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This image is copyrighted to David Smith; Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws. Please contact me at daismiff39@hotmail.com for express permission to use any of my photographs.
Tragedy at Six Bells
By David John Withers, Brynmawr
My father worked in the colliery all his life and I sort of followed him into the pit. I went to work in Six Bells Colliery at 17 years of age.
When I first went on the 0.18 coal face as a collier's helper I was introduced to my 'batty' Reggie Poe who showed me the tools we were using and two chalk marks 15 yards apart on the coal face. This was our working place, 15 yards long by 4-foot-6 deep by 5 feet high. I thought 'bloody hell' - it seemed a huge amount of coal to shift.
Although the other coal faces in our district were more modern with hydraulic roof supports, we were still using the older friction posts and linked bars. I've still got the scars where one of the bars came down on me!
We had quite a few problems with gas on the 0.18 coal face and the dust was killing. At times the conveyor would start up and you couldn't see each other until the dust settled down.
As boys we often refused to go onto the face because of the amounts of dust there - being youngsters we stuck together even when the officials threatened to send us home. It wasn't much of a threat as I was only earning about £6 odd!
I had been working about two years when the explosion happened. I was working on the 0.18 face at Six Bells on the 'turning shift' and arrived at the colliery on the bus to see the place in turmoil and heard that an explosion had happened. As the explosion had occurred at our place of work, we offered to go down and help as we knew the place, but the Rescue Brigade had it under control and wouldn't let us go down.
It's hard to say my feelings about it all. We knew there was gas there and they said a spark had set it off. I had mostly enjoyed the colliery up to then. I remember four of the men who died - I used to give them snuff with powdered bark mixed in as a joke - there was a good spirit amongst the men at the pit.
Once the explosion had happened it put me off. I finished and I put my notice in soon after. I was too young to lose my life in the colliery. If I had been working the day shift that week it would have been me. The explosion opened my eyes to the dangers and I went into the construction industry instead - I was always good with my hands. The pit made me grow up.
The deaths of 45 men killed 50 years ago in a colliery explosion have been remembered with a service at the site.
A gas explosion ripped through the Six Bells colliery near Abertillery, Blaenau Gwent at 10.45am on 28 June 1960.
The Archbishop of Canterbury, Dr Rowan Williams, led a service of remembrance at the site.
He also unveiled a memorial to the tragedy, a 20m high sculpture of a miner by Sebastian Boyesen.
Circulating mintage:
5,000,000
Years of issue:
2023
Coin Information:
This 50p was issued into circulation to commemorate the coronation of King Charles III on 6th May 2023. This is the first ever UK Coronation 50p, and features the uncrowned portrait of the King on the obverse. The reverse design, by Natasha Jenkins, shows a depiction of Westminster Abbey and His Majesty’s Royal Cypher. A crowned version of the Coronation 50p did not enter circulation, but was issued for collectors only.
THE CHEETAH
The cheetah (Acinonyx jubatus) is an atypical member of the cat family (Felidae) that is unique in its speed, while lacking climbing abilities. As such, it is placed in its own genus, Acinonyx. The word "cheetah" is derived from the Sanskrit word chitrakāyaḥ, meaning "variegated body", via the Hindi चीता cītā.
The fastest land animal, it can accelerate from 0 to 110 km/h in three seconds and reach speeds up to 120 km/h for short bursts covering distances up to 460 m.
Often mistaken for the leopard, the cheetah does have distinguishing features, such as the long "tear-streak" lines that run from the corners of its eyes to its mouth. The body frame of the cheetah is quite different from the leopard, most notably it is thinner and has a longer tail, and unlike the leopard, its spots are not arranged into rosettes.
