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Hormonal sentience, first described by Robert A. Freitas Jr., describes the information processing rate in plants, which are mostly based on hormones instead of neurons like in all major animals (except sponges). Plants can to some degree communicate with each other and there are even examples of one-way-communication with animals.
Acacia trees produce tannin to defend themselves when they are grazed upon by animals. The airborne scent of the tannin is picked up by other acacia trees, which then start to produce tannin themselves as a protection from the nearby animals. When attacked by caterpillars, some plants can release chemical signals to attract parasitic wasps that attack the caterpillars.
A similar phenomenon can be found not only between plants and animals, but also between fungus and animals. There exists some sort of communication between a fungus garden and workers of the leaf-cutting ant Atta sexdens rubropilosa. If the garden is fed with plants that are poisonous for the fungus, it signals this to the ants, which then will avoid fertilizing the fungus garden with any more of the poisonous plant.The Venus flytrap, during a 1- to 20-second sensitivity interval, counts two stimuli before snapping shut on its insect prey, a processing peak of 1 bit/s. Mass is 10-100 grams, so the flytrap's SQ is about +1. Plants generally take hours to respond to stimuli though, so vegetative SQs (Sentience Quotient) tend to cluster around -2.In theory even an organism with a hormonal system instead of a nervous system could be intelligent in some degree, but it would be an extremely slow brain, to say the least.And yet, at least higher plants are able to produce electrical signals, even if they do not use them in the same way animals do. František Baluška from the University of Bonn in Germany is one of the authorities on plant neurobiology.
en.wikipedia.org/wiki/Hormonal_sentience
Plants do not have a brain or neuronal network, but reactions within signalling pathways may provide a biochemical basis for learning and memory in addition to computation and problem solving.Controversially, the brain is used as a metaphor in plant intelligence to provide an integrated view of signalling.Plants respond to environmental stimuli by movement and changes in morphology. They communicate while actively competing for resources. In addition, plants accurately compute their circumstances, use sophisticated cost–benefit analysis and take tightly controlled actions to mitigate and control diverse environmental stressors. Plants are also capable of discriminating positive and negative experiences and of "learning" (registering memories) from their past experiences. Plants use this information to update their behaviour in order to survive present and future challenges of their environment.Plant physiology studies the role of signalling, communication, and behaviour to integrate data obtained at the genetic, molecular, biochemical, and cellular levels with the physiology, development, and behaviour of individual organisms, plant ecosystems, and evolution. The neurobiological view sees plants as information-processing organisms with rather complex processes of communication occurring throughout the individual plant organism. It studies how environmental information is gathered, processed, integrated and shared (sensory plant biology) to enable these adaptive and coordinated responses (plant behaviour); and how sensory perceptions and behavioural events are 'remembered' in order to allow predictions of future activities upon the basis of past experiences. Plants, it is claimed by some plant physiologists, are as sophisticated in behaviour as animals but this sophistication has been masked by the time scales of plants' response to stimuli, many orders of magnitude slower than animals'.It has been argued that although plants are capable of adaptation, it should not be called intelligence, as plant neurobiologists are relying primarily on metaphors and analogies to argue that complex responses in plants can only be produced by intelligence.[32]"A bacterium can monitor its environment and instigate developmental processes appropriate to the prevailing circumstances, but is that intelligence? Such simple adaptation behaviour might be bacterial intelligence but is clearly not animal intelligence." However, plant intelligence fits a definition of intelligence proposed by David Stenhouse in a book about evolution and animal intelligence where he described it as "adaptively variable behaviour during the lifetime of the individual".Critics of the concept have also argued that a plant cannot have goals once it is past the development stage of plantlet because, as a modular organism, each module seeks its own survival goals and the resultant whole organism behavior is not centrally controlled.[33] This view, however, necessarily accommodates the possibility that a tree is a collection of individually intelligent modules cooperating with, competing with and influencing each other, thus determining organism level behavior from the base up. The development into a larger organism whose modules must deal with different environmental conditions and challenges is not universal across plant species either, as smaller organisms might be subject to the same conditions across their bodies, at least, when the below and above ground parts are considered separately. Moreover, the claim that central control of development is completely absent from plants is readily falsified by apical dominance.Charles Darwin studied the movement of plants and in 1880 published a book The Power of Movement in Plants. In the book he concludes:It is hardly an exaggeration to say that the tip of the radicle thus endowed [..] acts like the brain of one of the lower animals; the brain being situated within the anterior end of the body, receiving impressions from the sense-organs, and directing the several movements.In philosophy, there are few studies of the implications of plant perception. Michael Marder put forth a phenomenology of plant life based on the physiology of plant perception.Paco Calvo Garzon offers a philosophical take on plant perception based on the cognitive sciences and the computational modeling of consciousness.Comparison to neurobiology:.A plant's sensory and response system has been compared to the neurobiological processes of animals. Plant neurobiology, an unfamiliar misnomer, concerns mostly the sensory adaptive behaviour of plants and plant electrophysiology. Indian scientist J. C. Bose is credited as the first person to research and talk about neurobiology of plants. Many plant scientists and neuroscientists, however, view this as inaccurate, because plants do not have neurons.The ideas behind plant neurobiology were criticised in a 2007 article published in Trends in Plant Science by Amedeo Alpi and other scientists, including such eminent plant biologists as Gerd Jürgens, Ben Scheres, and Chris Sommerville. The breadth of fields of plant science represented by these researchers reflects the fact that the vast majority of the plant science research community reject plant neurobiology. Their main arguments are that:"Plant neurobiology does not add to our understanding of plant physiology, plant cell biology or signaling".
"There is no evidence for structures such as neurons, synapses or a brain in plants".The common occurrence of plasmodesmata in plants which "poses a problem for signaling from an electrophysiological point of view" since extensive electrical coupling would preclude the need for any cell-to-cell transport of a ‘neurotransmitter-like’ compounds.The authors call for an end to "superficial analogies and questionable extrapolations" if the concept of "plant neurobiology" is to benefit the research community.There were several responses to the criticism clarifying that the term "plant neurobiology" is a metaphor and metaphors have proved useful on several previous occasions.[37][38] Plant ecophysiology describes this phenomenon.Parallels in other taxa. As described above in the case of a plant, similar mechanisms exist in a bacterial cell, a choanoflagellate, a fungal hypha, or a sponge, among the many other examples. All of these individual organisms of the respective taxa, despite being devoid of a brain or nervous system, are capable of sensing their immediate and momentary environment and responding accordingly. In the case of single-celled life, the sensory pathways are even more primitive in the sense that they take place on the surface of a single cell, as opposed to a network of many cells.
