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1:72 T110E3 tank hunter, 2nd prototype during U.S. Army trials; Aberdeen Proving Ground, 1957 (ModellTrans/Silesian Models conversion kit on ESCI M48A2 hull) by Dizzyfugu

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

Even while the heavy T43 (M103) tank was still in development during the early Fifties, the U.S.A. was not done with attempts at making better heavy tanks. The primary concern were the Soviet heavy tanks that were expected to roll over Western Germany in the case of a Cold War escalation. Development was split into two schools of thought: One based its work on the T43, leading to the T57 and T58 auto loading tanks, while the other started from scratch, trying to mount a heavy weapon that could engage enemy tanks at long range in a more compact hull than the large and heavy T43.

In June 1954, the Detroit Arsenal held its third Question Mark Conference, the goal of which was brainstorming ideas for new heavy tanks. Conditions these proposals had to meet were that a prototype had to be constructed within two years, and the vehicle had to be able to fit within the confines of the Berne International Clearance Diagram, a code of standardization for rail tunnels established at the international conference at Berne, Switzerland, in 1913.

Various designs were submitted and discussed: The TS-2 and TS-5 were both armed with a 105 mm (4.13 in) T210 smoothbore gun; in a turret on the TS-2, and in a fixed casemate on the TS-5. The TS-6 and TS-31 were armed with the 120 mm (4.72 in) T123E1 gun; again in a turret on the TS-6, and casemate on the TS-31. Power for the tanks would have been supplied by either a 700 hp Continental AOI-1490-1 engine with an XT-500 transmission (TS-2 and TS-5), or an 810 hp Continental AVI-1790-8 with an XT-500 transmission (TS-6 and TS-31).

In the end, the TS-31, outfitted with a gimbal gun mount and estimated to weigh 45 tons, was chosen for further development, because it promised the most compact outlines. Chrysler was assigned to the development of the TS-31, which was given the project designation “120mm gun tank T110”; at the same time, the T43 was entering pre-production as the M103.

The original TS-31/T110 had a driver in the hull, a gunner to the left of the gun, a commander and his machine gun cupola to the right of the gun, and two loaders. It was rear-engined and had six road wheels on either side. Armor was to be as thick as 9 inches (228.6 mm) on the gun mantlet. Despite the TS-31 concept being chosen as the winner, it still was slightly too big to fit through the Berne Clearance Dimensions. Additional problems were found with the off-center commander’s cupola: the field of view was poor and the additional metal to support it added to the tank’s weight and increased its size. These flaws led to Chrysler redesigning the tank.

The second draft, the T110E1, was an improvement over the original TS-31. It was slightly smaller, becoming shorter and the front becoming flat. The driver was moved into the casemate, to the left of the gun, with the gunner being moved to the right of the gun. Behind the driver and gunner were two loaders and the commander behind them. The commander was placed directly in the middle of the tank, leaving him to sit almost directly atop the engine and with his feet worryingly close to the gun breech. Despite all this, it was still too big to fit through the Berne Clearance Dimensions. Size, in addition to the Detroit Arsenal’s disapproval of the driver’s position, led to a second redesign.

The third draft, the T110E2, was sort of a reversion to the original; the driver was moved back to the hull outside of the casemate, and the gunner was moved back to the left of the gun. The commander’s turret was moved slightly forward, so he would no longer have to sit on top of the engine, but was now forced to sit in a very awkward and cramped position in order to avoid being crushed by the gun’s recoil every time it fired. The casemate reverted to being rounded at the front. Unfortunately, the third draft was no smaller in size than the second.

The Detroit Arsenal replied to Chrysler’s unsatisfactory proposals with the fourth draft of the T110 on its own (even though this proposal did not receive a dedicated designation): The casemate was moved to the back, hanging over the rear of the tank. The transmission was moved to the rear as well, joining the engine. In its place up front was a massive fuel tank, nearly encompassing the driver. The power plant (which was now a Continental 700 hp AOI-1490) was pushed to the left to afford the commander a more comfortable (but still probably hot) position on the far rear right. The suspension was changed to a more conventional (for the Americans) type, with smaller road wheels; although the original draft was without them, return rollers would have been necessary.

