,[34] and the Yurikamome automated guideway transit in Tokyo Bay is named after it.
Fish, any of approximately 34,000 species of vertebrate animals (phylum Chordata) found in the fresh and salt waters of the world. Living species range from the primitive jawless lampreys and hagfishes through the cartilaginous sharks, skates, and rays to the abundant and diverse bony fishes. Most fish species are cold-blooded; however, one species, the opah (Lampris guttatus), is warm-blooded.
The term fish is applied to a variety of vertebrates of several evolutionary lines. It describes a life-form rather than a taxonomic group. As members of the phylum Chordata, fish share certain features with other vertebrates. These features are gill slits at some point in the life cycle, a notochord, or skeletal supporting rod, a dorsal hollow nerve cord, and a tail. Living fishes represent some five classes, which are as distinct from one another as are the four classes of familiar air-breathing animals—amphibians, reptiles, birds, and mammals. For example, the jawless fishes (Agnatha) have gills in pouches and lack limb girdles. Extant agnathans are the lampreys and the hagfishes. As the name implies, the skeletons of fishes of the class Chondrichthyes (from chondr, “cartilage,” and ichthyes, “fish”) are made entirely of cartilage. Modern fish of this class lack a swim bladder, and their scales and teeth are made up of the same placoid material. Sharks, skates, and rays are examples of cartilaginous fishes. The bony fishes are by far the largest class. Examples range from the tiny seahorse to the 450-kg (1,000-pound) blue marlin, from the flattened soles and flounders to the boxy puffers and ocean sunfishes. Unlike the scales of the cartilaginous fishes, those of bony fishes, when present, grow throughout life and are made up of thin overlapping plates of bone. Bony fishes also have an operculum that covers the gill slits.
The study of fishes, the science of ichthyology, is of broad importance. Fishes are of interest to humans for many reasons, the most important being their relationship with and dependence on the environment. A more obvious reason for interest in fishes is their role as a moderate but important part of the world’s food supply. This resource, once thought unlimited, is now realized to be finite and in delicate balance with the biological, chemical, and physical factors of the aquatic environment. Overfishing, pollution, and alteration of the environment are the chief enemies of proper fisheries management, both in fresh waters and in the ocean. (For a detailed discussion of the technology and economics of fisheries, see commercial fishing.) Another practical reason for studying fishes is their use in disease control. As predators on mosquito larvae, they help curb malaria and other mosquito-borne diseases.
Fishes are valuable laboratory animals in many aspects of medical and biological research. For example, the readiness of many fishes to acclimate to captivity has allowed biologists to study behaviour, physiology, and even ecology under relatively natural conditions. Fishes have been especially important in the study of animal behaviour, where research on fishes has provided a broad base for the understanding of the more flexible behaviour of the higher vertebrates. The zebra fish is used as a model in studies of gene expression.
There are aesthetic and recreational reasons for an interest in fishes. Millions of people keep live fishes in home aquariums for the simple pleasure of observing the beauty and behaviour of animals otherwise unfamiliar to them. Aquarium fishes provide a personal challenge to many aquarists, allowing them to test their ability to keep a small section of the natural environment in their homes. Sportfishing is another way of enjoying the natural environment, also indulged in by millions of people every year. Interest in aquarium fishes and sportfishing supports multimillion-dollar industries throughout the world.
Fishes have been in existence for more than 450 million years, during which time they have evolved repeatedly to fit into almost every conceivable type of aquatic habitat. In a sense, land vertebrates are simply highly modified fishes: when fishes colonized the land habitat, they became tetrapod (four-legged) land vertebrates. The popular conception of a fish as a slippery, streamlined aquatic animal that possesses fins and breathes by gills applies to many fishes, but far more fishes deviate from that conception than conform to it. For example, the body is elongate in many forms and greatly shortened in others; the body is flattened in some (principally in bottom-dwelling fishes) and laterally compressed in many others; the fins may be elaborately extended, forming intricate shapes, or they may be reduced or even lost; and the positions of the mouth, eyes, nostrils, and gill openings vary widely. Air breathers have appeared in several evolutionary lines.
Many fishes are cryptically coloured and shaped, closely matching their respective environments; others are among the most brilliantly coloured of all organisms, with a wide range of hues, often of striking intensity, on a single individual. The brilliance of pigments may be enhanced by the surface structure of the fish, so that it almost seems to glow. A number of unrelated fishes have actual light-producing organs. Many fishes are able to alter their coloration—some for the purpose of camouflage, others for the enhancement of behavioral signals.