DESCRIPTION
The cheetah's chest is deep and its waist is narrow. It's coarse, short fur s tan with round black spots measuring from 2 to 3 cm (0.79 to 1.2 in) across, affording it some camouflage while hunting. There are no spots on its white underside, but the tail has spots, which merge to form four to six dark rings at the end. The tail usually ends in a bushy white tuft. The cheetah has a small head with high-set eyes. Black "tear marks" run from the corner of its eyes down the sides of the nose to its mouth to keep sunlight out of its eyes and to aid in hunting and seeing long distances.
The adult cheetah weighs from 40 to 65 kg (88 to 140 lb). Its total body length is from 115 to 135 cm (45 to 53 in), while the tail can measure up to 84 cm (33 in) in length. Males tend to be slightly larger than females and have slightly bigger heads, but there is not a great variation in cheetah sizes and it is difficult to tell males and females apart by appearance alone. Compared to a similarly-sized leopard, the cheetah is generally shorter-bodied, but is longer tailed and taller (it averages about 90 cm (35 in) tall) and so it appears more streamlined.
Some cheetahs also have a rare fur pattern mutation: cheetahs with larger, blotchy, merged spots are known as 'king cheetahs'. It was once thought to be a separate subspecies, but it is merely a mutation of the African cheetah. The 'king cheetah' has only been seen in the wild a handful of times, but it has been bred in captivity.
The cheetah's paws have semi-retractable claws(known only in three other cat species) offering the cat extra grip in its high-speed pursuits. The ligament structure of the cheetah's claws is the same as those of other cats; it simply lacks the sheath of skin and fur present in other varieties, and therefore the claws are always visible, with the exception of the dewclaw. The dewclaw itself is much shorter and straighter than other cats.
Adaptations that enable the cheetah to run as fast as it does include large nostrils that allow for increased oxygen intake, and an enlarged heart and lungs that work together to circulate oxygen efficiently. During a typical chase its respiratory rate increases from 60 to 150 breaths per minute. While running, in addition to having good traction due to its semi-retractable claws, the cheetah uses its tail as a rudder-like means of steering to allow it to make sharp turns.
Unlike "true" big cats, the cheetah can purr as it inhales, but cannot roar. By contrast, the big cats can roar but cannot purr, except while exhaling.
The cheetah is a vulnerable species. Out of all the big cats, it is the least able to adapt to new environments. It has always proved difficult to breed in captivity, although recently a few zoos have managed to succeed at this. Once widely hunted for its fur, the cheetah now suffers more from the loss of both habitat and prey.
INTER-SPECIFIC PREDATORY RELATIONSHIPS
Cheetahs are outranked by all the other large predators in most of their range. Because they are designed for extreme bursts of short speed at the expense of both power and the ability to climb trees, they cannot defend themselves against most of Africa's other predator species. They avoid fighting typically and will surrender a kill immediately to even a single hyena, rather than risk any injury, as anything that slows them down is essentially life threatening. The cheetah's death rate is very high during the early weeks of its life; up to 90% of cheetah cubs are killed during this time by lions, leopards, hyenas, wild dogs, or even by eagles. Cheetah cubs often hide in thick brush for safety. Mother cheetahs will defend their young and are at times successful in driving predators away from their cubs. Coalitions of male cheetahs can also chase away other predators, depending on the coalition size and the size and number of the predator. Because of its speed, a healthy adult cheetah has no predators.
A cheetah has a 50% chance of losing its kills to other predators. Cheetahs avoid competition by hunting at different times of the day and by eating immediately after the kill.
DIET and HUNTING
The cheetah is a carnivore, eating mostly mammals under 40 kg, including the Thomson's Gazelle, the Grant's gazelle, the springbok and the impala. The young of larger mammals such as wildebeests and zebras are taken at times, and adults too, when the cats hunt in groups. Guineafowl and hares are also prey. While the other big cats mainly hunt by night, the cheetah is a diurnal hunter. It hunts usually either early in the morning or later in the evening when it is not so hot, but there is still enough light.
