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I read the comprehensive book my travel agent prepared for me for our trip to Western Canada again last night . It said the Peak 2 Peak experience at Whistler would give me spectacular views over the mountains . Clearly the weather gods had not read the book, we got spectacular views of low cloud mist and drizzle
To use the Peak 2 peak you have to take a gondola either up Whistler or Blackcomb mountain which takes about 25 minutes . You then take the Peak 2 Peak that crosses over the Fitzsimmons Creek valley between the two mountains and it feels like you are hanging in space . Perhaps the weather that day meant it was fairly quiet we shared a cabin with two Canadian women who rode it regularly and clearly loved it . On the return trip we were on our own, what was odd was how quiet the machine was it was very peaceful and dreamlike slowly drifting through the mist across space .
I am not one for getting excited by engineering but this was an exception the design of this thing was clearly of a very high quality . A few facts about the peak 2 peak . It is the worlds highest lift of its type , it's the worlds longest unsupported span . The total length is 2.7 miles of which 1.8 is unsupported by any towers the highest point is 1427 feet above the valley bottom .
At the top of Whistler mountain you can even climb higher and walk across the Cloudraker Skybridge and Raven’s Eye Cliff Walk. This was pretty scary but I will post a shot of it sometime
THANKS FOR YOUR VISIT TO MY STREAM.
I WOULD BE VERY GRATEFUL IF YOU COULD NOT FAVE A PHOTO
WITHOUT ALSO LEAVING A COMMENT
Sorry puppinos, it’s NOT for puppies.
It’s got chocolate on it.
But to get the full comprehensive picture, with sound, check this post out on Insta
You know what else is not for puppies?
This Jack Spoon Baby Tee.
They only made them in people sizes.
Maybe if we ask the Jack Spoon team real nice they might add a puppy range for you guys?
Look, if there are any other puppies out there reading this blog post, please tell your hooman, this tee was available at Tres Chic.
But it closed yesterday.
So you’ll find it in the Jack Spoon mainstore really soon.
You probably need to go there anyway, bc you can never have enough lashes and sparkly stuff, right?!
It’s rigged for
- Reborn
- Waifu
- Legacy
- Lara X
Why do you need it?
WHY WOULDNT YOU?!
It’s giving y2k, it’s PBR and Legacy textures where you don’t have to do a fuckin thing, your viewer knows which one to use. Smart right?
Get it in 6 single colors OR the Fatpack for 16 options (10 are Fatpack Exclusive)
Shown is black, like my soul.
Just kidding.
I’m a pink pony girl.
Honourable Mentions
- Hair Doux Tini
- IceCream Hangry Treat Tower
- Shorts SEUL Bloomers
- Lashes Moon Static Lash Set
- Nails Apika Nobility
- Body Shine Love Lace Fairy
- Leg Tattoo VUDU Wild + Free Collection
- Love Bites + Bruises Tenebre
- French Pup Black Bantam
- Poodle Rezz Room
- Milky Face Shine UTOPIA
- Skin Tres Beau Sara Rose Kiss
The Victorian Comprehensive Cancer Centre (VCCC) is a unique and ambitious endeavour.
This new facility, delivered as a public private partnership between the Victorian Government and the Plenary Health consortium, has been designed to be a landmark Melbourne site, in a renowned biomedical precinct.
A really clear example of one of the rings of the cup and ring formations found near Routin Linn waterfall in North Northumberland. An earth mound encircles a large hill-fort with a rocky outcrop with numerous cup and ring markings.
Apparently there are over a thousand examples of prehistoric art in Northumberland dating back to Neolithic and Early Bronze Ages between 6000 and 3500 years ago.
There's a comprehensive and fascinating article on prehistoric rock art at www.bradshawfoundation.com/british_isles_prehistory_archi...
Excerpt from nfchc.ca:
The Niagara Falls Community Health Centre (NFCHC) is non-profit, community governed, multi-service health centre that provides primary health care, health promotion, and community development services all under one roof at no cost.
NFCHC responds to the health needs of individual patients and their families, as well as to the health concerns of the community. We are committed to providing accessible services, the empowerment of individuals and communities, service integration, illness prevention and comprehensive client care.