en.wikipedia.org/wiki/Plant_perception_(physiology)
Recent surprising similarities between plant cells and neuronsPlant cells and neurons share several similarities, including non-centrosomal microtubules, motile post-Golgi organelles, separated both spatially/structurally and functionally from the Golgi apparatus and involved in vesicular endocytic recycling, as well as cell-cell adhesion domains based on the actin/myosin cytoskeleton which serve for cell-cell communication. Tip-growing plant cells such as root hairs and pollen tubes also resemble neurons extending their axons. Recently, surprising discoveries have been made with respect to the molecular basis of neurodegenerative disorders known as Hereditary Spastic Paraplegias and tip-growth of root hairs. All these advances are briefly discussed in the context of other similarities between plant cells and neurons.There are very prominent similarities between tip-growing plant cells and the extending axons of neurons. However, recent advances reveal that these visible similarities stretch beyond the tip-growing plant cells and include plant tissue cells generating action potentials3 and accomplishing vesicle trafficking and recycling, typically at actin/myosin enriched cell-cell adhesion domains resembling neuronal synapses. Moreover, plant cells and neurons are similar from the cellular perspective, when most of their microtubules and Golgi apparatus organelles are not associated with the perinuclear centrosomes.In plant cells, Golgi stacks and Trans-Golgi Networks (TGNs) are motile organelles extending through the whole plant cells. Similarly in neurons centrosome-independent cortical microtubules are abundant in axons. They transport, among other cargo, so-called Golgi Outposts—which correspond to the TGNs of plant cells toward neuronal synapses. In both plant cells and neurons, TGNs act as independent organelles separated both spatially/structurally and functionally from the Golgi apparatus.Intriguingly, similarly as in neurons, also the TGN of plant cells is the inherent part of the endosomal/vesicular recycling pathways, supporting the dynamic and communicative nature of plant synapses.Plant action potentials (electric spikes) run in an axial direction, along the longitudinal axis of any plant organ, and the highest spike activity was scored in the transition zone of the root apex in maize.Hereditary spastic paraplegia (HSP) represents a heterogeneous group of genetic neurodegenerative disorders affecting the longest neurons of the human body, extending from the brain along the spinal cord /down to the legs.21 In the HSP disorders, axons of these long neurons degenerate causing problems in controlling leg muscles. One of the major genes in which mutation results in the HSP is Atlastin. Recent study has reported that Atlastin is homologous to the RHD3 protein of Arabidopsis.RHD3 protein is essential for proper growth and development of root hairs in Arabidopsis.Moreover, RHD3 is also important for the proper arrangement of root cell files which underlies the direction of root growth.In order to maintain their ordered cell files, root apex cross-walls (plant root synapses) perform active vesicle recycling. Both Arabidopsis RHD3 and Drosophila Atlastin are important for shaping tubular ER networks.RHD3 is also known to be required for the proper arrangement of the actin cytoskeleton and cell wall maintenance via vesicle trafficking.Moreover, similarly as Atlastin in neurons,RHD3 is important for the GA morphogenesis in plant cells too Importantly, both RHD3 and Atlastin are implicated in membrane tubulation and vesiculation whereas rhd3 mutant line emerges to be less active in endocytic internalization of FM endocytic tracer.Drosophila Atlastin regulates the stability of muscle microtubules and is required for both the axonal maintenance and synapse development. All this suggest that Arabidopsis emerges as an attractive and useful model object for investigations of mechanisms underlying HSP disorders in humans.Glutamate is one of the best understood and the most widespread excitatory .neurotransmitter which is perceived via glutamate receptors at brain synapses in animals and humans. These neuronal receptors have, in fact, deep evolutionary origin in prokaryotic bacteria, and are present also in plants., Importantly, the plant glutamate receptors have all the features of neuronal ones, and glutamate induces plant action potentials., All this strongly suggest that glutamate serves in neurotransmitter-like cell-cell communication in plants too. Interestingly in this respect, especially the root apices are target of the neuronal-like activity of glutamate in plants, with effects on cell development, root growth, morphogenesis, and behavior. The transition zone cells, localized between the apical meristem and basal cell elongation zone, respond to glutamate with rapid depolarization of the plasma membrane and this response is blocked by a specific antagonist of ionotropic glutamate receptors, 2-amino-5-phosphonopentanoate.Cells of the transition zone, also known as the distal elongation zone or the basal meristem, are crucial for root primordia priming,and exogenous glutamate is known to decrease primary root growth and increase lateral root proliferation.Beta-N-methylamino-L-alanine (BMAA) is a neurotoxic amino acid, derived from cycads, which is well-known to act as agonists and antagonists of mammalian glutamate receptors. BMAA inhibits root growth, cotyledon opening, and it stimulates elongation of light-grown hypocotyls in Arabidopsis.BMAA affects growth of Arabidopsis organs at very low concentrations, and these BMAA-induced effects are reversed by the addition of glutamate.This is consistent with a scenario wherein BMAA acts to block plant-specific glutamate receptors.Similarly to glutamate, aluminium also induces very rapid plasma membrane depolarization specifically in cells of the root apex transition zone. Moreover, glutamate and aluminium both induce rapid and strong calcium spikes with unique signatures in cells of the transition zone.These root cells represent the primary target for the aluminium toxicity in plants, whereas aluminium is not toxic to root cells which have already entered the rapid elongation region.Similarly, although aluminium is not so toxic in most plant cells, neuronal-like tip-growing root hairs and pollen tubes1,2 are sensitive to aluminium similarly as are the transition zone cells. In these latter cells, aluminium is specifically internalized via endocytosis. Internalized endocytic aluminium interferes with vesicle trafficking/recycling and endocytosis, inhibiting the PIN2-driven basipetal auxin transport in the transition zone of root apices.Aluminium targets specifically the auxinsecreting plant synapses and affects the polar auxin-transport-based root cell patterning. Moreover, aluminium affects also nitric oxide (NO) production which is highest in cells of the the distal portion of the transition zone. Importantly, the rapidly elongating root cells are not sensitive towards aluminium and neither is there internalization of aluminium into rapidly elongating root cells. In support of the endocytosis of aluminium being the primary process linked to the aluminium toxicity in root cells, endocytosis of aluminium and its toxicity is lowered in the Arabidopsis mutant over-expressing the DnaJ domain protein auxillin which regulates the clathrin-based endocytosis.In animals and humans, neuronal cells are extremely sensitive towards aluminium which is internalized via endocytosis specifically in these cells. Aluminium was found to be enriched in lysosomes, similarly like Alzheimer’s amyloid β-peptide plaque depositions. These are also internalized from cell surface and aluminium was reported to inhibit their degradation.In conclusion, in both transition zone root cells and neurons, endocytosis of aluminium emerges as relevant to its high biotoxicity. In plants, the aluminium toxicity is the most important limiting factor for crop production in acid soil environments worldwide. Further studies on these cells might give us crucial clues not only for plant biology and agriculture but also for our still limited understanding of the Alzheimer disease. In line with the original proposal of Charles and Francis Darwin, root apices of plants represent neuronal/anterior pole of plant bodies
This herring gull was chattering and pecking it's reflection on the window of this truck. I think he was trying to communicate with it's reflection.