The cheetah hunts by vision rather than by scent. Prey is stalked to within 10–30 m (33–98 ft), then chased. This is usually over in less than a minute, and if the cheetah fails to make a catch quickly, it will give up. The cheetah has an average hunting success rate of around 50% - half of its chases result in failure.
Running at speeds up to 70 miles puts a great deal of strain on the cheetah's body. When sprinting, the cheetah's body temperature becomes so high that it would be deadly to continue - this is why the cheetah is often seen resting after it has caught its prey. If it is a hard chase, it sometimes needs to rest for half an hour or more. The cheetah kills its prey by tripping it during the chase, then biting it on the underside of the throat to suffocate it, for the cheetah is not strong enough to break the necks of the four-legged prey it mainly hunts. The bite may also puncture a vital artery in the neck. Then the cheetah proceeds to devour its catch as quickly as possible before the kill is taken by stronger predators.
The diet of a cheetah is dependent upon the area in which it lives. For example, on the East African plains, its preferred prey is the Thomson's Gazelle. This small antelope is shorter than the cheetah (about 58–70 cm (23–28 in) tall and 70–107 cm (28–42 in) long), and also cannot run faster than the cheetah (only up to 80 km/h (50 mph)), which combine to make it an appropriate prey. Cheetahs look for individuals which have strayed some distance from their group, and do not necessarily seek out old or weak ones.
Excepted from Wikipedia, the free encyclopedia
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MALA MALA
MalaMala is the oldest and largest private game reserve in South Africa. One of the first areas of private land to switch from hunting to conservation, it is spread over 70 sq miles of the Mpumalanga Lowveld. The property shares a 12 mile unfenced border with Kruger National Park and contains the longest stretch of the Sand River of any of the Sabi Sand resorts. Its varied habitats - riverine forest, acacia bushveld, and savannah - support a broad selection of wildlife, and provide excellent opportunities for spotting the Big 5 (Buffalo, Elephant, Leopard, Lion & Rhinoceros).
Upon checking in, your game ranger will greet you and accompany you throughout your stay. The rangers, selected for their knowledge of African plant, animal, and bird-life, oversee your personal service. They will be your guide for your twice daily, four-hour game drives, sit with you at meals and impart their knowledge of African wildlife with stories about the individual behavior of animals within the MalaMala reserve.
Game drives are conducted in an open safari vehicle, accompanied by a professional Shangaan tracker. Despite the refined attention to detail, you are immediately aware that you are in Africa and that the unexpected may happen. Breakdowns and stuck vehicles are a hazard of driving through donga and bush, but the staff handles this with aplomb. Radio contact, a large reserve, and excellent guides enhance the probability of seeing the big five. The camp also offers guided bush walks.
As digital technology advances at breakneck speed, Images are circulating quicker than ever before. But what is the status of the image in the digital era? We are joined by German art historian Dr. Hubert Burda for an examination of the “iconic turn” that our culture is undergoing.
A pioneer of the media industry will be presenting a concise history of images and how they function today in our digital world. Burda traces the connection between perspectival painting and the television, demonstrating how the image requires a frame, which in turn requires a material vehicle that in our era has become a non-material vehicle with its own formal parameters. Burda shows how images have always been linked to portability, but now migrate to an unprecedented degree, so that anyone with a personal device can globally disseminate, say, footage from a concert via Youtube.
In the latter half of the evening Dr. Burda will have a discussion with GAFFTA Chairman, Peter Hirshberg, about the effects of digital technologies on our society and the cultural implications that follow.
grayarea.org/event/dr-hubert-burda-on-the-digital-wunderk...
While circulating through the crowd, I overheard the older gentleman on the right talking to this crew member about his days working for the Southern Railway. I'm sure the sight of 4501 brought back a lot of memories for him.