The outside of the window is comprehensive: Building, trees, highway, fence, sidewalk. I think it's a nice whole.
De buitenkant van het raam is veelomvattend: Gebouw, bomen, autoweg, hek, stoep. Een leuk geheel vind ik.
Comprehensive description of Pfälzerwald in German and English:
Dr Yellow sebagai Kereta Inspeksi Komprehensif (CIT 400AF) berangkat dari Stasiun Tegaluar menuju Depo
The Victorian Comprehensive Cancer Centre (VCCC) is a unique and ambitious endeavour.
This new facility, delivered as a public private partnership between the Victorian Government and the Plenary Health consortium, has been designed to be a landmark Melbourne site, in a renowned biomedical precinct.
Like a witness to a violent death, NASA's Hubble Space Telescope recently gave astronomers an unprecedented, comprehensive view of the first moments of a star's cataclysmic demise. Hubble's data, combined with other observations of the doomed star from space- and ground-based telescopes, may give astronomers an early warning system for other stars on the verge of blowing up.
"We used to talk about supernova work like we were crime scene investigators, where we would show up after the fact and try to figure out what happened to that star," explained Ryan Foley of the University of California, Santa Cruz, the leader of the team that made this discovery. "This is a different situation, because we really know what's going on and we actually see the death in real time."
Telescope Teamwork
The supernova, called SN 2020fqv, is in the interacting Butterfly galaxies, which are located about 60 million light-years away in the constellation Virgo. It was discovered in April 2020 by the Zwicky Transient Facility at the Palomar Observatory in San Diego, California. Astronomers realized that the supernova was simultaneously being observed by the Transiting Exoplanet Survey Satellite (TESS), a NASA satellite designed primarily to discover exoplanets, with the ability to detect an assortment of other phenomena. They quickly trained Hubble and a suite of ground-based telescopes on it.
Together, these observatories gave the first holistic view of a star in the very earliest stage of destruction. Hubble probed the material very close to the star, called circumstellar material, mere hours after the explosion. This material was blown off the star in the last year of its life. These observations allowed astronomers to understand what was happening to the star just before it died.
"We rarely get to examine this very close-in circumstellar material since it is only visible for a very short time, and we usually don't start observing a supernova until at least a few days after the explosion," explained Samaporn Tinyanont, lead author on the study's paper published in the Monthly Notices of the Royal Astronomical Society. "For this supernova, we were able to make ultra-rapid observations with Hubble, giving unprecedented coverage of the region right next to the star that exploded."
Telling the Star's Story
The team looked at Hubble observations of the star going back to the 1990s. TESS provided an image of the system every 30 minutes starting several days before the explosion, through the explosion itself, and continuing for several weeks. Hubble was used again starting only hours after astronomers first detected the explosion. And from studying the circumstellar material with Hubble, the scientists gained an understanding of what was happening around the star in the previous decade. By combining all of this information, the team was able to create a multi-decade look at the star's final years.
"Now we have this whole story about what's happening to the star in the years before it died, through the time of death, and then the aftermath of that," said Foley. "This is really the most detailed view of stars like this in their last moments and how they explode."
The Rosetta Stone of Supernovae
Tinyanont and Foley called SN 2020fqv "the Rosetta Stone of supernovae." The ancient Rosetta Stone, which has the same text inscribed in three different scripts, helped experts learn to read Egyptian hieroglyphs.
In the case of this supernova, the science team used three different methods to determine the mass of the exploding star. These included comparing the properties and the evolution of the supernova with theoretical models; using information from a 1997 archival Hubble image of the star to rule out higher-mass stars; and using observations to directly measure the amount of oxygen in the supernova, which probes the mass of the star. The results are all consistent: around 14 to 15 times the mass of the Sun. Accurately determining the mass of the star that explodes in a supernova is crucial to understanding how massive stars live and die.
"People use the term 'Rosetta Stone' a lot. But this is the first time we've been able to verify the mass with these three different methods for one supernova, and all of them are consistent," said Tinyanont. "Now we can push forward using these different methods and combining them, because there are a lot of other supernovae where we have masses from one method but not another."
