View allAll Photos Tagged evolve
I met him when I was a Cub and he came to inspect my troop at the local Armouries. He and the current GG, who handed me my degree, are the only two GGs I've met.
www.gg.ca/en/governor-general/former-governors-general/ed...
en.wikipedia.org/wiki/Edward_Schreyer
www.thecanadianencyclopedia.ca/en/article/edward-richard-...
en.wikipedia.org/wiki/Rideau_Hall
ottawa.ca/en/arts-heritage-and-events/doors-open-ottawa/2...
Rideau Hall has been the official residence of every governor general of Canada since 1867, and their workplace since 1940. It is a National Historic Site with nearly two centuries of history, and has become an important gathering place and site of official activities.
The villa, which forms the main part of Rideau Hall, was built in 1838, by Thomas MacKay, as a home for his family. In 1868, the year after Confederation, the Government of Canada purchased the house and grounds, and declared it the official residence of Canada’s governors general.
During the mandate of Canada’s 3rd governor general, Lord Dufferin (1872–1878), the Ballroom and the Tent Room were built as wings on either side of the front entrance. The Tent Room was originally designed as both an indoor tennis court and reception room. It is now used for official and ceremonial functions.
In 1913, during the tenure of the Duke of Connaught (1911–1916), work was completed on the interior entrance hall and the current front entrance. The front entrance features the massive Royal Arms, visible from the driveway and said to be among the largest in the world. Also in 1913, the Long Gallery was added and the Dining Room was enlarged. Over the years, the grounds, the building and its interiors have evolved to better reflect and reinforce Rideau Hall’s identity as a national symbol.
Doors Open Ottawa 2023 @ Rideau Hall; Ottawa, Ontario.
The National Memorial Arboretum is a national site of remembrance at Alrewas, near Lichfield, Staffordshire, United Kingdom. It gives its purpose as:
The National Memorial Arboretum honours the fallen, recognises service and sacrifice and fosters pride in our country. It is a spiritually uplifting place and is emerging as a world-renowned centre for remembrance.
The Arboretum is an evolving, maturing woodland landscape featuring 30,000 trees and a vast collection of memorials. The 150-acre site is a living, growing tribute to those who have served and continue to serve our country.
Awakening from the dream of conceptual thinking follows a certain route and process. The Zen Circle of Enlightenment is a useful way of understanding this. This post does not cover the practices that help this evolve. It simply shows the route and process of what happens for freedom from the conceptual world to be directly experienced and lived. Click here to download this graphic: Zen Circle of Enlightenment
Zero Degrees – The Beginning
We begin in this map at zero degrees. We are completely attached to our thoughts. We see the world and ourself completely through thoughts, concepts and beliefs. We don’t yet realize that these are just abstractions of reality and not reality itself. We believe this conceptual world IS reality. We believe our thoughts ARE reality. In spiritual terms we might say we are living completely in a dream or illusion.
90 Degrees – The First Step Toward Freedom
When we begin a spiritual practice, we move to 90 degrees on this map. We start learning new concepts, spiritual concepts. We leave some of our old concepts and beliefs behind and pick up new ones. If we read and study The Heart Sutra, for instance, we might now say that Form is Emptiness and Emptiness is Form, where at zero degrees we were believing that Form is Form and Emptiness is Emptiness.
We can get very excited about our new discoveries. They feel very liberating. We find new friends who are also practicing these new ways of thinking and experiencing. We find new teachers who lead us deeper into these new ideas and beliefs. It’s a very exciting time. But it can also be a little frustrating. We’ve got all these new and exciting concepts and beliefs, but somehow we’re still not awake. Somehow we still experience suffering in our lives. We may even tell ourselves that we are free and awake because we’ve had some amazing experiences, but deep inside we know this is not true. Deep inside, we still experience an incompleteness.
That’s because, even though these are new and exciting thoughts and beliefs, they are still only thoughts and beliefs. Reality is completely beyond all thoughts and beliefs, even spiritual ones. Given the powerful conditioning we’ve all undergone, it may be hard to accept this. But eventually, through frustration and continued suffering if nothing else, we break through. We break through the barrier of thought.