Chrysler rejected the Detroit Arsenal’s idea to put the casemate on the very back on the tank and kept it in the middle, leading to the T110E3. The driver was moved back again inside of the casemate, this time to the right of the gun and in an elevated position that offered a very good field of view, and the driver had an M24 infrared periscope.
Chrysler originally tried to simplify maintenance on this design by allowing the engine to be pulled out, on rails, via a hatch in the rear of the tank. But this novel feature created rigidity issues and the engine was returned to a standard position, now turned lengthwise in the tank. This new engine placement again left the commander stuck between the engine and the gun breech. The gun mantlet, which had been relatively tiny before, was much bigger in this iteration, weighing 2 tons and being 9 inches (228.6 mm) thick. The tank was now short and narrow enough to barely fit into the limits of the Berne Tunnel standard.

This version of the T110 was eventually the first deemed worthy enough to be turned into hardware. A wooden mockup was built and engineering diagrams were drawn up. The main weapon was a 120 mm T123E1 rifled anti-tank gun (the same gun that was carried by the M103, later designated M58), combined with an M14 stereoscopic sight. Gun traverse was 15 degrees to each side, with 20 degrees of gun elevation and 10 degrees of gun depression. Frontal armor was 5 inches (127 mm) at a 60 degree slope from vertical. Secondary weaponry comprised as a .30 cal (7.62 mm) machine gun, paired with the main gun, and the commander had a remote-controlled .50 cal (12.7 mm) M2 Browning machine gun on the M1 cupola, which could be aimed and fired from the inside.

Interest from the U.S. Army for this tank, which was rather a self-propelled gun carriage than a classic battle tank and rather passé in the U.S. Army’s eyes, was high enough to warrant the build of two prototypes – primarily because the Army was not too enthusiastic about the large M103. While the T110E3 featured basically the same armament as the M103 and offered comparable frontal armor, it was considerably lighter (50 vs. 65 tons) and more compact.
In order to save cost and development time, a modified M48 Patton chassis was chosen for the prototypes, which featured three rollers per side and the early track tension wheel between the last road wheel and the sprocket wheel at the rear. All six road wheel pairs were sprung on independent torsion arms, while the two front pairs and rear ones received extra shock absorbers with dampers to block excessive amplitude from the torsion arms. Power came from an uprated Continental Motors, Inc. AV-1790-3 petrol engine, which delivered 875 hp instead of the early M48’s 810 hp standard output.

The prototypes were built by Chrysler and ferried to the U.S. Army’s Aberdeen Proving Ground for field tests and comparison with the current standard tanks, namely the T43/M103 and the standard medium M48 MBT.
Potential service vehicles would have received the designation M90 and were supposed to be powered by a more reliable and longer-range Continental AVDS-1790-2 diesel power plant, but no more than the two T110E3 prototypes were built and tested in the course of 1956. However, no series production ensued, since the tank’s performance did not meet the U.S. Army’s expectations – even though the T110E3 proved to be much more agile than the T43/M103 and the commonality with the M48 made the T110E3 an attractive concept. Alas, the casemate layout was outdated and the ergonomics for the crew were poor and the interior was cramped due to the large cannon and the need for two loaders, because charges and warheads for the 120 mm rounds were separate and weighed 51 lbs (23.1 kg) in total, too much for a single loader and a decent rate of fire. The commander had, despite the cupola, a very limited field of view esp. of the tank’s direct surroundings. Furthermore, the development of improved armor-piercing ammunitions for lighter guns, as well as the advent of guided anti-tank missiles, made the heavy tank, including the M103 as well as the T110E3, obsolete. As a final blow to the project, development of the new medium M60 tank with the powerful Royal Ordnance L7 105mm cannon had just started when the T110E3 finished its trials, and an update of the M48 with the L7 cannon was the eventual solution.

A single T110E3, the first prototype, survived and is preserved at the Detroit Arsenal in Warren, MI.