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”
“The Eye Moment photos by Nolan H. Rhodes”
nrhodesphotos@yahoo.com
My turn now to have my selfie in the grounds of the Taman Sari water palace, now that the local group has moved away. I was surprised at how little circulating space there is around the lake. I later climbed up to one of the lookout windows of the towel in the background, and vertical window bars notwithstanding, the view from up there was pretty amazing. (see subsequent pictures later in this album). (Y/Jogjakarta, Indonesia, May 2018)
Example of an Electric Shuttle downtown circulator bus stop.
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Please do not use this photo or any part of this photo without first asking for permission, thank you.
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Northbound Purple Line Charm City Circulator Bus in Baltimore MD on Friday morning, 5 October 2018 by Elvert Barnes Photography
PEOPLE ON THE BUS Series
RIDE-BY SHOOTING: Baltimore Charm City Circulator (CCC) / Purple Route Series
www.charmcitycirculator.com/route/purple
65th Birthday 2018 Weekend Project - Friday Morning, 5 October 2018 New Camera Photo Walk
Fine, trade and signed (by the binder) bindings that I found in the circulating/general collection at Arizona State University Library.
When rumors circulated that the Terran Union was in the market for a new medium space superiority fighter, Turner Industries leapt into action, completing, with their own funds, a fully working prototype before bidding even began.Needless to say, Turner Industries won the contract handily, as they had already footed the design costs, thereby allowing them to undercut their competitors.
The Perseus is a medium space superiority fighter of middling speed and maneuverability-a strange design decision, to say the least. To compensate for its relatively low speed (for its role), Turner Industries outfitted it with nearly unparalleled firepower and protection for a fighter of its size-it features two heavy hardpoints (usually only found on bombers) that normally mount 30 mm gatling cannons. In addition, this is the first space-faring vessel lighter than a corvette to feature a shield system.
The Perseus is generally quite successful in dogfighting situations, and can be made to be successful in anti-frigate maneuvers by mounting heavier cannons or ship-to-ship torpedoes in place of the gatling cannons.
Classic Space: www.classic-space.com/plugins/forum/forum_viewtopic.php?8...
As digital technology advances at breakneck speed, Images are circulating quicker than ever before. But what is the status of the image in the digital era? We are joined by German art historian Dr. Hubert Burda for an examination of the “iconic turn” that our culture is undergoing.
A pioneer of the media industry will be presenting a concise history of images and how they function today in our digital world. Burda traces the connection between perspectival painting and the television, demonstrating how the image requires a frame, which in turn requires a material vehicle that in our era has become a non-material vehicle with its own formal parameters. Burda shows how images have always been linked to portability, but now migrate to an unprecedented degree, so that anyone with a personal device can globally disseminate, say, footage from a concert via Youtube.
In the latter half of the evening Dr. Burda will have a discussion with GAFFTA Chairman, Peter Hirshberg, about the effects of digital technologies on our society and the cultural implications that follow.
grayarea.org/event/dr-hubert-burda-on-the-digital-wunderk...
View of Westminster House Senior Apartments from Bus Stop 524 at Mount Vernon Place on North Charles at East Monument Street in Baltimore MD on Friday afternoon, 3 February 2017 by Elvert Barnes Photography
Baltimore Charm City Circulator (CCC) / Purple Route Series
www.charmcitycirculator.com/route/purple
Waiting At The Bus Stop 2017 Series
En route to James Baldwin I AM NOT YOUR NEGRO docu-film @ Charles Theater
RALEIGH NC: GLENWOOD AVENUE: We were sitting outside a Mexican joint enjoying a plate of nachos supreme when this Behemoth stopped at the corner. Not that I am a very good judge of bus beauty, but this monster has got it going.
Believe it or not, it is a hybrid and presumably kind to our lungs. It appears to be passenger friendly as the nose dips down to accommodate those getting on and off.
PS I must point out that it made a left turn with grrrrreat difficulty.