HANNA BARBERA STUDIOS
GODZILLA Original Animation TELEVISION SERIES 1978
Type: AWESOME Original Production CONCEPT DRAWING of GODZOOKY from the 1970s HANNA BARBERA Animated TELEVISION SERIES
Drawing by Animator, TONY SGROI
This is one of the original Hand Painted Production CONCEPT DRAWINGS, used to design the charactersthat appeared under the camera during
the production filming of the original Television series.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage CONCEPT DRAWING
Condition: EXCELLENT
Featuring GODZOOKY
Date 1978
NOTES:
Godzilla is a 30-minute animated series co-produced between Hanna-Barbera Productions and Toho in 1978 and aired on NBC in the US and TV Tokyo in Japan.
In Japan the series was called "Godzilla: Voyage Chronicles" (ゴジラ：航海クロニクル). The series is an animated adaptation of the Japanese Godzilla films produced by Toho. The series continued to air until 1981, for a time airing in its own half-hour timeslot until its cancellation.
The series follows the adventures of a team of scientists on the research vessel called the Calico, which is headed by Captain Carl Majors. The rest of the crew include Dr. Quinn Darien, a female scientist; Broch, her assistant and Carl's first mate; and her teenage nephew Pete. Also along for the ride is Godzooky, the nephew of Godzilla and Pete's best friend who has a light-hearted role in the show. Godzooky can fly using the small wings under his arms, though his uncle Godzilla is unable to fly. Whenever he tries to breathe fire, he just coughs up smoke and he never seems to have the ability to shoot laser beams from his eyes. He breathed fire once in the episode, The Beast of Storm Island. Pete & Godzooky's relationship is very similar to Pete & Elliot from the Walt Disney classic, Pete's Dragon. Godzooky is voiced by Don Messick.
The group often call upon Godzilla by using a special communicator when in peril, such as attacks by other giant monsters. If the communicator is not present, or lost, Godzooky uses a special "howl" to summon him. Godzilla's size in the animated series shifts radically, sometimes within a single episode or even one scene. For instance, Godzilla's claw can wrap around a large ship, and only minutes later the team of scientists fit rather neatly on Godzilla's palm. In addition, Godzilla's trademark atomic breath is altered so he breathes simple fire. He can also shoot laser beams from his eyes much like Superman's heat vision.
Hanna-Barbera were unable to use Godzilla's trademark roar so they cast Ted Cassidy to voice the character, similar to his role in the live-action series The Incredible Hulk. In Japan, Godzilla's trademark roar was added and replaced the Ted Cassidy sound effects that Hanna-Barbera used.
The basic formula of a scientific team and research vessel in league with Godzilla investigating strange phenomena was revived in another cartoon, Godzilla: The Series, which is the animated sequel to the 1998 American Godzilla film.
Each episode would include a brief exposition on a scientific instrument or phenomena, thus providing an educational segment for the show.
Godzilla originally aired in these following formats on NBC:
The Godzilla Power Hour (September 8, 1978 - October 28, 1978)
The Godzilla Super 90 (November 4, 1978 - September 1, 1979)
Godzilla (September 8, 1979 - October 13, 1979)
The Godzilla/Globetrotters Adventure Hour (October 20, 1979 - September 20, 1980)
The Godzilla/Dynomutt Hour (September 27, 1980 - November 15, 1980)
The Godzilla/Hong Kong Phooey Hour (November 22, 1980 - May 16, 1981)
Godzilla (May 23, 1981 - September 5, 1981)
The Godzilla Power Hour consisted of half-hour episodes of Godzilla and Jana of the Jungle (not to be confused with the similarly-named Marvel Comics character Jann of the Jungle). A total of 13 original episodes were produced in 1978, with the first eight airing as part of The Godzilla Power Hour. In November 1978, the show was expanded to 90 minutes with the addition of Jonny Quest reruns and retitled The Godzilla Super 90.
For the second season beginning in September 1979, the show was separated from its package programs and aired in its own half-hour timeslot as simply Godzilla. A month later, new episodes of Godzilla and The Super Globetrotters were packaged together as The Godzilla/Globetrotters Adventure Hour which ran until September 1980.
On September 27, 1980, after twenty-six half-hour episodes, the show went into reruns and Godzilla was once again teamed up with other Hanna-Barbera characters: The Godzilla/Dynomutt Hour ran until November 1980, followed by The Godzilla/Hong Kong Phooey Hour which ran until May 16, 1981. On May 23, the show returned to the half-hour format as Godzilla and the last regular showing aired on September 5, 1981. Throughout the 1980s until the late-1990s, the series rested in limbo (with the exception of a limited videocassette release of two episodes). Since 1996, it has been rebroadcast on TNT, Cartoon Network and Boomerang.