An Early Warning System?
In the years before stars explode, they tend to become more active. Some astronomers point to the red supergiant Betelgeuse, which has recently been belching significant amounts of material, and they wonder if this star will soon go supernova. While Foley doubts Betelgeuse will imminently explode, he does think we should take such stellar outbursts seriously.
"This could be a warning system," said Foley. "So if you see a star start to shake around a bit, start acting up, then maybe we should pay more attention and really try to understand what's going on there before it explodes. As we find more and more of these supernovae with this sort of excellent data set, we'll be able to understand better what's happening in the last few years of a star's life."
The Hubble Space Telescope is a project of international cooperation between NASA and ESA (European Space Agency). NASA's Goddard Space Flight Center in Greenbelt, Maryland, manages the telescope. The Space Telescope Science Institute (STScI) in Baltimore, Maryland, conducts Hubble science operations. STScI is operated for NASA by the Association of Universities for Research in Astronomy, in Washington, D.C.
For more information: www.nasa.gov/feature/goddard/2021/hubble-gives-unpreceden...
Poster on a temple wall in Nakhan Phanom, Thailand
A comprehensive outlook of Sannipata
Free PMC article
Abstract
Nomenclature of the disease on the basis of vitiation of the body humors is stressed in ayurveda. Sannipatika, i.e., 'conglomeration of vitiated tridosa' is the final stage of process of manifestation of disease. In this specific state of pathogenesis, the disease becomes more advance and mostly irreversible. A detailed scientific study of Sannipatika-avastha has been documented in classics. Comprehensive analysis of sannipata-state and its ways of presentation is the main theme of the current article.
PubMed Central
Since 1979 Hergesheimer Motorsports has been providing the absolute highest quality, dependable service to Porsche owners who expect the very best from there cars. We are the most comprehensive Porsche service and race shop in Southern California, providing everything from routine scheduled maintenance to highly specilised chassis development and track support.
To find out more about Hergesheimer MotorSports' comprehensive Porsche services, please visit www.hergesheimer.com. or call (949) 458-7223.
Additionally, for the latest HRG news and trivia, follow us on our HRGruppe facebook page.
Photo courtesy of Alexander Bermudez .
Individuals go in for comprehensive insurance policies, thus that they can leave behind a considerable add of money, in the shape of death advantages to their beneficiaries. The proceeds from the insurance can be used to deal with all burial costs. The remainder of the cash advantages is...
A sculpture titled “Still Life with Spirit and Xitle” by sculptor Jimmie Durham at the Hirshhorn Museum in Washington, DC. The piece depicts a 1992 Dodge Spirit crushed under the weight of a 9-ton volcanic boulder.
“Nevertheless, if we look through all the heroic fortunes of mankind, we shall find this same entanglement of something mean and trivial with whatever is noblest in joy or sorrow. Life is made up of marble and mud. And, without all the deeper trust in a comprehensive sympathy above us, we might hence be led to suspect the insult of a sneer, as well as an immitigable frown, on the iron countenance of fate. What is called poetic insight is the gift of discerning, in this sphere of strangely mingled elements, the beauty and the majesty which are compelled to assume a garb so sordid.”
Excerpt From
The House Of The Seven Gables
Nathaniel Hawthorne
A comprehensive view of the château at Bonnétable on a postcard by A. Dolbeau of Le Mans.
The Rochefoucaulds
Prior to the Great War, le Château de Bonnétable was the residence of la Famille Rochefoucauld.
If you go to the cemetery in Bonnétable, you will see a very impressive-looking monument - you can't miss it, it's by far the best one in the cemetery. The monument tells you:
"Ici repose Charles Marie Francois,
Vicomte de la Rochefoucauld, Duc
d'Estrées, Maire de Bonnétable.
Decedée a Bonnétable le 25 Février
1907 dans sa 44ême année.
De Profundis".
Charles' ancestor, François, Duc de La Rochefoucauld (1613-1680) once wrote:
"Hypocrisy is the homage that
vice pays to virtue".