2475
Waiting at Bus Stop No. 511 on St. Paul near Centre Street in Baltimore MD on Sunday afternoon, 16 October 2016 by Elvert Barnes Photography
Baltimore Charm City Circulator (CCC) / Purple Route Series
www.charmcitycirculator.com/route/purple
Street Photography: En route to Fleet Week @ Baltimore Inner Harbor
Over the past few years, rumors have circulated in Japan about the existence of gigantic humanoid life-forms inhabiting the icy waters of the Antarctic.
For the most part, the existence of the Ningen is considered an urban legend. Much of the information about this rumored creature can be traced back to a series of posts on the 2channel forums, written by a person describing the experience of a friend employed on a government “whale research” vessel.
Reportedly observed on multiple occasions by crew members of government-operated “whale research” ships, these so-called “Ningen” (lit. “humans”) are said to be completely white in color with an estimated length of 20 to 30 meters. Eyewitnesses describe them as having a human-like shape, often with legs, arms, and even five-fingered hands. Sometimes they are described as having fins or a large mermaid-like tail instead of legs. The only visible facial features are the eyes and mouth.
Springheeled Jack
"Reports of a strange, otherworldly figure began to circulate through London during the early fall of 1837. By January of the following year the Lord Mayor-Sir John Cowan declared the unknown assailant a public menace and called for volunteers to search the streets for the man being called Springheel Jack.
One February night, in 1838, sisters Lucy and Margaret Scales were walking home from their brother’s house in Limehouse. At 8.30pm it was already dark as they passed Green Dragon Alley. Suddenly, a cloaked silhouette leapt from the darkness and breathed blue flame into Lucy’s face. The laughing figure jumped high over his victim and her sister and landed on the roof of a house. From there he bounded off into the night.
The name Jack was common in England during that time, and often used to refer to a male whose name was unknown. Springheel came from the phantom's unusual ability to jump a height and distance that seemed humanly impossible. He was able to avoid capture despite his attacks being witnessed numerous times, by simply leaping or jumping out of sight. The phantom was accused of pushing, shoving, ripping the clothing, and scratching some unfortunates but his intent seemed to be mischief and his goal apparently to frighten innocent people rather than to do actual harm.
Most of those who were assaulted by Springheel were woman. Their descriptions and the facts that came forth from other witnesses drew a strange picture of a tall, thin man wearing a dark cape and a close fitting cloth helmet. Observers also claimed the phantom could breath out a blue flame to drive back any group who gathered around him. Later in the 1860's the same figure or one similar was seen actually flying over treetops. Ten years later he was seen again, this time bouncing from rooftop to rooftop with an uncanny speed. So fast was he able to travel that the sentries who fired on him were not even able to slow him down."
Is there any relationship between human being and death?
From the exhibition "Jaeeun Choi: The House That Continuously Circulates" which took place in Convent of St Agnes of Bohemia in Prague.
Existuje vzťah medzi ľudskou bytosťou a smrťou?
Z výstavy "Jaeeun Choi: Dům, který se nepřetržitě pohybuje v kruhu" v priestoroch Kláštora Svätej Anežky Českej.
I think I found the coolest thing to check out at my library - dinosaurs! These will have to go on the "random stuff from the ARC" display (along with JC Penney catalogs from 1978 and 3D building mock-ups), though we'll have to change the name of the display.
Square foot hydroponic gardens are self-contained growing systems and is a reliable method for circulating oxygen and nutrients
to the roots of your plants. By using a Drainback, your plants will flourish!