ANIMATOR TONY SGROI's CREDITS
The Real Adventures of Jonny Quest (TV series) (models - 1 episode)
– Cyberswitch (1996) (models)
Capitol Critters (TV series) (character designer - 13 episodes, 1992-1995) (key layout artist - 1 episode, 1995)
– Gimme Shelter (1995) (character designer)
– If Lovin' You Is Wrong, I Don't Wanna Be Rat (1995) (character designer)
– Into the Woods (1995) (character designer, key layout artist)
– The Bug House (1995) (character designer)
– The KiloWatts Riots (1995) (character designer)
See all 14 episodes »
1994 A Flintstones Christmas Carol (TV movie) (character designer)
1993 Jonny's Golden Quest (TV movie) (character designer)
1992 Tom & Jerry Kids Show (TV series) (character designer)
1991 The Pirates of Dark Water (TV series) (layout artist - 8 episodes)
– The Dark Dweller (1991) (layout artist)
– The Little Leviathan (1991) (layout artist)
– The Collection (1991) (layout artist)
– King Niddler (1991) (layout artist)
– Panacea (1991) (layout artist)
See all 8 episodes »
1990-1991 Timeless Tales from Hallmark (TV series) (character designer - 4 episodes)
– The Steadfast Tin Soldier (1991) (character designer)
– Rapunzel (1990) (character designer)
– Rumpelstiltzkin (1990) (character designer)
– The Elves and the Shoemaker (1990) (character designer)
1990 The Adventures of Don Coyote and Sancho Panda (TV series) (character designer - 1990)
1990 Bill & Ted's Excellent Adventures (TV series) (character designer - 13 episodes)
– A Grimm Story of an Overdue Book (1990) (character designer)
– A Job, a Job, My Kingdom for a Job (1990) (character designer)
– Never the Twain Shall Meet (1990) (character designer)
– When the Going Gets Tough Bill & Ted Are History (1990) (character designer)
– This Babe Ruth 'Babe' Is a Dude, Dude (1990) (character designer)
See all 13 episodes »
1990 Jetsons: The Movie (background layout artist, character designer)
1989 Smurfs (TV series) (character designer - 24 episodes)
– The Golden Rhino/Hearts 'N 'Smurfs (1989) (character designer)
– Wild Goes Cuckoo/Brainy's Beastly Boo-Boo (1989) (character designer)
– Bananas Over Hefty/Smurfs of the Round Table (1989) (character designer)
– Painter's Egg-Cellent Adventure/Small Minded Smurfs (1989) (character designer)
– Big Shot Smurfs/No Reflection on Vanity (1989) (character designer)
See all 24 episodes »
1989 Hägar the Horrible (TV short) (incidental character designer)
1988 The Completely Mental Misadventures of Ed Grimley (TV series) (character and prop designer - 13 episodes)
– The Irving Who Came to Dinner (1988) (character and prop designer)
– Eddy, We Hardly Knew Ye (1988) (character and prop designer)
– Eyewitness Ed (1988) (character and prop designer)
– Blowin' in the Wind (1988) (character and prop designer)
– Driver Ed (1988) (character and prop designer)
See all 13 episodes »
1988 Scooby-Doo and the Reluctant Werewolf (TV movie) (character designer)
1988 The Creation (video short) (layout artist)
1987 Sky Commanders (TV series) (character designer - 1987)
1986-1987 Pound Puppies (TV series) (character designer - 26 episodes)
– Cooler, Come Back (1987) (character designer)
– Peter Pup (1987) (character designer)
– Garbage Night: The Musical (1987) (character designer)
– Bright Lights, Bright Eyes/Dog and Caterpillar (1987) (character designer)
– Where's the Fire?/The Wonderful World of Whopper (1987) (character designer)
See all 26 episodes »
1987 Visionaries: Knights of the Magical Light (TV series) (artist - 13 episodes)
– Sorcery Squared (1987) (artist)
– Dawn of the Sun Imps (1987) (artist)
– Honor Among Thieves (1987) (artist)
– The Trail of Three Wizards (1987) (artist)
– Horn of Unicorn, Claw of Dragon (1987) (artist)
See all 13 episodes »
1987 Rock Odyssey (layout artist, layout supervisor)
1986-1987 Jonny Quest (TV series) (character designer - 13 episodes)
– Creeping Unknown (1987) (character designer)
– Temple of Gloom (1986) (character designer)
– Skulduggery (1986) (character designer)
– The Scourge of Skyborg (1986) (character designer)
– Warlord of the Sky (1986) (character designer)
See all 13 episodes »
1987 The Nativity (video short) (layout artist)
1986 Wildfire (TV series) (character designer)
1986 GoBots: War of the Rock Lords (character designer)
1986 David and Goliath (video short) (layout artist)
1986 Noah's Ark (video short) (layout artist)
1986 Moses (video short) (layout artist)
1986 Samson and Delilah (video short) (layout artist)
1986 Daniel and the Lion's Den (video) (layout artist)
1986 Joshua and the Battle of Jericho (video short) (layout artist)
1985 It's Punky Brewster (TV series) (layout artist)
1985-1986 Galtar and the Golden Lance (TV series) (character designer, 1985-1986) (key layout artist, 1985-1986)
Challenge of the GoBots (TV series) (character designer - 65 episodes, 1984-1985) (layout artist - 5 episodes, 1984)
– Quest for New Earth (1985) (character designer)
– Guardian Academy (1985) (character designer)
– The Secret of Halley's Comet (1985) (character designer)
– The GoBots That Time Forgot (1985) (character designer)
– Et Tu, Cy-Kill? (1985) (character designer)
See all 70 episodes »
1983-1985 The Chipmunks (TV series) (layout artist - 36 episodes)
– Mind Over Matterhorn/Alvin's Oldest Fan (1985) (layout artist)
– The Prize Isn't Right/The Gold of My Dreams (1985) (layout artist)
– The Chipette Story (1985) (layout artist)
– A Little Worm in the Big Apple/Staying Afloat (1985) (layout artist)
– Soccer to Me/Every Chipmunk Tells a Story (1985) (layout artist)
See all 36 episodes »
1985 Star Fairies (TV movie) (layout artist, layout supervisor)
1985 A Chipmunk Reunion (TV movie) (layout artist)
1984 Turbo Teen (TV series) (layout artist)
1984 Dragon's Lair (TV series) (layout artist)
1984 Cabbage Patch Kids: First Christmas (TV movie) (layout artist)
1984 ABC Weekend Specials (TV series) (layout artist - 1 episode)
– Bad Cat (1984) (layout artist)
1984 I Love the Chipmunks Valentine Special (TV movie) (layout artist)
1984 Rose Petal Place (TV short) (layout artist)
1983 Mister T (TV series) (layout artist - 13 episodes)
– Riddle of the Runaway Wheels (1983) (layout artist)
– Fade Out at 50,000 Feet (1983) (layout artist)
– Case of the Casino Caper (1983) (layout artist)
– Mystery of the Silver Swan (1983) (layout artist)
– Secret of the Spectral Sister (1983) (layout artist)
See all 13 episodes »
1983 Saturday Supercade (TV series) (layout artist - 1 episode)
– Donkey Kong: Gorilla My Dreams (1983) (layout artist)
1982 Heidi's Song (key layout artist)
1982 Stanley, the Ugly Duckling (TV movie) (character designer, layout artist)
1979 The Godzilla Show (TV series) (layout artist)
1978 Challenge of the SuperFriends (TV series) (layout artist - 16 episodes)
– The History of Doom (1978) (layout artist)
– SuperFriends: Rest in Peace (1978) (layout artist)
– Doomsday (1978) (layout artist)
– Fairy Tale of Doom (1978) (layout artist)
– The Final Challenge (1978) (layout artist)