The Great War
During the Great War, the château was the base for Military Ambulance No. 4 under the orders of Dr. Mikanowski. The château welcomed wounded men from both sides of the conflict.
A Thought From Nietzche
This is nothing really to do with the above image, but it's very thought-provoking. It's a comment by the philosopher Friedrich Wilhelm Nietzche (1844 to 1900). Here it is:
"One can promise actions, but not feelings,
for the latter are involuntary.
He who promises to love forever or hate
forever or be forever faithful to someone
is promising something that is not in his
power".
A view from Kankarepuisto Comprehensive School, located in Jakomäki, Helsinki. Despite being rectangular, the giant triangle entrance makes the courtyard appear as pentagon.
The almost completed VCCC
The Victorian Comprehensive Cancer Centre (VCCC) Project is a $1 billion world-class cancer centre for the prevention, detection and treatment of cancer.
Peter MacCallum Cancer Centre, Melbourne Health and The University of Melbourne comprise the building partners for this project. The project will provide a brand new home for the Peter MacCallum Cancer Centre and new cancer research and clinical services for Melbourne Health (including the Royal Melbourne Hospital), new cancer research facilities for The University of Melbourne and new education facilities for all building partners.
The development comprises a new 13-storey building bordering Flemington Road, Grattan Street and Elizabeth Street known as the 'South site', and the construction of four new floors on top of the existing Royal Melbourne Hospital (RMH), known as the 'North site'. The new building and the extension to RMH will be linked by covered bridges above Grattan Street, allowing cancer patients, visitors and staff to move between the two buildings.
4 shots auto-stitched in LR6 (Pano)
Saturday paddock atmosphere at the 2022 Espíritu de Montjuïc: Seat service vehicle behind the grandstands.
Find more pictures and a comprehensive report at 8W.
The close-focusing range for this lens is 3 m, which is also the distance at which the rangefinder becomes inaccurate with my Paxette Super IIb, so I had to guess the range, and it seems I guessed right.
For the compo I use a Braun add-on finder with variable focal lengths that goes into the accessories shoe. This add-on finder even has a parallax correction of sorts. It's all a bit fiddly, but it works. After a fashion.
Camera: Braun Paxette Super IIb
Lens: Enna-Werk München Tele-Ennalyt 1:3.5 f=13.5cm
Fujifilm Superia X-Tra 400 colour negative film
Developed and scanned by www.meinfilmlab.de
A comprehensive list of 20 fun things to do in Kyoto, Japan. The ancient city has just so many tourist attractions in Kyoto that a week will not be enough. Click for more. - ift.tt/2dgYmZn
My last post of the hand over of the last Leyland Titans to London Transport was to be the end of the Titan story. I decided to make this post as an extra bonus like you get on a DVD. The first production Titan T1 for London Transport was registered THX 401S fleet number T1 was completed in July 1978. T1 was delivered to London Transport's Aldenham Works in August that year and would be allocated to RD Hornchurch depot for driver training in September. London Transport Titans T1,T2 and T3 were used by British Leyland for a publicity stunt when they were driven around Parliament Square.
T1 appeared at a bus rally held at Syon Park in September 1978 which is the subject of this photograph. Notice the script between decks "A New Leyland Titan for London Transport" and Titan No. 1 in the destination display. Also note the silver wheel hubs. If you look through the cab side window you can see a newspaper with the headline "Titan takes a bow". Next to T1 basking in the autumn sunshine is the first MCW Metrobus for London Transport THX 101S fleet number M1.
London Transport would split their double-deck bus orders between the Leyland Titan and MCW Metrobus. Which would result in London Transport purchasing 1,131 Titans which five were the ex West Midlands PTE examples and B15.05. In comparison the number of MCW Metrobus purchased was 1, 448. Both the Titan and Metrobus were to replace the DMS class which amounted to 2,646, the combined total of Titan and Metrobus was 2,579.
T1 was a long-term survivor running in London from 1978 into the new millennium as a showbus, in 1983 it was repainted into its original livery and named "Hornchurch Ambassador". In September 1994 T1 was in the ownership of Stagecoach East London. Model manufacturer EFE immortalised T1 but based the model of T1 with Stagecoach East London without the silver wheel hubs.