Fishes range in adult length from less than 10 mm (0.4 inch) to more than 20 metres (60 feet) and in weight from about 1.5 grams (less than 0.06 ounce) to many thousands of kilograms. Some live in shallow thermal springs at temperatures slightly above 42 °C (100 °F), others in cold Arctic seas a few degrees below 0 °C (32 °F) or in cold deep waters more than 4,000 metres (13,100 feet) beneath the ocean surface. The structural and, especially, the physiological adaptations for life at such extremes are relatively poorly known and provide the scientifically curious with great incentive for study.
Almost all natural bodies of water bear fish life, the exceptions being very hot thermal ponds and extremely salt-alkaline lakes, such as the Dead Sea in Asia and the Great Salt Lake in North America. The present distribution of fishes is a result of the geological history and development of Earth as well as the ability of fishes to undergo evolutionary change and to adapt to the available habitats. Fishes may be seen to be distributed according to habitat and according to geographical area. Major habitat differences are marine and freshwater. For the most part, the fishes in a marine habitat differ from those in a freshwater habitat, even in adjacent areas, but some, such as the salmon, migrate from one to the other. The freshwater habitats may be seen to be of many kinds. Fishes found in mountain torrents, Arctic lakes, tropical lakes, temperate streams, and tropical rivers will all differ from each other, both in obvious gross structure and in physiological attributes. Even in closely adjacent habitats where, for example, a tropical mountain torrent enters a lowland stream, the fish fauna will differ. The marine habitats can be divided into deep ocean floors (benthic), mid-water oceanic (bathypelagic), surface oceanic (pelagic), rocky coast, sandy coast, muddy shores, bays, estuaries, and others. Also, for example, rocky coastal shores in tropical and temperate regions will have different fish faunas, even when such habitats occur along the same coastline.
Although much is known about the present geographical distribution of fishes, far less is known about how that distribution came about. Many parts of the fish fauna of the fresh waters of North America and Eurasia are related and undoubtedly have a common origin. The faunas of Africa and South America are related, extremely old, and probably an expression of the drifting apart of the two continents. The fauna of southern Asia is related to that of Central Asia, and some of it appears to have entered Africa. The extremely large shore-fish faunas of the Indian and tropical Pacific oceans comprise a related complex, but the tropical shore fauna of the Atlantic, although containing Indo-Pacific components, is relatively limited and probably younger. The Arctic and Antarctic marine faunas are quite different from each other. The shore fauna of the North Pacific is quite distinct, and that of the North Atlantic more limited and probably younger. Pelagic oceanic fishes, especially those in deep waters, are similar the world over, showing little geographical isolation in terms of family groups. The deep oceanic habitat is very much the same throughout the world, but species differences do exist, showing geographical areas determined by oceanic currents and water masses.
All aspects of the life of a fish are closely correlated with adaptation to the total environment, physical, chemical, and biological. In studies, all the interdependent aspects of fish, such as behaviour, locomotion, reproduction, and physical and physiological characteristics, must be taken into account.
Correlated with their adaptation to an extremely wide variety of habitats is the extremely wide variety of life cycles that fishes display. The great majority hatch from relatively small eggs a few days to several weeks or more after the eggs are scattered in the water. Newly hatched young are still partially undeveloped and are called larvae until body structures such as fins, skeleton, and some organs are fully formed. Larval life is often very short, usually less than a few weeks, but it can be very long, some lampreys continuing as larvae for at least five years. Young and larval fishes, before reaching sexual maturity, must grow considerably, and their small size and other factors often dictate that they live in a habitat different than that of the adults. For example, most tropical marine shore fishes have pelagic larvae. Larval food also is different, and larval fishes often live in shallow waters, where they may be less exposed to predators.
After a fish reaches adult size, the length of its life is subject to many factors, such as innate rates of aging, predation pressure, and the nature of the local climate. The longevity of a species in the protected environment of an aquarium may have nothing to do with how long members of that species live in the wild. Many small fishes live only one to three years at the most. In some species, however, individuals may live as long as 10 or 20 or even 100 years.
Fish behaviour is a complicated and varied subject. As in almost all animals with a central nervous system, the nature of a response of an individual fish to stimuli from its environment depends upon the inherited characteristics of its nervous system, on what it has learned from past experience, and on the nature of the stimuli. Compared with the variety of human responses, however, that of a fish is stereotyped, not subject to much modification by “thought” or learning, and investigators must guard against anthropomorphic interpretations of fish behaviour.
Fishes perceive the world around them by the usual senses of sight, smell, hearing, touch, and taste and by special lateral line water-current detectors. In the few fishes that generate electric fields, a process that might best be called electrolocation aids in perception. One or another of these senses often is emphasized at the expense of others, depending upon the fish’s other adaptations. In fishes with large eyes, the sense of smell may be reduced; others, with small eyes, hunt and feed primarily by smell (such as some eels).