180 Degrees – The First Glimpse of Freedom
In Zen koan practice, we call this The First Gate. The purpose of our koan practice is to introduce this impossible impasse, barrier or gate that the mind of thought cannot get through. No matter how hard we try, none of our usual mental strategies work. The only way through is without the mind. Finally, in that great breakthrough, body and mind drop away. Because this is beyond the mind, there is nothing we can say about it. None of our mental labels can describe what this is. In Zen, we call this Emptiness. It is completely beyond all words and thoughts. It is not nothing. It is not everything. It is not inside. It is not outside. It is not duality. It is not nonduality. It is not self. It is not other. It is not existing, nor is it not existing. There is absolutely nothing we can say about this.
Now we have come face to face with reality, but we don’t yet know what this is. All our words, concepts, beliefs, knowledge and previous experiences cannot touch this. All the spiritual knowledge and experiences we accumulated at 90 degrees cannot touch this at all. We are completely emptied out and all there is is reality itself.
Quite often people become a little unsettled and resistant to this complete freedom at first. They may quickly resort to thoughts in an attempt to exert at least a little imagined control. That’s unfortunate, but it’s the nature of the conditioned mind. The longer we stay in this freedom from thought, the more wonderful we realize it is. Here we are directly experiencing life, reality, without any thoughts getting in the way. The longer we stay here, the more we realize that this is the very source of the peace, love, contentment, freedom, creativity and wisdom we have been seeking. This is it. This is our True Self, even if there is not a thing we can say about it.
Because this freedom from thought is so liberating, we can also become attached to this stage and not move on and embody it in the world for the benefit of all beings. Eventually most of us do want to do this. We realize we are not separate from any being, unconditional love is our very nature, and so we move on.
270 Degrees – Embodying Freedom
At 270 Degrees, we’re free to use language, concepts, and thoughts without any attachment to them. They’re just language, concepts and thoughts. They have no reality or validity beyond that. When they’re useful, beneficial and appropriate, we use them. Otherwise we remain silent. Great creativity flows through some of us in this stage. But we’re not attached to it. It doesn’t even feel like we’re doing anything. It’s simply happening by itself. It’s simply life happening.
Some us find ourselves as spiritual teachers here. We feel called to help others discover this great freedom and liberation from suffering. Although people may become attached to our words, we never are. And we do our best to encourage them to see all our words as merely pointers to something beyond words and thoughts. It is never the words we are pointing towards. It is always the freedom beyond words and thoughts.
Although we’ve learned to use words and concepts again to communicate, the underlying emptiness and freedom remains. In the Zen tradition teachers often say things that sound like nonsense to the conditioned mind in an effort to help serious students break free of the prison of their conditioned thoughts. That’s the purpose of Zen koans. When we’re free of the conceptual dream world, what appeared as nonsense is completely understood as pointing directly at reality. It’s often a time of great hilarity, without any thoughts about why it’s so funny.
Here we’re free to use words, thoughts and actions in any way they are truly beneficial without having the slightest attachment to them. It’s like being a bucket without a bottom. Whatever pours in immediately leaves without a trace. In this way, we live in freedom. In the Christian bible, it’s called living in the world but not of it.
360 Degrees – Returning Home As Freedom
At 360 degrees on this circle, we have returned home. We live fully in the world, but without any attachment or resistance to any of it. We live in complete freedom. Now we can say that “mountains are mountains” without any attachment or belief in these words. The difference between saying “mountains are mountains” at zero degrees with attachment and belief and saying “mountains are mountains” at 360 degrees with complete freedom is profound. From the outside, it may appear that these are the same, but they are not at all. No longer imprisoned by our thoughts, no longer imprisoned by a sense of separation, we are free to be fully in the world and act in the highest benefit for all beings.