See all 16 episodes »
1977-1979 Scooby's Laff-A Lympics (TV series) (layout artist)
1977 The All-New Super Friends Hour (TV series) (layout artist - 7 episodes)
– The Marsh Monster/Runaways/Will the World Collide?/Time Rescue (1977) (layout artist)
– Man-Beasts of XRA/Prejudice/Tiny World of Terror/Tibetan Raiders (1977) (layout artist)
– The Fifty Foot Woman/Cheating/Exploration Earth/Attack of the Killer Bees (1977) (layout artist)
– Invisible Menace/Initiation/Coming of the Arthropods/River of Doom (1977) (layout artist)
– The Enforcer/Shark/Planet of the Neanderthals/Flood of Diamonds (1977) (layout artist)
See all 7 episodes »
1976 The Scooby-Doo/Dynomutt Hour (TV series) (layout artist - 16 episodes)
– The Spirits of '76/The Prophet Profits (1976) (layout artist)
– The Ghost of the Bad Humor Man/The Lighter Than Air Raid (1976) (layout artist)
– The Ghost That Sacked the Quarterback/The Injustice League of America (1976) (layout artist)
– Scooby Doo, Where's the Crew?/The Blue Falcon vs. the Red Vulture (1976) (layout artist)
– There's a Demon Shark in the Foggy Dark/The Awful Ordeal with the Head of Steel (1976) (layout artist)
See all 16 episodes »
1976 Jabberjaw (TV series) (layout artist - 16 episodes)
– There's No Heel Like El Eel (1976) (layout artist)
– The Piranha Plot (1976) (layout artist)
– The Fast-Paced Chase Race (1976) (layout artist)
– Malice in Aqualand (1976) (layout artist)
– The Bermuda Triangle Tangle (1976) (layout artist)
See all 16 episodes »
1974 Devlin (TV series) (layout artist)
1973 Emergency +4 (TV series) (layout artist - 11 episodes)
– Cry Wolf (1973) (layout artist)
– Winter Nightmare (1973) (layout artist)
– Oil's Well (1973) (layout artist)
– Brushfire (1973) (layout artist)
– Tsumi (1973) (layout artist)
See all 11 episodes »
1972 The Amazing Chan and the Chan Clan (TV series) (layout artist - 4 episodes)
– The Phantom Sea Thief (1972) (layout artist)
– Will the Real Charlie Chan Please Stand Up? (1972) (layout artist)
– To Catch a Pitcher (1972) (layout artist)
– The Crown Jewel Caper (1972) (layout artist)
1970 Harlem Globe Trotters (TV series) (layout artist)
1969 Hot Wheels (TV series) (layout artist - 16 episodes)
– Drag Strip/Slicker-Slicks (1969) (layout artist)
– Hitchhike to Danger/The Doc Warren Trophy Race (1969) (layout artist)
– Race to Space Monkey A-Okay/Big Heart, Little Hearts (1969) (layout artist)
– Danger Around the Clock/Hotter Than the Devils (1969) (layout artist)
– It Takes a Team/Like Father, Like Son (1969) (layout artist)
See all 16 episodes »
1968-1969 The New Adventures of Huckleberry Finn (TV series) (character designer - 3 episodes)
– Mission of Captain Mordecai (1969) (character designer)
– Menace in the Ice (1968) (character designer)
– The Magic Shillelah (1968) (character designer)
1968-1970 The Banana Splits Adventure Hour (TV series) (layout artist)
1967 The Herculoids (TV series) (layout artist)
1966 Space Ghost (TV series) (layout artist)
1965 The Secret Squirrel Show (TV series) (layout artist)
1964-1965 Jonny Quest (TV series) (layout artist - 6 episodes)
– Monster in the Monastery (1965) (layout artist)
– The Invisible Monster (1965) (layout artist)
– Dragons of Ashida (1964) (layout artist)
– The Robot Spy (1964) (layout artist)
– Calcutta Adventure (1964) (layout artist)
See all 6 episodes »
1962-1963 The Jetsons (TV series) (layout artist - 2 episodes)
– The Little Man (1963) (layout artist)
– Rosey the Robot (1962) (layout artist)
1962 Matty's Funnies with Beany and Cecil (TV series) (l
Above is a 1950's 6 meter (50mhz) AM rig also know (affectionately) as the 'Gooney Box'.
I spent too much time this morning trying to find info on my old 2 meter version of this.
2 meter AM was the only VHF mode that I was licensed for back in 72. I was just curious on it's specs but believe it put out 7 watts. I know a matching 100 watt 6 meter amp existed and on the web today I found a photo of a bright Yellow carrying case for these old curios.
Sailor First Class Brenden Boersma, a Naval Communicator onboard HMCS HALIFAX fires a flare off the port bridge wing as part of a night gun firing exercise during Operation REASSURANCE on 26 May 2022.
Please credit: Pte Connor Bennett, Canadian Armed Forces photo
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Le matelot de 1re classe Brenden Boersma, communicateur naval à bord du NCSM HALIFAX, lance une fusée éclairante depuis l’aileron de passerelle de bâbord lors d’un exercice de tir au fusil de nuit au cours de l’opération REASSURANCE, le 26 mai 2022.
Photo : Sdt Connor Bennett, Forces armées canadiennes
Fitor: “You have nothing to fear for the moment. Zod and Scales have grown in ferocity with our isolation, but they will not harm you. Not without my authority.”
For the moment, Soundwave started to relax. Slightly. The beasts behind him moved closer.
Fitor: “You have been offworld of Cybertron for a long time, Soundwave. Tell me, what brings you back?”
Housed within Soundwave's chest and forearms, Steelwing whispered to the communicator's audios.
Steelwing: “Not a word, Soundwave. They are foreigners. They are not of Cybertron.”
Soundwave accepted Steelwing's redundant information, curious of the derelict's bias.
Soundwave: “You served the Cobra Commander, Fitor. You have survived the terraforming under the Will of Megatron. It would appear that yours is the tale that is worth telling.”
Steelwing: “Yeah, that's it. Nice one big fella.”
Fitor smirked in smug defiance.
Fitor: “You will find that times have changed, Soundwave. Renegades are no longer slaves to the Decepticon Empire. It is I that will be asking the questions and to continue your ongoing survival, you will offer the courtesy of an accurate response. What business do you have on Cybertron?”
Soundwave felt an anxious tingle at the back of his neck. He knew that the horrible jaws of Scales and Zod were close. He was willing to bet that Fitor was not fully aware of the array of internal scans that Soundwave was now possessed, including his brainscan. While the communicator could not chance the reveal of his internally stored cranial-mounted data-dish, he could still run the same scan with the dish kept hidden within his head. It would just take longer. Soundwave needed time and decided to buy it with deceit.
Soundwave: “I have been sent to Cybertron to gather information for the Earthbound Megatron.”
To his horror, Steelwing finally put together all of the information that had recently been revealed.
Steelwing: “No, wait. You're a Decepticon?”
Soundwave held Steelwing tighter to his chest, stifling the derelict's surprise. He did not yet know if he afford to reveal his companion and knew that Steelwing's alarm could be dealt with later. In front of the Decepticon, Fitor considered Soundwave's response. A pair of Renegade Gobots that Soundwave recognized as Cop-tur and Loco appeared from the darkness behind Fitor. Cronies, nothing more.