Specialized behaviour is primarily concerned with the three most important activities in the fish’s life: feeding, reproduction, and escape from enemies. Schooling behaviour of sardines on the high seas, for instance, is largely a protective device to avoid enemies, but it is also associated with and modified by their breeding and feeding requirements. Predatory fishes are often solitary, lying in wait to dart suddenly after their prey, a kind of locomotion impossible for beaked parrot fishes, which feed on coral, swimming in small groups from one coral head to the next. In addition, some predatory fishes that inhabit pelagic environments, such as tunas, often school.
Sleep in fishes, all of which lack true eyelids, consists of a seemingly listless state in which the fish maintains its balance but moves slowly. If attacked or disturbed, most can dart away. A few kinds of fishes lie on the bottom to sleep. Most catfishes, some loaches, and some eels and electric fishes are strictly nocturnal, being active and hunting for food during the night and retiring during the day to holes, thick vegetation, or other protective parts of the environment.
Communication between members of a species or between members of two or more species often is extremely important, especially in breeding behaviour (see below Reproduction). The mode of communication may be visual, as between the small so-called cleaner fish and a large fish of a very different species. The larger fish often allows the cleaner to enter its mouth to remove gill parasites. The cleaner is recognized by its distinctive colour and actions and therefore is not eaten, even if the larger fish is normally a predator. Communication is often chemical, signals being sent by specific chemicals called pheromones.
Many fishes have a streamlined body and swim freely in open water. Fish locomotion is closely correlated with habitat and ecological niche (the general position of the animal to its environment).
Many fishes in both marine and fresh waters swim at the surface and have mouths adapted to feed best (and sometimes only) at the surface. Often such fishes are long and slender, able to dart at surface insects or at other surface fishes and in turn to dart away from predators; needlefishes, halfbeaks, and topminnows (such as killifish and mosquito fish) are good examples. Oceanic flying fishes escape their predators by gathering speed above the water surface, with the lower lobe of the tail providing thrust in the water. They then glide hundreds of yards on enlarged, winglike pectoral and pelvic fins. South American freshwater flying fishes escape their enemies by jumping and propelling their strongly keeled bodies out of the water.
So-called mid-water swimmers, the most common type of fish, are of many kinds and live in many habitats. The powerful fusiform tunas and the trouts, for example, are adapted for strong, fast swimming, the tunas to capture prey speedily in the open ocean and the trouts to cope with the swift currents of streams and rivers. The trout body form is well adapted to many habitats. Fishes that live in relatively quiet waters such as bays or lake shores or slow rivers usually are not strong, fast swimmers but are capable of short, quick bursts of speed to escape a predator. Many of these fishes have their sides flattened, examples being the sunfish and the freshwater angelfish of aquarists. Fish associated with the bottom or substrate usually are slow swimmers. Open-water plankton-feeding fishes almost always remain fusiform and are capable of rapid, strong movement (for example, sardines and herrings of the open ocean and also many small minnows of streams and lakes).
Bottom-living fishes are of many kinds and have undergone many types of modification of their body shape and swimming habits. Rays, which evolved from strong-swimming mid-water sharks, usually stay close to the bottom and move by undulating their large pectoral fins. Flounders live in a similar habitat and move over the bottom by undulating the entire body. Many bottom fishes dart from place to place, resting on the bottom between movements, a motion common in gobies. One goby relative, the mudskipper, has taken to living at the edge of pools along the shore of muddy mangrove swamps. It escapes its enemies by flipping rapidly over the mud, out of the water. Some catfishes, synbranchid eels, the so-called climbing perch, and a few other fishes venture out over damp ground to find more promising waters than those that they left. They move by wriggling their bodies, sometimes using strong pectoral fins; most have accessory air-breathing organs. Many bottom-dwelling fishes live in mud holes or rocky crevices. Marine eels and gobies commonly are found in such habitats and for the most part venture far beyond their cavelike homes. Some bottom dwellers, such as the clingfishes (Gobiesocidae), have developed powerful adhesive disks that enable them to remain in place on the substrate in areas such as rocky coasts, where the action of the waves is great.
The methods of reproduction in fishes are varied, but most fishes lay a large number of small eggs, fertilized and scattered outside of the body. The eggs of pelagic fishes usually remain suspended in the open water. Many shore and freshwater fishes lay eggs on the bottom or among plants. Some have adhesive eggs. The mortality of the young and especially of the eggs is very high, and often only a few individuals grow to maturity out of hundreds, thousands, and in some cases millions of eggs laid.