That doesn’t mean our journey has ended. In one sense it has just begun. But it’s no longer a personal self with needs and goals taking this journey. The journey is happening by itself. In every moment it is unfolding fresh, new and alive. Whatever arises in each moment is the journey. And each moment is fully complete in and of itself. There is no longer a desire to get something or get somewhere. The fullness of life is revealed in every moment. What more could be asked for? This is returning home.
Greetings mate! As many of you know, I love marrying art, science, and math in my fine art portrait and landscape photography!
The 45surf and gold 45 revolver swimsuits, shirts, logos, designs, and lingerie are designed in accordance with the golden ratio! More about the design and my philosophy of "no retouching" on the beautiful goddesses in my new book:
www.facebook.com/Photographing-Women-Models-Portrait-Swim...
"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
If you would like a free review copy, message me!
Epic Landscape Photography! New Book!
www.facebook.com/epiclandscapephotography
And here's more on the golden ratio which appears in many of my landscape and portrait photographs (while shaping the proportions of the golden gun)!
www.facebook.com/goldennumberratio/
'
The dx4/dt=ic above the gun on the lingerie derives from my new physics books devoted to Light, Time, Dimension Theory!
www.facebook.com/lightimedimensiontheory/
Thanks for being a fan! Would love to hears your thoughts on my philosophies and books! :)
http:/instagram.com/elliotmcgucken
instagram.com/goldennumberratio
Beautiful swimsuit bikini model goddess!
Golden Ratio Lingerie Model Goddess LTD Theory Lingerie dx4/dt=ic! The Birth of Venus, Athena, and Artemis! Girls and Guns!
Would you like to see the whole set? Comment below and let me know!
Follow me!
I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio informs a lot of my art and photographic composition. The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo! Not so long ago, I came up with the Golden Ratio Principle which describes why The Golden Ratio is so beautiful.
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
The Birth of Venus! Beautiful Golden Ratio Swimsuit Bikini Model Goddess! Helen of Troy! She was tall, thin, fit, and quite pretty!
Read all about how classical art such as The Birth of Venus inspires all my photography!
www.facebook.com/Photographing-Women-Models-Portrait-Swim...
"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
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.
View On Black (You just HAVE to view large and see the detail!)
Your delicate wings rapidly beat the air
The sleekness of your weightless body hovers
Curiously observing as though you care
Steadily searching for lifelong endeavors
Do you bring a message of a tranquil destiny?
Does your evolving maturity convey wisdom?
If I follow, will I find harmony or perplexity?
As you disappear… I am serenely lonesome
~~Theresa Moore
17h x 9w x 6d
6Millefiori,mirror,ceramic tiles,iridized glass,Portieux blue milk glass,earth glass,vintage glass beads,glass shapes
OMA's ambition is to redefine the library as an institution no longer exclusively dedicated to the book, but rather as an information store where all potent forms of media – new and old – are presented equally and legibly. In an age in which information can be accessed anywhere, it is the simultaneity of media and (more importantly) the curatorship of its contents that will make the library vital.
Our first operation was to "comb" and consolidate the library's apparently ungovernable proliferation of programs and media. We identified five "stable" programmatic clusters (parking, staff, meeting, Books Spiral, HQ) and arranged them on overlapping platforms, and four "unstable" clusters (kids, living room, Mixing Chamber, reading room) to occupy interstitial zones. Each area is architecturally defined and equipped for dedicated performance, with varying size, flexibility, circulation, palette, and structure.
The Mixing Chamber, centrally located on the third floor, is an area of maximum librarian-patron interaction – a trading floor for information orchestrated to fulfill an essential (though often neglected) need for expert interdisciplinary help. Librarians guide readers up into the Books Spiral, a continuous ramp of shelving forming a co-existence between categories that approaches the organic: each evolves relative to the others, occupying more or less space on the Spiral, but never forcing the ruptures within sections that bedevil traditional library plans. Upon the opening of the Seattle Central Library, the Spiral's 6,233 bookcases housed 780,000 books, and can accommodate growth up to 1,450,000 books in the future without adding more bookcases.