This photograph concludes the Leyland Titan story from B15 project to the final Titans built in November 1984, in total I have posted 35 photographs with a comprehensive caption telling the Titan story.
I shall move onto the B45 Olympian story but only posting photos showing the design and development of the Olympian and rare unseen photos of demonstrator Olympian buses and coaches. I will swap between the Olympian and other Leyland bus and coach models from Leyland's back catalogue going back 50 years, so yes the National will be included.
Photograph credit: British Leyland Truck & Bus Division/Basil Hancock
Bibliography:-
Websites: Ian's Bus Stop
Books: The London Titan Matthew Wharmby
Vehicle information:-
Operator: London Transport
Registration: THX 401S
Fleet number: T1
Depot: RD Hornchurch
Seating: H44/22D
Vehicle identification: TNLXB2RRSP T1
Engine: 10.45-litre Gardner 6LXB
Gearbox: Five-speed Hydracyclic gearbox with the G2 control system
Factory built at: Park Royal Vehicles Ltd Abbey Road Park Royal London NW10
Location: Syon Park, Brentford TW8 8JF
The Mona Lisa is a half-length portrait painting by Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance, it has been described as "the best known, the most visited, the most written about, the most sung about, [and] the most parodied work of art in the world". The painting's novel qualities include the subject's enigmatic expression, monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism.
The painting has been traditionally considered to depict the Italian noblewoman Lisa del Giocondo. It is painted in oil on a white Lombardy poplar panel. Leonardo never gave the painting to the Giocondo family. It was believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. It was acquired by King Francis I of France and is now the property of the French Republic. It has normally been on display at the Louvre in Paris since 1797.
The painting's global fame and popularity partly stem from its 1911 theft by Vincenzo Peruggia, who attributed his actions to Italian patriotism—a belief it should belong to Italy. The theft and subsequent recovery in 1914 generated unprecedented publicity for an art theft, and led to the publication of many cultural depictions such as the 1915 opera Mona Lisa, two early 1930s films (The Theft of the Mona Lisa and Arsène Lupin) and the song "Mona Lisa" recorded by Nat King Cole—one of the most successful songs of the 1950s.
The Mona Lisa is one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known painting insurance valuation in history at US$100 million in 1962, equivalent to $1 billion as of 2023.
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.
NASA Launches Comprehensive Database of Materials Tested on International Space Station
The Materials International Space Station Experiment, or MISSE, is installed on the exterior of the space station, exposing a variety of materials to the rigors of the space environment.
American scientists and researchers have a new way to find out how specific materials fared after years of exposure to the space environment. Since the International Space Station’s early days, an experiment called the Materials International Space Station Experiment, or MISSE, has exposed almost 4,000 material samples to the space environment. Data from MISSE can now be easily accessed with a new online tool.
The online MISSE database contains a large amount of materials test data that may lead to the production of longer-lived spacecraft and satellites. The informatics database falls under the umbrella of the Materials and Processes Technical Information System (MAPTIS) -- a ready source for materials properties for NASA and NASA-associated contractors and organizations. The system has physical, mechanical and environmental properties for metallic and non-metallic materials.
Image Credit: NASA
Read full article:
www.nasa.gov/centers/marshall/news/news/releases/2014/
Image credit: NASA
More about space station research:
www.nasa.gov/mission_pages/station/research/index.html
Flickr Album: Space Station Research Affects Lives:
www.flickr.com/photos/nasamarshall/sets/72157634178107799/
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These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...
After a comprehensive refurbishment including wooden floors, leather seats, Wifi, USB charging points, a former routemaster number plate and the pièce de résistance new 61 branding, immaculately presented 37203 WLT770 (formerly SF07FET) has hit the road, along with contemporaries 37191 and 37188.
WLT770 was a number plate first utilised on London Transport's routemaster RM677, which later saw service with Kelvin Scottish in Glasgow. The registration number was then held in retention with First Glasgow, latterly used on volvo olympian 31521 (CO245) (M845DUS).
The 61 is currently the latest route on the Glasgow network to receive branding.