Males produce sperm, usually as a milky white substance called milt, in two (sometimes one) testes within the body cavity. In bony fishes a sperm duct leads from each testis to a urogenital opening behind the vent or anus. In sharks and rays and in cyclostomes the duct leads to a cloaca. Sometimes the pelvic fins are modified to help transmit the milt to the eggs at the female’s vent or on the substrate where the female has placed them. Sometimes accessory organs are used to fertilize females internally—for example, the claspers of many sharks and rays.
In the females the eggs are formed in two ovaries (sometimes only one) and pass through the ovaries to the urogenital opening and to the outside. In some fishes the eggs are fertilized internally but are shed before development takes place. Members of about a dozen families each of bony fishes (teleosts) and sharks bear live young. Many skates and rays also bear live young. In some bony fishes the eggs simply develop within the female, the young emerging when the eggs hatch (ovoviviparous). Others develop within the ovary and are nourished by ovarian tissues after hatching (viviparous). There are also other methods utilized by fishes to nourish young within the female. In all live-bearers the young are born at a relatively large size and are few in number. In one family of primarily marine fishes, the surfperches from the Pacific coast of North America, Japan, and Korea, the males of at least one species are born sexually mature, although they are not fully grown.
Some fishes are hermaphroditic—an individual producing both sperm and eggs, usually at different stages of its life. Self-fertilization, however, is probably rare.
Successful reproduction and, in many cases, defense of the eggs and the young are assured by rather stereotypical but often elaborate courtship and parental behaviour, either by the male or the female or both. Some fishes prepare nests by hollowing out depressions in the sand bottom (cichlids, for example), build nests with plant materials and sticky threads excreted by the kidneys (sticklebacks), or blow a cluster of mucus-covered bubbles at the water surface (gouramis). The eggs are laid in these structures. Some varieties of cichlids and catfishes incubate eggs in their mouths.
Some fishes, such as salmon, undergo long migrations from the ocean and up large rivers to spawn in the gravel beds where they themselves hatched (anadromous fishes). Some, such as the freshwater eels (family Anguillidae), live and grow to maturity in fresh water and migrate to the sea to spawn (catadromous fishes). Other fishes undertake shorter migrations from lakes into streams, within the ocean, or enter spawning habitats that they do not ordinarily occupy in other ways.
The basic structure and function of the fish body are similar to those of all other vertebrates. The usual four types of tissues are present: surface or epithelial, connective (bone, cartilage, and fibrous tissues, as well as their derivative, blood), nerve, and muscle tissues. In addition, the fish’s organs and organ systems parallel those of other vertebrates.
The typical fish body is streamlined and spindle-shaped, with an anterior head, a gill apparatus, and a heart, the latter lying in the midline just below the gill chamber. The body cavity, containing the vital organs, is situated behind the head in the lower anterior part of the body. The anus usually marks the posterior termination of the body cavity and most often occurs just in front of the base of the anal fin. The spinal cord and vertebral column continue from the posterior part of the head to the base of the tail fin, passing dorsal to the body cavity and through the caudal (tail) region behind the body cavity. Most of the body is of muscular tissue, a high proportion of which is necessitated by swimming. In the course of evolution this basic body plan has been modified repeatedly into the many varieties of fish shapes that exist today.
The skeleton forms an integral part of the fish’s locomotion system, as well as serving to protect vital parts. The internal skeleton consists of the skull bones (except for the roofing bones of the head, which are really part of the external skeleton), the vertebral column, and the fin supports (fin rays). The fin supports are derived from the external skeleton but will be treated here because of their close functional relationship to the internal skeleton. The internal skeleton of cyclostomes, sharks, and rays is of cartilage; that of many fossil groups and some primitive living fishes is mostly of cartilage but may include some bone. In place of the vertebral column, the earliest vertebrates had a fully developed notochord, a flexible stiff rod of viscous cells surrounded by a strong fibrous sheath. During the evolution of modern fishes the rod was replaced in part by cartilage and then by ossified cartilage. Sharks and rays retain a cartilaginous vertebral column; bony fishes have spool-shaped vertebrae that in the more primitive living forms only partially replace the notochord. The skull, including the gill arches and jaws of bony fishes, is fully, or at least partially, ossified. That of sharks and rays remains cartilaginous, at times partially replaced by calcium deposits but never by true bone.
The supportive elements of the fins (basal or radial bones or both) have changed greatly during fish evolution. Some of these changes are described in the section below (Evolution and paleontology). Most fishes possess a single dorsal fin on the midline of the back. Many have two and a few have three dorsal fins. The other fins are the single tail and anal fins and paired pelvic and pectoral fins. A small fin, the adipose fin, with hairlike fin rays, occurs in many of the relatively primitive teleosts (such as trout) on the back near the base of the caudal fin.