Loco: “A intelligence mission from Earth, ese? That doesn't make sense to me, homes.”
Cop-tur: “Maybe a little pain will help get more information, heh heh heh.”
Soundwave analyzed the para-linguistics of the group. The Renegades seemed extremely confident. This was curious. The Renegades that Soundwave remembered would have cowered in fear from the large Decepticon in the past. He needed more time to extract the information from the brainscan.
Fitor: “We will let Soundwave speak without your added motivation, Cop-tur. Soundwave, as I said, times have changed. We Renegades have come long way since we last crossed paths.”
Fitor: “The last space bridge was destroyed years ago. How did you even get to Cybertron?”
Soundwave paused, feeling Zod and Scales growling behind him. He needed more time.
Soundwave: “Patience.”
Fitor laughed.
Fitor: “I like your sense of humour, Soundwave. I am sure much patience was required in the absence of trans-warp technology. An impossible amount of patience. But perhaps I am not being clear enough. My Renegades and I have not survived the tribulations that we have faced on Cybertron without significant displays of aggression. But you are a civilized creature Soundwave. You are refined. I am sure that acts of barbarity will not be required to ensure your cooperation.”
Soundwave took note of the fact that Fitor had referred to the group as 'his' Renegades as Loco stepped to Fitor's side and pointed at Soundwave's cradled arms.
Loco: “I think this vato is trying to hide something from us homes. He's got something in his arms ese.”
Soundwave's scan was almost complete. He only needed a few more astroseconds. He gambled that the advantage gained from the scan would be worth the risk involved in revealing the derelict. He opened his arms and Steelwing shot up, pointing an accusatory finger at the Renegades.
Steelwing: “Stinking Gobots! Lowly stinking Gobots! I'd recognize that scent anywhere!”
Soundwave was taken back by Steelwing's unexpected aggression but the words of derelict failed to move Fitor in any way.
Fitor: “Making company with derelicts now, Soundwave?”
Steelwing: “You will address me when I'm speaking to you, you wretched thing!”
Soundwave's scan was complete. He looked down at Steelwing and found him shaking with rage.
Fitor: “Silence your pet.”
Steelwing: “Pet? I'll show you my pet!”
Día de los Muertos: Despedida, National Hispanic Cultural Center -, Albuquerque, New Mexico November 3, 2017
These gregarious animals are often seen in groups, and several families may live together in a large community. Squirrel-sized meerkats are mongooses famed for their upright posture. They often stand on their rear legs and gaze alertly over the southern African plains where they live. Mothers can even nurse their young while standing.
Meerkats (also called suricates) work together in numbers. A few will typically serve as lookouts, watching the skies for birds of prey, such as hawks and eagles, that can snatch them from the ground. A sharp, shrill call is the signal for all to take cover. While a few individuals guard the group, the rest busy themselves foraging for the foods that make up their varied diet. Meerkats will eat insects, lizards, birds, and fruit. When hunting small game, they work together and communicate with purring sounds. Meerkats are good hunters and are sometimes tamed for use as rodent-catchers.
Meerkat groups utilize several different burrows and move from one to another. Each burrow is an extensive tunnel-and-room system that remains cool even under the broiling African sun. Females give birth to two to four young each year in one of the group's burrows. Fathers and siblings help to raise meerkat young, teaching them to play and forage and alerting them to the ever present danger from above. Young meerkats are so fearful of predatory birds that even airplanes will send them diving for cover.
A clone captain communicating with command while his squad begins to prepare the perimeter.
This build started out as an empty frame to give myself an “empty canvas”. I like that approach a lot and I think it’s fun to see what you can squeeze into a small space to tell a story. Then I built the terrain and experimented for a few days on where to go from there. I decided on the water way eventually and it all snowballed from there.
I hope you enjoy feel free to leave any feedback.
From June 1993: while going through hours of recorded rail radio traffic, I found this exchange between the CSX SM Dispatcher who was controlling the former B&O in the Middletown Ohio area. This dispatcher had a reputation for no nonsense. D744 (a symbol today used for a Lima south local) apparently didn't have a working engine radio and had to have another train relay all of the messages.
Star Trek: The Motion Picture (Paramount, 1979).
putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature
Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.
In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.
Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.
On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."
In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.
Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.
Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.
Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.
In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.
In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.
Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.
Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.
The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.
Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.
Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.
The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.
With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.
The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.
Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.
Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.
Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.
An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.
Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.
Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.
Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.
In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.
Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."
"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.
Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.
Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.
Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.
Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.
Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.
Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.
He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.
Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.
Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"
Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.
Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.
McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.
Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."
Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.
Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.
The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.
Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.
The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.
Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.
"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.
Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.
"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.
Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.
Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.
Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.
youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme
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When I was her age the phone was connected to the wall and having something like an iphone was from the tv series Startrek and their ones didn't have apps, facebook, tweets,google earth etc.
Beam me up Scotty.
Minolta Autocord 1956
Taken at f3.5 on tripod using self timer
Kodak Portra 400
Three and a half year old female Giant Panda, Bao Bao, at the Smithsonian National Zoo, in Washington DC
my favorite photos > www.flickr.com/photos/roderickma/sets/72157623272274082/
my photo sets > www.flickr.com/photos/roderickma/sets
BEYOND THE VEIL
SOLOMON’S TEMPLE and the ‘ARK of the COVENANT’.
A metaphor for communicating with the SPIRIT WORLD.
The Devil's Contract is an ancient belief that mortals can sell their soul to The Devil (or a powerful demon) in exchange for vast wealth and absolute power at the cost of being damned to spend the rest of eternity in Hell (or a similar dimension) : the belief in these Contracts allowed the infamous Witch-Trials that massacred many innocent people and has since entered popular culture as one of the most well-known Satanic tropes in media. It is perhaps one of the oldest and most recurring theme in many morality tales, theological discussions and fantasy of many genres - dating back at least as far as organized religion the idea of signing away one's eternal soul to Satan or similiar evil has become a lasting image of malice within the human mind.
The Devil's Contract can take many forms but has become most associated with a literal contract written by the infernal power in question (be it Satan, Beelzebub, Mephistopeles or otherwise) detailing the terms of the agreement and often demanding the mortal's soul after their death or (alternatively) after a set amount of time.
Once a living mortal agreed to this contract, a demonic pact was formed via many varied means, the most common in the public imagination was the willing signing of one's name on the contract - often in one's own blood.
Other ways of sealing a demonic pact could involve sacrifice (human or animal), consentual sex with the demonic spirit or recieving a mark from the Devil or a similar evil force signifying ownership (in witch-hunts it was common practice to exploit belief in the Devil's mark to accuse people with birthmarks or other skin defects of being witches and warlocks, despite it having nothing to do with the supernatural).