Specifications:

Crew: Five (commander, gunner, 2× loader, driver)

Weight: 50 tonnes

Length: 6.87 m (22 ft 6 in) hull only

9.29 m (30 ft 5 in) overall

Width: 3.65 m (12 ft 0 in)

Height: 3,02 m (9 ft 11 in)

Suspension: Torsion-bar

Ground clearance: 15.2 in (387 mm)

Fuel capacity: 200 US gal (760 l; 170 imp gal)

Armor:

12.7 – 229 mm (0.5 – 9 in)

Performance:

Speed:

- Maximum, road: 30 mph (48 km/h)

- Sustained, road: 25 mph (40 km/h)

- Cross country: 9.3 to 15.5 mph (15 to 25 km/h)

Climbing capability:

- 40% side slope and 60% max grade

- Vertical obstacle of 36 inches (91 cm)

- 102 inches (2.59 m) trench crossing

Fording depth: Unprepared: 4 ft (1.219 m), prepared: 8 ft (2.438 m)

Operational range: 160 ml (258 km) on road

Power/weight: 17.5 hp/t

Engine:

1× Continental Motors, Inc. AV-1790-3 petrol V12 engine with fuel injection, delivering 875 hp,

plus a 1-cylinder auxiliary generator

Transmission:

General Motors CD-850-4A with 2 ranges forward, 1 reverse

Armament:

1× 120 mm T123E1 (M58) rifled anti-tank gun with 34 rounds

1× co-axial 7.62 mm M73 machine gun with 3.000 rounds

1× 12.7mm M2 Browning anti-aircraft machine gun on the commander’s cupola with 900 rounds

The kit and its assembly:

Yes, this is a whiffy tank, but the T110 project as such actually existed as an alternative to the M103. However, there never was any hardware beyond a wooden mock-up, and after many iterations (T110E5 was the last one!) the project was dropped in favor of classic designs with a fully rotating turret, and the availability of the British L7 cannon made the need for the American 120mm cannon obsolete.

I came across this obscure American tank project when I browsed the online shop of the German tank model/conversion kit manufacturer ModellTrans/Silesian Models, who offer a T110E3 resin conversion kit for an unspecified M48 chassis. I found the concept odd and the kit looked good, so I bought one, together with an ESCI M48A2 kit as chassis donor.

The rest was simple kitbashing. The M48 chassis was built OOB, just the upper hull replaced by the T110 resin parts, which also include the gun barrel and the mantlet, the commander’s cupola and several other small parts. Fit was/is surprisingly good! The T110 hull also went very smoothly onto the ESCI chassis: not plastic or resin had to be cut, just a 2mm gap at the lower rear had to be filled with a styrene strip, and only minor PSR had to be done on the front and the rear.

Some personal improvements include a scratched wall inside of the muzzle brake (made from a simple piece of 0.5 mm styrene sheet) and rails along the sidewalls, made from thin brass wire. Furthermore, some small parts from the ESCI M48 were transferred to the T110, including the barrel support, the housings for the stereoscopic rangefinder and a jerry can. Since this was supposed to become a prototype, I did not want to change too much.

Painting and markings:

The whole vehicle became Olive Drab, a conservative choice. I could not imagine that this outdated tank concept could have seriously entered service, so I decided to represent a prototype. But even if I had wanted a U.S. Army in-service vehicle, it would most probably have been painted all-over Olive Drab, anyway, since more complex paints schemes were only introduced in the late Seventies.

AFAIK there was no clearly defined standard for “Olive Drab” in practice, even though there was a contemporary Federal Standard tone, 24087 (very different from the later, much lighter FS tone with this code), also known as “OD ‘50”. In order to keep things simple, I chose Humbrol 66 (HM3), since it is supposed to represent the typical US Army tone. At first this looked rather dark and murky, but with some dry-brushing (with a mix of 66 and 111) after a washing with a mix of black and red brown, things started to look really good – esp. after the decals had been applied. The latter primarily came from the OOB ESCI sheet, complemented with the markings “TEST” and “T110E3”, created with single white 3mm letters from TL Modellbau and seen on contemporary American test vehicles in a similar fashion.

Further weathering was done through more dry-brushing with Humbrol 72 (Khaki Drill), then the model received a coat of matt acrylic varnish. Once the tracks (painted with a mix of acrylic black, brown and iron beforehand) had been mounted and finishing touches had been made, the lower areas were dusted with a reddish-brown mix of mineral pigments, reflecting the red-brownish washing all over the hull.