Comprehensive School Kaiserplatz (formerly Marianne-Rhodius Girls' Secondary School), Krefeld
Built in 1955/56, gym and ancillary rooms with arcade 1959/60, extensions in 1973
Architect Hans Volger (1904−1973) for the municipal building department, City of Krefeld
""Not a teaching palace (...), but an assembly of huts (...) not a stack of storeys, but a layer of casings; not a learning industrial building, but a workshop farm" (Hans Schwippert, 1960).
When the former Bauhaus member Hans Volger planned the school for around 900 pupils at Kaiserplatz, like his colleague Schwippert, architecture professor and rector at the Düsseldorf Art Academy, he was inspired by modern Scandinavian school buildings like those by Arne Jacobsen. In doing so, he also followed the ideas of New Building, which were intended to satisfy the need for fresh air, sun, hygiene and outdoor exercise as early as in the 1920s.
After the Second World War, the modern school building succeeded in turning away from the gloomy "barracks style" and thus from military-style educational concepts in favor of a relaxed pavilion architecture with many windows: Volger himself wanted a “home school” with “home classes” where teachers and students would live and learn together. [...]
The entire school was built from precast concrete parts, only the ceilings were poured on site. The supporting structure can be seen on the facade. Window sills, pillars, lintels and girders are made of granular concrete and therefore stand out from the wall infills made of brown brickwork. Lightness is created by the small-format cubes of the class pavilions, by perforated motifs in the balcony parapets and surrounding walls as well as by the use of dark-framed floor-to-ceiling windows (which unfortunately have been replaced by divided white windows) in connection with bands of smaller square windows." (translated from www.architekturguide-krefeld.de/object/volger-hans-Gesamt...)
Gesamtschule Kaiserplatz (vormals Mädchenrealschule Marianne-Rhodius), Krefeld
Baujahr 1955/56, Turnhalle und Nebenräume mit Laubengang 1959/60, Erweiterungen 1973
Architekt Hans Volger (1904−1973) für das Städtische Hochbauamt Krefeld
"„Kein Lehrpalast (…), sondern eine Versammlung von Hütten (…) kein Stapel von Geschossen, sondern ein Gelege von Gehäusen; kein Lern-Industriebau, sondern ein Werkstätten-Gehöft“ (Hans Schwippert, 1960). Als der ehemalige Bauhäusler Hans Volger die Schule für ca. 900 Schüler am Kaiserplatz plante, ließ er sich wie sein Kollege Schwippert, Architekturprofessor und Rektor der Düsseldorfer Kunstakademie, von modernen skandinavischen Schulbauten wie jenen von Arne Jacobsen inspirieren. Er folgte damit aber auch den Ideen des Neuen Bauens, die bereits in den 1920er-Jahren die Bedürfnisse nach frischer Luft, Sonne, Hygiene und Bewegung im Grünen befriedigen sollten.
Nach dem Zweiten Weltkrieg gelang im modernen Schulbau die Abkehr vom düsteren „Kasernenstil“ und damit von militärisch geprägten pädagogischen Konzepten zugunsten einer aufgelockerten Pavillonarchitektur mit vielen Fenstern. Volger selbst wünschte sich eine „Heimschule“ mit „Heimklassen“, in denen Lehrer und Schüler zusammen wohnen und lernen. [...]
Die gesamte Schule wurde aus Fertigbetonteilen errichtet, nur die Decken wurden vor Ort gegossen. Die Tragekonstruktion ist an der Fassade nachvollziehbar. Fensterbänke, Pfeiler, Stürze und Unterzüge sind in körnigem Beton und heben sich daher von den Wandausfachungen aus braunem Ziegelmauerwerk ab. Leichtigkeit entsteht durch die kleinformatigen Kuben der Klassenpavillons, durch Lochmotive in den Balkonbrüstungen und Umfassungsmauern sowie durch die Verwendung dunkel gefasster bodentiefer Fenster (sie wurden leider durch geteilte weiße Fenster ersetzt) in Verbindung mit Bändern aus kleineren quadratischen Fenstern." (www.architekturguide-krefeld.de/objekt/volger-hans-gesamt...)