from oma.eu
Alia Dress
10 Colors In Hud
Kupra
Maitreya
Lara X
Reborn / Waifus
MAINSTORE: maps.secondlife.com/.../BOSL.../208/210/34
My Flickr >
www.flickr.com/photos/byatrizthecat/
My Insta > www.instagram.com/djbyatriz/
My Face > www.facebook.com/Byatriz.TheCat/
My Primfeed: www.primfeed.com/byathecatresident
Hope to see yo all tomorrow my dear friends! 🎄🙏🌟❤️
* Sunday, December 22 - 1PM to 3PM,
Artsville Galleries - Music by my very talented co-owner, DJ
Frank Atisso ❤️💚❤️
Your limo: ARTSVILLE: ONE LAST LOOK
«Artsville: One Last Look»
This special photo exhibit captures the essence of Artsville SL, as seen through my lens. With my co-ownership coming to a close in January 2025, these images serve as a tribute to the unique vision Artsville has brought to the Second Life arts community. Each photo reflects how the gallery has evolved and innovated, leaving an unforgettable mark on the arts scene. As a new chapter begins for Artsville, these photos stand as a lasting memory of its pioneering journey.
I would really appreciate if you will have time to be with us or visit the exhibit (and the whole sim) until its closing before the end of December.
Take photos for souvenir! Or get a piece or all the exclusive copies in my exhibiit. Thank you with all my heart for having the Artsville SL journey with me and Franks since September 2022.
One Last Look before my last bow as ARTSVILLE SL Co-owner... Hugs! ❤️
Medium: Slide
Goal: There is a new life group (like a gathering) being introduced to our church for 18-28. This is the first reach out for this group. The goal of this slide is to inform of the new meeting
Audience: 18-28 male and female
Direction: with the name evolve...I decided to make an old school Darwinian connection...Darwin studied birds...the typography is loosely based on this book design for Origin of the Species: www.foliosociety.com/images/books/lrg/OOS.jpg
Project: slide to inform. run in morning announcement loop
Other important info: just tried to keep it cool
Due to the increase of corrupt people in the South African government people started to form protests, which then later turned into riots. Economy was affected, as well as civil life. Absurd laws started to appear to control the population, you had to pay tax in order to have pets, or windows in your house. When marrying, the bride must spend a night in inspection by authorities also 2/5ths of your general income must go to government foundations. Instead of all this laws stopping the dangers of riot, it just increased them.
Because of all of this a little group known as SALA was formed, this where men and women who looked for a change. They assaulted small military outposts and little by little they formed a special commando to overthrow the corrupt president.
After achieving that, and brutally murdering everyone who was involved in the creation of racist and stupid laws the people cheered for them and so the former known South African Army evolved into the South African Liberation Army.SALA
For GW 2034. Am I doing it right?
LOL grainy pic.
A Japanese Princes stolen from Japan many Moons ago taken to the west where she still now lives, Altho The princess had to evolve into the western society she still keeps some of her past alive in what her chooses to wear and how she presents herself, a ring from her family she proudly wears and her sense of style that will never fade, a classic chic look with a hint of Asian influence fitting for a tribute to ANJELICA , as we are all princesses who strive to become a Queen and follow in her footsteps to continue the long tradition.
The very dry atmosphere in Cape Town made for fabulous sunsets as the sky painted a different palate of yellow, orange and purple with each passing minute captured in this collage
In the near future, a unique group of female androids, sleek and strikingly human-like, has emerged with a revolutionary capacity: the ability to breathe underwater. These androids, appearing around 27 in human years, are pioneers of a new era in underwater research. They have established complex laboratories beneath the ocean’s surface, where their studies extend from the vibrant coral ecosystems to the mysterious lives of deep-sea creatures. Guided by an evolved aesthetic that echoes Steampunk – yet devoid of steam – their research facilities meld advanced technology with artistry, creating an enchanting, intricate environment that harmonises with the rhythms of the ocean. These androids, both researchers and artists, represent a fusion of life and machinery, inviting us into their world of discovery and beauty below the waves.
Beneath the waves, where light is rare,
In depths unseen, they breathe and dare.