Not a very complex project, the most tedious aspect of this build was the M48 running gear. However, the latter went together well with little resistance, and the T110 hull from ModellTrans/Silesian Models was easy to integrate, too. I am actually very impressed by the good fit, the details and the molding quality of the resin parts. Even thin and delicate parts and areas like the mudguards have been crisply molded and they are not distinguishable from the IP counterparts from the ESCI kit! And I like the result: the T110E3 looks very retro, a design fallen out of time, and a worthy post-WWII what-if model.

Code Jam by Vimeo Staff

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Vodafone #CodeLikeaGirl by vodafonegroup

Vodafone has announced plans to provide coding training to 1,000 teenage girls across 26 countries in what is the world’s furthest-reaching in-person global coding programme of its kind. The commitment was announced in advance of @WomenScienceDay. Vodafone is partnering with @CodeFirstGirls to address widening gender gap in STEM.

For many years, women and girls have played an important role in science and technology. Without the work of technology pioneers like Hedy Lamarr and Barbara Liskov, we would not have Wi-Fi and email as we know it. But despite this, women and girls are still grossly under-represented in science, technology, engineering and maths (STEM) education and careers. Only 35% of girls enter further education in STEM subjects, and many have little encouragement to equip themselves with the skills to thrive in these industries.

Vodafone wants to help change this. In a partnership with social enterprise Code First: Girls, Vodafone’s #CodeLikeAGirl programme will provide five-day, coding workshops for girls, ages 14-18, across its geographical footprint in Europe, India, the Middle East, South Africa and Australasia. In 2017, 500 girls across Vodafone’s 26 markets were taught to code as part of the Vodafone and Code First: Girls partnership. This year, 1,000 teenage girls will benefit from the programme.

Painting on walls at Code by Jonathan Boam

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mural at Code computerlove - www.codecomputerlove.com/

CODE by Daniel Kulinski

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Code Orange Kids by Chloe Muro

July 10th, 2013

Kingdom

Richmond, VA

Cape Code by Richard lemieux

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20190710SM050.jpg by Library of Congress Life

Girls Who Code group photo with members of Congress, July 10, 2019. Photo by Shawn Miller/Library of Congress.

Note: Privacy and publicity rights for individuals depicted may apply.

Code Jam by Vimeo Staff

CODE.Org by G20 Argentina

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Code Jam by Vimeo Staff

DSC_0111 by UMD Women in Engineering

Coding

InvoicePlane Code I by Kevin Woblick

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Picture of code from the open source software InvoicePlane (invoiceplane.com/)

Social Code by linzera

code girl by AntipopLtd

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on 9th, near Washington.

GMO Codes by Denise Jones

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USe these GMO codes to select organic and conventionally grown produce and avoid GMO produce.

Drupal Code Sprint by Kathleen Murtagh

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Drupalcon San Francisco 2010

Drupal code sprint at Parisoma

Sleepy Boats by Stas B

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Learning to Code by gdsteam

GDS colleagues participated in 3 introductory sessions to coding at GDS. Students were from the Women's and BAME network. Volunteer coaches were from across the organisation, and included frontend developers, backend developers, and site reliability engineers.

Street Art/Graffiti, Voronezh, Russian Federation. by PHOTOGRAPHY by DM & DBM.

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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.

Code Breaker Underwear by Curb Wear

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Mix up the everyday with this secret coded waistband.

QR Code Ad by C2 Imaging

QR codes are a great way to put information right into the hands of the consumer. There are many great uses for QR codes. Ask a C2 rep how to integrate them into your campaign.

QR Code T-shirts for Tots? by WikiThreads

QR Code T-shirt at the ISS Show in Fort Worth.

Share and share alike. Credit WikiThreads and link to www.wikithreads.com

Code Lunch by tretton37

19 June 2019

Lund

Fragile porseline by onesecbeforethedub

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QR code feedback by Word Of Maus

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Best Buy uses QR codes to gauge how employees are feeling at its corporate headquarters in Richfield, MN.