The skin of a fish must serve many functions. It aids in maintaining the osmotic balance, provides physical protection for the body, is the site of coloration, contains sensory receptors, and, in some fishes, functions in respiration. Mucous glands, which aid in maintaining the water balance and offer protection from bacteria, are extremely numerous in fish skin, especially in cyclostomes and teleosts. Since mucous glands are present in the modern lampreys, it is reasonable to assume that they were present in primitive fishes, such as the ancient Silurian and Devonian agnathans. Protection from abrasion and predation is another function of the fish skin, and dermal (skin) bone arose early in fish evolution in response to this need. It is thought that bone first evolved in skin and only later invaded the cartilaginous areas of the fish’s body, to provide additional support and protection. There is some argument as to which came first, cartilage or bone, and fossil evidence does not settle the question. In any event, dermal bone has played an important part in fish evolution and has different characteristics in different groups of fishes. Several groups are characterized at least in part by the kind of bony scales they possess.
Scales have played an important part in the evolution of fishes. Primitive fishes usually had thick bony plates or thick scales in several layers of bone, enamel, and related substances. Modern teleost fishes have scales of bone, which, while still protective, allow much more freedom of motion in the body. A few modern teleosts (some catfishes, sticklebacks, and others) have secondarily acquired bony plates in the skin. Modern and early sharks possessed placoid scales, a relatively primitive type of scale with a toothlike structure, consisting of an outside layer of enamel-like substance (vitrodentine), an inner layer of dentine, and a pulp cavity containing nerves and blood vessels. Primitive bony fishes had thick scales of either the ganoid or the cosmoid type. Cosmoid scales have a hard, enamel-like outer layer, an inner layer of cosmine (a form of dentine), and then a layer of vascular bone (isopedine). In ganoid scales the hard outer layer is different chemically and is called ganoin. Under this is a cosminelike layer and then a vascular bony layer. The thin, translucent bony scales of modern fishes, called cycloid and ctenoid (the latter distinguished by serrations at the edges), lack enameloid and dentine layers.
Skin has several other functions in fishes. It is well supplied with nerve endings and presumably receives tactile, thermal, and pain stimuli. Skin is also well supplied with blood vessels. Some fishes breathe in part through the skin, by the exchange of oxygen and carbon dioxide between the surrounding water and numerous small blood vessels near the skin surface.
Skin serves as protection through the control of coloration. Fishes exhibit an almost limitless range of colours. The colours often blend closely with the surroundings, effectively hiding the animal. Many fishes use bright colours for territorial advertisement or as recognition marks for other members of their own species, or sometimes for members of other species. Many fishes can change their colour to a greater or lesser degree, by movement of pigment within the pigment cells (chromatophores). Black pigment cells (melanophores), of almost universal occurrence in fishes, are often juxtaposed with other pigment cells. When placed beneath iridocytes or leucophores (bearing the silvery or white pigment guanine), melanophores produce structural colours of blue and green. These colours are often extremely intense, because they are formed by refraction of light through the needlelike crystals of guanine. The blue and green refracted colours are often relatively pure, lacking the red and yellow rays, which have been absorbed by the black pigment (melanin) of the melanophores. Yellow, orange, and red colours are produced by erythrophores, cells containing the appropriate carotenoid pigments. Other colours are produced by combinations of melanophores, erythrophores, and iridocytes.
The major portion of the body of most fishes consists of muscles. Most of the mass is trunk musculature, the fin muscles usually being relatively small. The caudal fin is usually the most powerful fin, being moved by the trunk musculature. The body musculature is usually arranged in rows of chevron-shaped segments on each side. Contractions of these segments, each attached to adjacent vertebrae and vertebral processes, bends the body on the vertebral joint, producing successive undulations of the body, passing from the head to the tail, and producing driving strokes of the tail. It is the latter that provides the strong forward movement for most fishes.
The digestive system, in a functional sense, starts at the mouth, with the teeth used to capture prey or collect plant foods. Mouth shape and tooth structure vary greatly in fishes, depending on the kind of food normally eaten. Most fishes are predacious, feeding on small invertebrates or other fishes and have simple conical teeth on the jaws, on at least some of the bones of the roof of the mouth, and on special gill arch structures just in front of the esophagus. The latter are throat teeth. Most predacious fishes swallow their prey whole, and the teeth are used for grasping and holding prey, for orienting prey to be swallowed (head first) and for working the prey toward the esophagus. There are a variety of tooth types in fishes. Some fishes, such as sharks and piranhas, have cutting teeth for biting chunks out of their victims. A shark’s tooth, although superficially like that of a piranha, appears in many respects to be a modified scale, while that of the piranha is like that of other bony fishes, consisting of dentine and enamel. Parrot fishes have beaklike mouths with short incisor-like teeth for breaking off coral and have heavy pavementlike throat teeth for crushing the coral. Some catfishes have small brushlike teeth, arranged in rows on the jaws, for scraping plant and animal growth from rocks. Many fishes (such as the Cyprinidae or minnows) have no jaw teeth at all but have very strong throat teeth.