"http://www.sqfoothydro.com"
Waiting for the Bus at Bus Stop 523 on North Charles at Hamilton Street in Baltimore, Maryland on Sunday morning, 30 April 2017 by Elvert Barnes Photography
Baltimore Charm City Circulator (CCC) / Purple Route Series
www.charmcitycirculator.com/route/purple
Waiting At Bus Stops Project / Baltimore City Series
En route to Safeway @ Charles Village
Circulating mintage:
2,300,000
Years of issue:
2022
Coin Information:
Her Majesty Queen Elizabeth II is the United Kingdom’s longest reigning monarch, with an incredible 70 years of service to the crown. In tribute to this record-breaking achievement, The Royal Mint have issued the UK’s very first royal 50p! Excitingly, there are TWO obverse designs of this 50p available. The first, issued within the 2022 Annual Coin Set, features Jody Clark’s portrait of Her Majesty. The version that has been individually issued, features a brand new obverse by John Bergdahl, which is reminiscent of previous jubilee designs, including the 1953 coronation crown. This is the first time we’ve seen Her Majesty on horseback on a 50p, and it’s the first time EVER that a 50p has featured a different style of effigy portrait, instead of her side profile.
A beautiful ichneumon wasp of the Pimplinae. Thanks are owed to Jaswinder Boparai for identifying it as Schizopyga circulator - one of the species within the specialised Polysphincta group, which are parasitoids of active spiders. Found at Castle Water of Rye Harbour Nature Reserve. Additional pictures below.
Hallelujah Mountains
•Location Information
oLocation: Pandora
oResidents: Mountain Banshee; Na’vi; Great Leonopteryx (possibly)
•Behind the Scenes:
oFirst Appearance: Avatar
The Hallelujah Mountains (Na’vi name: Ayram alusìng meaning “Floating Mountains”) are floating islands that circulate slowly in the magnetic currents like icebergs at sea, scraping against each other and the towering mesa-like mountains of the region. On Pandora, huge outcroppings of unobtanium rip loose from the surface and float in the magnetic vortices due to the Meissner Effect.
Physical Description
They are overgrown with foliage at the top and straggly beards of vines hang down beneath the mountains like the roots of air-ferns. Their sides are sheer cliffs. Waterfalls, originating on the mesa-like tops, stream down the sides and disperse into spray at the bottoms, like upside-down geysers. The mist then condenses on other floating mountains and flows over the side and disperses, renewing the process. The local peaks and mesas actually project above the level of the craggy undersides of the few floating mountains Jake Sully can see, so it seems obvious that collisions are inevitable.
It is also the place that Norm Spellman wants to visit the most on Pandora—his wish is fulfilled when Grace Augustine decides to move her avatar program operation to the region when she realizes Jake is being manipulated by Quaritch. Most human detection instruments are useless amidst the large magnetic fields. The mountains float like clouds among the fixed mountains and swirling cloud structures. When they are in clear sunlight they cast distinct shadows on the land below.
In Na’vi Culture
The mountains are home to several clans, including Ni’awve and the Tipani. The latter reside in the settlement of Vayaha Village. In 2154 the Omaticaya fled to the mountains, seeking sanctuary at the Tree of Souls. The tree is one of the most sacred sites on Pandora.
The Hallelujah Mountains are also where mountain banshees choose to roost. This location atop the 2,600m high Mons Veritatis makes the final challenge on the path to becoming a Na’vi hunter (known as Iknimaya) even more difficult and dangerous, as the route taken to the top of the mountains is treacherous. One wrong move will send a candidate plummeting to his or her death. The danger of wild mountain banshees is also present. The local Tipani also refer to the entire region around their village as Iknimaya.
Behind the Scenes
The mountains also bear a similar appearance to the Chinese Huang Shan Mountains. James Cameron said that it was the Huang Shan mountains that inspired him to create the Hallelujah Mountains, which would explain the similar appearance. On January 25, 2010 in China, hundreds of locals in ethnic Tujia costumes “officially” renamed the Qiankunzhu mountains after the Hallelujah Mountains as a tribute to Avatar.
Sacred Sites
The Hallelujah Mountains: Fragile Giants
For humans, the Hallelujah Mountains are a stunning vista, a true wonder of the natural world. For the Na’vi, they are so much more.
It’s hard to imagine. And trust us: pictures don’t do it justice.