Code 3 Repaints by YTC 858

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YTC Volvo B10b 241 is shown on service 247

Code by Daniel Kulinski

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Aero L-39C N50XX Code 1 Aviation by Ivan Voukadinov

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Aero L-39C N50XX Code 1 Aviation at Rockford airport

coding on codecademy by Renato Gomes

coding on codecademy

LOVE MOR BY EOIN BARRY [DUBLIN STREET ART - DOCKLANDS AREA]-113479 by William Murphy

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Eoin Barry is the recipient of the 2013 and 2014 Limerick Printmakers Bursary Award. This is an accolade given to an outstanding graduate of LSAD’s ‘Printmaking and Contemporary Practice’ degree program, each year. The award has become an integral part of Limerick Printmakers remit and one that reinforces Limerick Printmakers core ethos of both promoting printmaking as an art form, and supporting emerging artists working within the discipline. Barry is a printmaker concerned with social and societal issues who lives and works in Limerick. Following his BA, he completed a Masters program in Social Practice and the Creative Environment in LSAD, in 2014. As part of this course, Barry created and enacted ‘The Uisce Campaign’, a project that saw a print of a drain cover sent to 250 unsuspecting recipients across the globe via the postal network.

The content of the work involves local indigenous ESB boxes resurrected from the graveyard of a local electrical station. Using Irish words forged from iron combined with an area code, that he discovered in the phonebook, the work came to life.

Session teaches BC teachers coding skills that will help students succeed by Province of British Columbia

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More than 60 teachers from the Lower Mainland gathered today at the Microsoft Centre of Excellence in downtown Vancouver to learn basic coding techniques from some of the best instructors in the industry – all to make sure BC students have the skills they need to succeed in today’s changing world.

Education Minister Mike Bernier joined teachers in an interactive ping pong ice breaker game. Teams had to create a simple algorithm to guide a blindfolded teammate to retrieve a ping pong ball. The game helps develop communication and critical thinking – vital skills needed for future success.

Learn more:

news.gov.bc.ca/releases/2016EDUC0266-002603

Code Red by medlmobilepictures

Men’s best defense against the monthly Her-ricane.

Men no longer need to fear the wrath of menstrual madness. MEDL Mobile is pleased—and very relieved—to introduce Code Red: a simple but powerful menstrual calendar for men to keep track of—and survive—their girlfriend’s/fiancé’s/wife’s monthly cycle.

SIMPLER IS SAFER

What makes Code Red so much more valuable than other period tracking apps is the profound simplicity and ease of use.

All you have to do is set the start day of her most recent cycle, and the app takes care of the rest!

When the tracking starts, Code Red will provide special alert messages for every phase in her cycle. There are five different alerts, and each calendar day comes equipped with a wealth of tips and advice to brave even the most violent of storms.

“Every month, women go through the same ups and downs, but the men in our lives never seem to catch on,” said Lisi Harrison, Co-Creator and Author of New York Times #1 Bestselling series’ The Clique and Alphas.

“Code Red will be a life saver for thousands of guys out there,” said Kevin Harrison, Co-Creator, “Its each guys personal color coded Terror Alert System…”

ALERTS

Smooth Sailing Alert --- Let’s you know when she’s feeling like a team player.

Horny Alert --- Let’s you know when you’re able to score.

PMS Alert --- Let’s you know when to hit the (cold) showers.

Ovulation Alert --- Let’s you know when to sit on the sidelines (unless you’re ready to start a junior league).

Code Red Alert --- Let’s you know that it’s game time and you’re way out of bounds.

FEATURES

Fully automated menstrual calendar

5 special alerts for each phase of her cycle

Dynamic animations for each alert

Helpful suggestions to survive each phase

Links to local vendors for presents, groceries and goods (via Google Maps)

Advanced calendar toggle settings

Code Red is the brainchild of Pro Surfer and Humanitarian Jon Rose, and was facilitated through development by husband & wife team Kevin and Lisi Harrison.

Kevin & Lisi have been together for 180 menstrual cycles. The recurring stress that always followed inspired them to find a way to help alleviate their shared aggravation over the monthly houseguest.

Developed by men and women for the benefit of each other, MEDL Mobile, and it’s partners are excited to present this great app and share the many benefits it will bring.

“It’s good for everyone; It’s a giant step towards world peace.” –Lisi Harrison

We are proud to call Code Red a Shiny MEDL Object.

Coding Camp-18 by Howard County Recreation & Parks

At Coding for Kids Camp, young coders used sequences, loops, and conditionals to navigate mazes, solve puzzles and create stories.