Some fishes gather planktonic food by straining it from their gill cavities with numerous elongate stiff rods (gill rakers) anchored by one end to the gill bars. The food collected on these rods is passed to the throat, where it is swallowed. Most fishes have only short gill rakers that help keep food particles from escaping out the mouth cavity into the gill chamber.
Once reaching the throat, food enters a short, often greatly distensible esophagus, a simple tube with a muscular wall leading into a stomach. The stomach varies greatly in fishes, depending upon the diet. In most predacious fishes it is a simple straight or curved tube or pouch with a muscular wall and a glandular lining. Food is largely digested there and leaves the stomach in liquid form.
Between the stomach and the intestine, ducts enter the digestive tube from the liver and pancreas. The liver is a large, clearly defined organ. The pancreas may be embedded in it, diffused through it, or broken into small parts spread along some of the intestine. The junction between the stomach and the intestine is marked by a muscular valve. Pyloric ceca (blind sacs) occur in some fishes at this junction and have a digestive or absorptive function or both.
The intestine itself is quite variable in length, depending upon the fish’s diet. It is short in predacious forms, sometimes no longer than the body cavity, but long in herbivorous forms, being coiled and several times longer than the entire length of the fish in some species of South American catfishes. The intestine is primarily an organ for absorbing nutrients into the bloodstream. The larger its internal surface, the greater its absorptive efficiency, and a spiral valve is one method of increasing its absorption surface.
Sharks, rays, chimaeras, lungfishes, surviving chondrosteans, holosteans, and even a few of the more primitive teleosts have a spiral valve or at least traces of it in the intestine. Most modern teleosts have increased the area of the intestinal walls by having numerous folds and villi (fingerlike projections) somewhat like those in humans. Undigested substances are passed to the exterior through the anus in most teleost fishes. In lungfishes, sharks, and rays, it is first passed through the cloaca, a common cavity receiving the intestinal opening and the ducts from the urogenital system.
Oxygen and carbon dioxide dissolve in water, and most fishes exchange dissolved oxygen and carbon dioxide in water by means of the gills. The gills lie behind and to the side of the mouth cavity and consist of fleshy filaments supported by the gill arches and filled with blood vessels, which give gills a bright red colour. Water taken in continuously through the mouth passes backward between the gill bars and over the gill filaments, where the exchange of gases takes place. The gills are protected by a gill cover in teleosts and many other fishes but by flaps of skin in sharks, rays, and some of the older fossil fish groups. The blood capillaries in the gill filaments are close to the gill surface to take up oxygen from the water and to give up excess carbon dioxide to the water.
Most modern fishes have a hydrostatic (ballast) organ, called the swim bladder, that lies in the body cavity just below the kidney and above the stomach and intestine. It originated as a diverticulum of the digestive canal. In advanced teleosts, especially the acanthopterygians, the bladder has lost its connection with the digestive tract, a condition called physoclistic. The connection has been retained (physostomous) by many relatively primitive teleosts. In several unrelated lines of fishes, the bladder has become specialized as a lung or, at least, as a highly vascularized accessory breathing organ. Some fishes with such accessory organs are obligate air breathers and will drown if denied access to the surface, even in well-oxygenated water. Fishes with a hydrostatic form of swim bladder can control their depth by regulating the amount of gas in the bladder. The gas, mostly oxygen, is secreted into the bladder by special glands, rendering the fish more buoyant; the gas is absorbed into the bloodstream by another special organ, reducing the overall buoyancy and allowing the fish to sink. Some deep-sea fishes may have oils, rather than gas, in the bladder. Other deep-sea and some bottom-living forms have much-reduced swim bladders or have lost the organ entirely.
The swim bladder of fishes follows the same developmental pattern as the lungs of land vertebrates. There is no doubt that the two structures have the same historical origin in primitive fishes. More or less intermediate forms still survive among the more primitive types of fishes, such as the lungfishes Lepidosiren and Protopterus.