Whole mountains lifted from the earth like children’s balloons. Billions of tons of rock floating in the air as though hung there deliberately—some the size of boulders, and some miles across. The Hallelujah Mountains are one of the definitive natural wonders of Pandora, objects of surreal delight for every human lucky enough to see them.
As enduring as they are in both fact and imagination, the truth is that the mountains perform a delicate balancing act within the region’s geology and ecology. Most significantly, they represent a cherished, essential part of Na’vi spiritual life. From their role in the iknimaya to the mysteries of Eywa herself, the mountains are a prime sacred site, offering a fascinating glimpse into indigenous belief.
But first, an answer to the question you’re all thinking.
Yes, They Really Float. But How?
Admittedly, it took some digging for RDA geologists to figure it out—literally. The intense magnetic fields covering Pandora—and clustering in this region in particular—were common knowledge during early exploration of the moon, and it was assumed they had something to do with how the mountains stayed in place. But it wasn’t until unobtanium was excavated that a full picture started to come together.
What we know is that, thanks to the superconductive properties of the unobtanium deposits within, each mountain is surrounded by its own magnetic field that effectively keeps the mass in place, as though fenced in. And conforming to the rules of a fence, the mountains can actually shift position within their boundaries—their occasional collisions inspired the Na’vi to nickname them “Thundering Mountains.”
The Eywa Theory
The alternate point of view belongs to the Na’vi. There is nothing unsolved in the Na’vi ontology: everything that exists does so within the system of interconnectedness controlled by Eywa. And by Na’vi accounts, the mountains were lifted as a part of Eywa’s plan. This puts things lightly; really, the Na’vi regard the mountains as one of the greatest symbols of Eywa’s organizing abilities. As we know, it’s extremely unlikely for a mountain to float. Isn’t the fact that these do prove that a higher power made it so?
One natural condition that gives the “sacred plan” idea credence is the interplay between life on the ground and life on the mountains, and how, depending how you look at it, the mountains almost need to be floating in order to sustain this interplay. Which brings us to one interplay in particular, which has risen to mythic levels on Pandora: that of the mainland Na’vi with the mountain banshee.
A Deadly Rite of Passage
A defining characteristic of the Na’vi is the ability to form neural links with some of the animal life of Pandora. And there is no bond more central to clan life—or that more captures the Na’vi imagination—than the one forged with the mountain banshee.
But this bond has to be earned. And that means a dangerous rite of passage called the iknimaya. When a young Omatikaya Na’vi comes of age, he or she may choose to make a long and treacherous solo climb up the vines connecting the floating mountains to the banshee rookeries found in the high peaks. There, the heart of the challenge begins. A banshee never relents to Na’vi bonding advances without resistance, and so the Na’vi only gets one chance; it will end either in free-fall or the banshee leaving its mountain habitat to nest near its rider, who now wears the title Ikran Makto—“Banshee Rider.”
Seeing the Mountains All Over Again
Obviously, the best way to feel the monumental power of the Hallelujah Mountains (and the other ranges of floating mountains on Pandora, such as the one hovering over the Mo’ara Valley) is to see them in person, in the way that the power of the Grand Canyon or the gorges of the Yangtze River can only be experienced when you’re really there. Like the Grand Canyon, the mountains are picturesque, often the first thing people think of when they think of Pandoran landscape. We love to look at the mountains—but to really see them, and all that they signify, you have to put them in perspective. Imagine if the Grand Canyon, in addition to being beautiful, defined how you entered into adulthood, in effect giving you your identity among friends and family. Imagine if the Grand Canyon represented an emblem of a spiritual force guiding every gesture of every day of your life—that its very existence was a spectacular visual proof of that force and its will. Do this, and you will have the briefest glimpse of what the mountains mean to the Na’vi, deeply and personally, and why we must do what we can to understand, respect, and celebrate them. When you consider the wonders of our two explored galaxies, they are literally irreplaceable.
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.