Code cascade by Martin Griffiths

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It's not mine.

Code is poetry by Foomandoonian

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A combination of very sore feet (ow, blisters) and low creativity means I'm not going to complete this year's Cardiff Photomarathon. This makes me very sad. I wish I could recapture the enthusiasm I had in the previous Photomarathons — the enthusiasm that inspired me to create Thing a Week. Maybe one day I'll get my groove back. Fingers crossed.

This picture was the second topic — 'Poetry' — and the only picture I took that I was happy with. I'm uploading it here because it seems like the kind of picture that people might like to use to illustrate a blog post. Sometimes these bloggers give me credit too, which is very kind. But that's another story.

(P.S. I really don't like the new Flickr!)

code by Mike Mosher

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code that i'm testing. probably wrong. we'll see ... right ... now!

Put in an area code by theirhistory

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In England, our local area of Bournemouth & Poole has run out of phone numbers, to save the earth collapsing, we now have to dial our area code if we have to dial a local number.

If we don't, we get a reminder if we fail to dial 01202 before the local number we want, this might change after a month to a not so polite message, after six months your phone will explode, or for those on the Virgin Network, Richard will pop round to tell you off.

NCT 222, The Wells Road, Nottingham, 2024 by The Wulfrun Way

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Heading for Kildare Road, St Annes, NCT 222 ascends The Wells Road, Nottingham on the Blue Line 41 service. The bus is one of the 24 Chinese built Yutong electric buses currently operating in the City.

The first of these buses (201-212) entered service from January 2024. The second batch 213-224 arrived in April 2024, entering service in the May. They can be found working on various routes in the City to which they are allocated by their colour coded liveries.

06th July 2024

CODE square modulbench by Vestre Street Furniture

Øyafestivalen 2022, Oslo.

RAL 1018G12 - Zinc Yellow

Design: Hong Ngo-Aandal & Johan Verde

Photo: Nicolas Tourrenc

Code Quest - Morristown by Lockheed Martin

DRESS CODE by Cathy Le Thanh

model: Salomé J.

Styliste: Dress Code

MUA: Cécile le Douaron

Photographer: Cathy Lê Thanh

Editing: Cathy Lê Thanh

code 3 stagecoach volvo renown B10BLEs by gaz

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both of my stagecoach renowns now in my stagecoach fleet on doncaster service.

Roku enter code by Roku Com Link

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Solve all Roku enter code problems at www.enterrokucode.com.

Code 3 by Wayne

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DSC_2114

IMG_2440 by Kalamazoo Public Library

KPL Code Camp: Teens work together to solve problems while learning basic computer programming skills, www.kpl.gov

Pacific Naural Foods QR Code On Packaging by Jack Olmsted

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Pacific Natural Foods, known for its award-winning natural and organic food and beverages, puts recipes, cooking demos and easy-to-access shopping lists at consumers’ finger tips with a QR Code their packaging.

Report: blog.seattlepi.com/videoblogging/2011/03/09/pacific-natur...

1960 Bristol Omnibus Company BristolFS/ECW convertibles by jeff.day48

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My code 3 representations of 1961 Bristol Omnibus Company Bristol FS6G/ECW convertibles used at Weston super Mare. Outer 2 are OOC repaints, middle bus is Classic plastic kit with roof removed, my handrails and screens and white metal front. This bus represents this type as delivered with side indicators set back from front of bus. They were later moved to front of bus.

Code Geass by Walter Pellegrini

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Code Geass

I dreamed about a human being. Contact Sheet by Fran Simó ( I dreamed about a human being )

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

ID:338d8a144e3b0323ce33ca3408879cfd

Image credits: www.flickr.com/photos/28502956@N04/7174405191/

www.flickr.com/photos/28502956@N04/7174405191/

www.flickr.com/photos/28502956@N04/7174405891/

www.flickr.com/photos/alinssite/7174415937/

www.flickr.com/photos/alinssite/7174416595/

www.flickr.com/photos/ara-maye/7174418953/

www.flickr.com/photos/alinssite/7174422453/

www.flickr.com/photos/phxcc/7174440871/

www.flickr.com/photos/ara-maye/7174456665/

www.flickr.com/photos/lexnger/7174463977/