The circulatory, or blood vascular, system consists of the heart, the arteries, the capillaries, and the veins. It is in the capillaries that the interchange of oxygen, carbon dioxide, nutrients, and other substances such as hormones and waste products takes place. The capillaries lead to the veins, which return the venous blood with its waste products to the heart, kidneys, and gills. There are two kinds of capillary beds: those in the gills and those in the rest of the body. The heart, a folded continuous muscular tube with three or four saclike enlargements, undergoes rhythmic contractions and receives venous blood in a sinus venosus. It passes the blood to an auricle and then into a thick muscular pump, the ventricle. From the ventricle the blood goes to a bulbous structure at the base of a ventral aorta just below the gills. The blood passes to the afferent (receiving) arteries of the gill arches and then to the gill capillaries. There waste gases are given off to the environment, and oxygen is absorbed. The oxygenated blood enters efferent (exuant) arteries of the gill arches and then flows into the dorsal aorta. From there blood is distributed to the tissues and organs of the body. One-way valves prevent backflow. The circulation of fishes thus differs from that of the reptiles, birds, and mammals in that oxygenated blood is not returned to the heart prior to distribution to the other parts of the body.
The primary excretory organ in fishes, as in other vertebrates, is the kidney. In fishes some excretion also takes place in the digestive tract, skin, and especially the gills (where ammonia is given off). Compared with land vertebrates, fishes have a special problem in maintaining their internal environment at a constant concentration of water and dissolved substances, such as salts. Proper balance of the internal environment (homeostasis) of a fish is in a great part maintained by the excretory system, especially the kidney.
The kidney, gills, and skin play an important role in maintaining a fish’s internal environment and checking the effects of osmosis. Marine fishes live in an environment in which the water around them has a greater concentration of salts than they can have inside their body and still maintain life. Freshwater fishes, on the other hand, live in water with a much lower concentration of salts than they require inside their bodies. Osmosis tends to promote the loss of water from the body of a marine fish and absorption of water by that of a freshwater fish. Mucus in the skin tends to slow the process but is not a sufficient barrier to prevent the movement of fluids through the permeable skin. When solutions on two sides of a permeable membrane have different concentrations of dissolved substances, water will pass through the membrane into the more concentrated solution, while the dissolved chemicals move into the area of lower concentration (diffusion).
The kidney of freshwater fishes is often larger in relation to body weight than that of marine fishes. In both groups the kidney excretes wastes from the body, but the kidney of freshwater fishes also excretes large amounts of water, counteracting the water absorbed through the skin. Freshwater fishes tend to lose salt to the environment and must replace it. They get some salt from their food, but the gills and skin inside the mouth actively absorb salt from water passed through the mouth. This absorption is performed by special cells capable of moving salts against the diffusion gradient. Freshwater fishes drink very little water and take in little water with their food.
Marine fishes must conserve water, and therefore their kidneys excrete little water. To maintain their water balance, marine fishes drink large quantities of seawater, retaining most of the water and excreting the salt. Most nitrogenous waste in marine fishes appears to be secreted by the gills as ammonia. Marine fishes can excrete salt by clusters of special cells (chloride cells) in the gills.
There are several teleosts—for example, the salmon—that travel between fresh water and seawater and must adjust to the reversal of osmotic gradients. They adjust their physiological processes by spending time (often surprisingly little time) in the intermediate brackish environment.
Marine hagfishes, sharks, and rays have osmotic concentrations in their blood about equal to that of seawater and so do not have to drink water nor perform much physiological work to maintain their osmotic balance. In sharks and rays the osmotic concentration is kept high by retention of urea in the blood. Freshwater sharks have a lowered concentration of urea in the blood.
Endocrine glands secrete their products into the bloodstream and body tissues and, along with the central nervous system, control and regulate many kinds of body functions. Cyclostomes have a well-developed endocrine system, and presumably it was well developed in the early Agnatha, ancestral to modern fishes. Although the endocrine system in fishes is similar to that of higher vertebrates, there are numerous differences in detail. The pituitary, the thyroid, the suprarenals, the adrenals, the pancreatic islets, the sex glands (ovaries and testes), the inner wall of the intestine, and the bodies of the ultimobranchial gland make up the endocrine system in fishes. There are some others whose function is not well understood. These organs regulate sexual activity and reproduction, growth, osmotic pressure, general metabolic activities such as the storage of fat and the utilization of foodstuffs, blood pressure, and certain aspects of skin colour. Many of these activities are also controlled in part by the central nervous system, which works with the endocrine system in maintaining the life of a fish. Some parts of the endocrine system are developmentally, and undoubtedly evolutionarily, derived from the nervous system.