A deal with the devil (also called a Faustian bargain or Mephistophelian bargain) is a cultural motif in European folklore, best exemplified by the legend of Faust and the figure of Mephistopheles, as well as being elemental to many Christian traditions. According to traditional Christian belief about witchcraft, the pact is between a person and Satan or a lesser demon. The person offers their soul in exchange for diabolical favours. Those favours vary by the tale, but tend to include youth, knowledge, wealth, fame, or power.
Additional info:
In Abrahamic Religions, NOAH features as the tenth and last of the pre-Flood patriARCHs.
The story is all about the signs of the Zodiac - the Royal ARCH or ARK….
‘NOAH’S ARK of the COVENANT’ PDF Document Download Link:
pubastrology.files.wordpress.com/2021/10/noahs-ark-of-the...
_https://pubastrology.files.wordpress.com/2021/10/noahs-ark-of-the-covenant-revision-6.pdf
The third eye (also called the mind's eye or inner eye) is a mystical and esoteric concept of a speculative invisible eye, usually depicted as located on the forehead, which provides perception beyond ordinary sight. n Dharmic spiritual traditions from India, the third eye refers to the ajna (or brow) chakra. The third eye refers to the gate that leads to inner realms and spaces of higher consciousness. In New Age spirituality, the third eye often symbolizes a state of enlightenment or the evocation of mental images having deeply personal spiritual or psychological significance. The third eye is often associated with religious visions, clairvoyance, the ability to observe chakras and auras. precognition, and out-of-body experiences. People who are claimed to have the capacity to utilize their third eyes are sometimes known as seers. In Hinduism and Buddhism, the third eye is said to be located around the middle of the forehead, slightly above the junction of the eyebrows, representing the enlightenment one achieves through meditation. Hindus also place a "tilaka" between the eyebrows as a representation of the third eye, which is also seen on expressions of Shiva. Buddhists regard the third eye as the "eye of consciousness," representing the vantage point from which enlightenment beyond one's physical sight is achieved.In Taoism and many traditional Chinese religious sects such as Chan (called Zen in Japanese), "third eye training" involves focusing attention on the point between the eyebrows with the eyes closed, and while the body is in various qigong postures. The goal of this training is to allow students to tune into the correct "vibration" of the universe and gain a solid foundation on which to reach more advanced meditation levels. Taoism teaches that the third eye, also called the mind's eye, is situated between the two physical eyes, and expands up to the middle of the forehead when opened. Taoism claims that the third eye is one of the main energy centers of the body located at the sixth Chakra, forming a part of the main meridian, the line separating left and right hemispheres of the body. In Taoist alchemical traditions, the third eye is the frontal part of the "Upper Dan Tien" (upper cinnabar field) and is given the evocative name "muddy pellet". According to the Christian teaching of Father Richard Rohr, the concept of the third eye is a metaphor for non-dualistic thinking; the way the mystics see. In Rohr's concept, mystics employ the first eye (sensory input such as sight) and the second eye (the eye of reason, meditation, and reflection), "but they know not to confuse knowledge with depth, or mere correct information with the transformation of consciousness itself. The mystical gaze builds upon the first two eyes—and yet goes further." Rohr refers to this level of awareness as "having the mind of Christ". Adherents of theosophist H.P. Blavatsky have suggested that the third eye is in fact the partially dormant pineal gland, which resides between the two hemispheres of the brain. Reptiles and amphibians sense light via a third parietal eye—a structure associated with the pineal gland—which serves to regulate their circadian rhythms, and for navigation, as it can sense the polarization of light. C.W. Leadbeater claimed that by extending an "etheric tube" from the third eye, it is possible to develop microscopic and telescopic vision. It has been asserted by Stephen Phillips that the third eye's microscopic vision is capable of observing objects as small as quarks. According to this belief, humans had in far ancient times an actual third eye in the back of the head with a physical and spiritual function. Over time, as humans evolved, this eye atrophied and sunk into what today is known as the pineal gland. Dr. Rick Strassman has hypothesized that the pineal gland, which maintains light sensitivity, is responsible for the production and release of DMT (dimethyltryptamine), an entheogen which he believes possibly could be excreted in large quantities at the moments of birth and death.The use of the phrase mind's eye does not imply that there is a single or unitary place in the mind or brain where visual consciousness occurs. Philosophers such as Daniel Dennett have critiqued this view.
en.wikipedia.org/wiki/Third_eye
Ajna (Sanskrit: आज्ञा, IAST: Ājñā, IPA: [aːɟɲaː]), guru chakra or third-eye chakra, is the sixth primary chakra in the body according to Hindu tradition. It is supposedly a part of the brain which can be made more powerful through meditation, yoga and other spiritual practices just as a muscle is. In Hindu tradition, it signifies the subconscious mind, the direct link to the brahman. While a person's two eyes see the physical world, the third eye is believed to reveal insights about the future. The third eye chakra is said to connect people to their intuition, give them the ability to communicate with the world, or help them receive messages from the past and the future. The Ajna chakra is located in the center of the forehead between the eyebrows. It is not a part of the physical body but considered to be the part of Pranic system. The location makes it a sacred spot where Hindus apply a vermilion bindi to show reverence for it. The Ajna chakra is correspondent with the pineal gland. Ajna is described as a transparent lotus flower with two white petals, said to represent the nadis (psychic channels) Ida and Pingala, which meet the central Sushumna nadi before rising to the crown chakra, Sahasrara. The letter "ham" (हं) is written in white on the left petal and represents Shiva, while the letter "ksham" written in white on the right petal and represents Shakti. Inside the pericarp of the flower is the hakini Shakti. It is depicted with a white moon, six faces, and six arms holding a book, a skull, a drum, and a rosary, while making the gestures associated with granting boons and dispelling fears. The downward-pointing triangle above her contains a white lingam. This triangle, along with the lotus flower, can represent wisdom. In some systems the deity Ardhanarishvara, a hermaphrodite form Shiva-Shakti, resides within the lingam and symbolizes the duality of subject and object. This sixth chakra of our energy body is also connect with sixth layer of aura which known as celestial layer of aura science. The seed syllable of Ajna is Ksham and the more well known, Om, or "Pranava Om", which is believed to be the basic sound of the world and contains all other sounds. It is considered the supreme sound of the universe. The Bīja mantras are monosyllabic seed sounds which, when they are spoken aloud, activate the energy of the chakras in order to purify and balance the mind and body. The energy resonates in the chakra associated with the mantra, helping the speaker become aware of their body's needs.Ajna translates as "authority" or "command" (or "perceive") and is considered the eye of intuition and intellect. Its associated sense organ is the brain. When something is seen in the mind's eye, or in a dream, it is being seen by Ajna. It is a bridge that links gurus with disciples while allowing mind communication between two people. Meditation upon Ajna supposedly grants siddhi, or occult powers, to quickly enter another body at will and to become omniscient. The beholder of these powers realizes unity with Brahman, who has the ability to create, preserve, and destroy the three worlds. As Hindus believe that spiritual energy from the environment enters their body through the Ajna chakra, they take great care to protect it with spiritually positive and protecting forces. The various religious marks on the foreheads of Hindus, for example bindis, are the spiritual gifts of their respective forms of the Hindu gods.