As in all vertebrates, the nervous system of fishes is the primary mechanism coordinating body activities, as well as integrating these activities in the appropriate manner with stimuli from the environment. The central nervous system, consisting of the brain and spinal cord, is the primary integrating mechanism. The peripheral nervous system, consisting of nerves that connect the brain and spinal cord to various body organs, carries sensory information from special receptor organs such as the eyes, internal ears, nares (sense of smell), taste glands, and others to the integrating centres of the brain and spinal cord. The peripheral nervous system also carries information via different nerve cells from the integrating centres of the brain and spinal cord. This coded information is carried to the various organs and body systems, such as the skeletal muscular system, for appropriate action in response to the original external or internal stimulus. Another branch of the nervous system, the autonomic nervous system, helps to coordinate the activities of many glands and organs and is itself closely connected to the integrating centres of the brain.
The brain of the fish is divided into several anatomical and functional parts, all closely interconnected but each serving as the primary centre of integrating particular kinds of responses and activities. Several of these centres or parts are primarily associated with one type of sensory perception, such as sight, hearing, or smell (olfaction).
The sense of smell is important in almost all fishes. Certain eels with tiny eyes depend mostly on smell for location of food. The olfactory, or nasal, organ of fishes is located on the dorsal surface of the snout. The lining of the nasal organ has special sensory cells that perceive chemicals dissolved in the water, such as substances from food material, and send sensory information to the brain by way of the first cranial nerve. Odour also serves as an alarm system. Many fishes, especially various species of freshwater minnows, react with alarm to a chemical released from the skin of an injured member of their own species.
Many fishes have a well-developed sense of taste, and tiny pitlike taste buds or organs are located not only within their mouth cavities but also over their heads and parts of their body. Catfishes, which often have poor vision, have barbels (“whiskers”) that serve as supplementary taste organs, those around the mouth being actively used to search out food on the bottom. Some species of naturally blind cave fishes are especially well supplied with taste buds, which often cover most of their body surface.
Sight is extremely important in most fishes. The eye of a fish is basically like that of all other vertebrates, but the eyes of fishes are extremely varied in structure and adaptation. In general, fishes living in dark and dim water habitats have large eyes, unless they have specialized in some compensatory way so that another sense (such as smell) is dominant, in which case the eyes will often be reduced. Fishes living in brightly lighted shallow waters often will have relatively small but efficient eyes. Cyclostomes have somewhat less elaborate eyes than other fishes, with skin stretched over the eyeball perhaps making their vision somewhat less effective. Most fishes have a spherical lens and accommodate their vision to far or near subjects by moving the lens within the eyeball. A few sharks accommodate by changing the shape of the lens, as in land vertebrates. Those fishes that are heavily dependent upon the eyes have especially strong muscles for accommodation. Most fishes see well, despite the restrictions imposed by frequent turbidity of the water and by light refraction.
Fossil evidence suggests that colour vision evolved in fishes more than 300 million years ago, but not all living fishes have retained this ability. Experimental evidence indicates that many shallow-water fishes, if not all, have colour vision and see some colours especially well, but some bottom-dwelling shore fishes live in areas where the water is sufficiently deep to filter out most if not all colours, and these fishes apparently never see colours. When tested in shallow water, they apparently are unable to respond to colour differences.
Sound perception and balance are intimately associated senses in a fish. The organs of hearing are entirely internal, located within the skull, on each side of the brain and somewhat behind the eyes. Sound waves, especially those of low frequencies, travel readily through water and impinge directly upon the bones and fluids of the head and body, to be transmitted to the hearing organs. Fishes readily respond to sound; for example, a trout conditioned to escape by the approach of fishermen will take flight upon perceiving footsteps on a stream bank even if it cannot see a fisherman. Compared with humans, however, the range of sound frequencies heard by fishes is greatly restricted. Many fishes communicate with each other by producing sounds in their swim bladders, in their throats by rasping their teeth, and in other ways.
A fish or other vertebrate seldom has to rely on a single type of sensory information to determine the nature of the environment around it. A catfish uses taste and touch when examining a food object with its oral barbels. Like most other animals, fishes have many touch receptors over their body surface. Pain and temperature receptors also are present in fishes and presumably produce the same kind of information to a fish as to humans. Fishes react in a negative fashion to stimuli that would be painful to human beings, suggesting that they feel a sensation of pain.
An important sensory system in fishes that is absent in other vertebrates (except some amphibians) is the lateral line system. This consists of a series of heavily innervated small canals located in the skin and bone around the eyes, along the lower jaw, over the head, and down the mid-side of the body, where it is associated with the scales. Intermittently along these canals are located tiny sensory organs (pit organs) that apparently detect changes in pressure. The system allows a fish to sense changes in water currents and pressure, thereby helping the fish to orient itself to the various changes that occur in the physical environment.