Directly above Ajna is a minor chakra known as Manas. This chakra is responsible for sending sense perceptions to the higher chakras. Manas has six petals, one for each of the five senses and one for sleep. These petals are normally white but take on the color of the senses when activated by them, and are black during sleep. It is associated with the parietal eye of a juvenile bullfrog.
A mental image or mental picture is an experience that, on most occasions, significantly resembles the experience of perceiving some object, event, or scene, but occurs when the relevant object, event, or scene is not actually present to the senses. There are sometimes episodes, particularly on falling asleep (hypnagogic imagery) and waking up (hypnopompic), when the mental imagery, being of a rapid, phantasmagoric and involuntary character, defies perception, presenting a kaleidoscopic field, in which no distinct object can be discerned. Mental imagery can sometimes produce the same effects as would be produced by the behavior or experience imagined.
The nature of these experiences, what makes them possible, and their function (if any) have long been subjects of research and controversy[further explanation needed] in philosophy, psychology, cognitive science, and, more recently, neuroscience. As contemporary researchers[Like whom?] use the expression, mental images or imagery can comprise information from any source of sensory input; one may experience auditory images ,olfactory images, and so forth. However, the majority of philosophical and scientific investigations of the topic focus upon visual mental imagery. It has sometimes been assumed[by whom?] that, like humans, some types of animals are capable of experiencing mental images. Due to the fundamentally introspective nature of the phenomenon, there is little to no evidence either for or against this view. Philosophers such as George Berkeley and David Hume, and early experimental psychologists such as Wilhelm Wundt and William James, understood ideas in general to be mental images. Today it is very widely believed[by whom?] that much imagery functions as mental representations (or mental models), playing an important role in memory and thinking. William Brant (2013, p. 12) traces the scientific use of the phrase "mental images" back to John Tyndall's 1870 speech called the "Scientific Use of the Imagination". Some have gone so far as to suggest that images are best understood to be, by definition, a form of inner, mental or neural representation; in the case of hypnagogic and hypnapompic imagery, it is not representational at all. Others reject the view that the image experience may be identical with (or directly caused by) any such representation in the mind or the brain, but do not take account of the non-representational forms of imagery. In 2010, IBM applied for a patent on a method to extract mental images of human faces from the human brain. It uses a feedback loop based on brain measurements of the fusiform face area in the brain that activates proportionate with degree of facial recognition.It was issued in 2015. The notion of a "mind's eye" goes back at least to Cicero's reference to mentis oculi during his discussion of the orator's appropriate use of simile. In this discussion, Cicero observed that allusions to "the Syrtis of his patrimony" and "the Charybdis of his possessions" involved similes that were "too far-fetched"; and he advised the orator to, instead, just speak of "the rock" and "the gulf" (respectively)—on the grounds that "the eyes of the mind are more easily directed to those objects which we have seen, than to those which we have only heard". The concept of "the mind's eye" first appeared in English in Chaucer's (c. 1387) Man of Law's Tale in his Canterbury Tales, where he tells us that one of the three men dwelling in a castle was blind, and could only see with "the eyes of his mind"; namely, those eyes "with which all men see after they have become blind".
en.wikipedia.org/wiki/Mental_image
Qigong (/ˈtʃiːˈɡɒŋ/),[1] qi gong, chi kung, or chi gung (simplified Chinese: 气功; traditional Chinese: 氣功; pinyin: qìgōng; Wade–Giles: ch‘i kung; literally: 'life-energy cultivation') is a centuries-old system of coordinated body-posture and movement, breathing, and meditation[2] used for the purposes of health, spirituality, and martial-arts training.[3] With roots in Chinese medicine, philosophy, and martial arts, qigong is traditionally viewed by the Chinese and throughout Asia as a practice to cultivate and balance qi (pronounced approximately as "chi"), translated as "life energy".Qigong practice typically involves moving meditation, coordinating slow-flowing movement, deep rhythmic breathing, and a calm meditative state of mind. People practice qigong throughout China and worldwide for recreation, exercise, relaxation, preventive medicine, self-healing, alternative medicine, meditation, self-cultivation, and training for martial arts.
Because clinical research on qigong for its potential benefit in treating various diseases – such as hypertension, pain, and cancer – has been inconclusive due to poor quality, there remains no evidence that qigong has any therapeutic effect, as of 2016. Qigong comprises a diverse set of practices that coordinate body (調身), breath (調息), and mind (調心) based on Chinese philosophy. Practices include moving and still meditation, massage, chanting, sound meditation, and non-contact treatments, performed in a broad array of body postures. Qigong is commonly classified into two foundational categories: 1) dynamic or active qigong (dong gong), with slow flowing movement; and 2) meditative or passive qigong (jing gong), with still positions and inner movement of the breath.[30]:21770–21772 From a therapeutic perspective, qigong can be classified into two systems: 1) internal qigong, which focuses on self-care and self-cultivation, and; 2) external qigong, which involves treatment by a therapist who directs or transmits qi. As moving meditation, qigong practice typically coordinates slow stylized movement, deep diaphragmatic breathing, and calm mental focus, with visualization of guiding qi through the body. While implementation details vary, generally qigong forms can be characterized as a mix of four types of practice: dynamic, static, meditative, and activities requiring external aids. utilizes breath awareness, visualization, mantra, chanting, sound, and focus on philosophical concepts such as qi circulation, aesthetics, or moral values. In traditional Chinese medicine and Daoist practice, the meditative focus is commonly on cultivating qi in dantian energy centers and balancing qi flow in meridian and other pathways. In various Buddhist traditions, the aim is to still the mind, either through outward focus, for example on a place, or through inward focus on the breath, a mantra, a koan, emptiness, or the idea of the eternal. In the Confucius scholar tradition, meditation is focused on humanity and virtue, with the aim of self-enlightenment.Many systems of qigong practice include the use of external agents such as ingestion of herbs, massage, physical manipulation, or interaction with other living organisms. For example, specialized food and drinks are used in some medical and Daoist forms, whereas massage and body manipulation are sometimes used in martial arts forms. In some medical systems a qigong master uses non-contact treatment, purportedly guiding qi through his or her own body into the body of another person.
El 60% de la comunicación humana es no verbal: lenguaje corporal.
El 30% es tu tono de voz.
Eso significa que el 90% de lo que estas diciendo no está viniendo de tu boca.
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.