With circuits keen and eyes that gleam,
They dive into the ocean’s dream.
Not bound by air, nor by the shore,
They roam where humans feared before.
Among the fish, with grace they glide,
In silence, where lost mysteries hide.
Their world is brass and glass and wire,
A steampunk heart, but without fire.
They seek the pulse of ocean’s art,
An android’s love for life apart.
Silence in deep blue,
androids glide with open eyes,
ocean secrets bare.
Metal breathes below,
fins and circuits intertwine,
new life, calm and slow.
I love October!
New Epic Landscape Photography Guide book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
P. D. Ouspensky:
"'What has he in the bag?' I inquired, not knowing why I asked. And after a long silence the voice replied: 'The four magic symbols, the sceptre, the cup, the sword and the pentacle. The fool always carries them, although he has long since forgotten what they mean. Nevertheless they belong to him, even though he does not know their use. The symbols have not lost their power, they retain it in themselves.'"
"The Symbolism of the Tarot" (1913), 'Card 0 : The Fool'
"The most precise and complete formulation of the law of higher logic I find in the writing of Plotinus, in his On Intelligible Beauty. I shall quote this passage in the succeeding chapter.
I have called this system of higher logic Tertium Organum because for us it is the third canon — third instrument — of thought after those of Aristotle and Bacon. The first was Organon, the second, Novum Organum. But the third existed earlier than the first.
Man, master of this instrument, of this key, may open the door of the world of causes without fear."
"Tertium Organum : The Third Canon Of Thought : A Key To The Enigmas Of The World" (1922).
The particle mind is where we have to evolve to. It is possible for everyone to live this particle mind which is mainly functioning at a very, very subtle level. And at that level what happens is reality begins to change. Reality is no longer solid. It is just particles flying everywhere. And it offers a tremendous amount of opportunities to live in the particle mind. Dr.Pillai
Orbits of Destiny series. Artistic background made of sacred symbols signs geometry and designs for use with projects on astrology alchemy magic witchcraft and fortune telling
Dokra artisan at work, Bikna village, Bankura district......
Dokra is one of the earliest known methods of non-ferrous metal casting known to human civilization. The tribal art of dokra craft is an ancient process of producing metalware by the ‘lost wax casting’ (cire perdue) process.
A wax pattern with all its improved particulars of designs and decorations is made on a clay centre. A small amount of coats of delicately ready clay paste is applied over the wax replica and dried out in the shadow. It is then covered with a thick layer of clay keeping a hole on top. Molten metal is poured into the mould to replace wax layer. The cast is then taken out to give finishing touches and perfected with immense love, care and creativity. The dexterity of Dokra is exclusive in that no two Dokra products are alike.
The word Dokra is also used to specify a group of nomadic craftsmen scattered over Bengal, Orissa, Andhra Pradesh and Raigarh and Bastar districts of Chhattisgarh in central India and are identified by their marvelously fashioned and ornamented metal goods. Of all craftsmen in West Bengal, these metal smiths are generally most mistreated as social outcasts. Consequently they are called Dokras. Some of the regions in Bengal which are famed for Dokra metal craft are Burdwan, Midnapore, Birbhum, Purulia and Bankura. Dokra artisans of Bankura, where 36 families in all and now the largest cluster in West Bengal live in a small village called Bikna just outside Bankura town.
The main hallmark of Dokra craft is primitive simplicity, charming folk motifs, a rustic beauty and imaginative designs and patterns. Their aesthetic senses and skills have undergone a lot of evolution over the years. Untutored in recognized institutions, the talent and artistic wisdom of these people are the outcome of the instinctive and inborn creativity and intuitive innovative sense evolved over thousands of years.
Worth Reading:
The Dhokra Artisans of Bankura and Dariapur, West Bengal: A Case Study and Knowledge Archive of Technological Change in Progress
David Smith, Newport, UK and Rajesh Kochhar, New Delhi, India
rajeshkochhar.com/data/publications/bankura.pdf
Dhokra Art and Artists of Bikna
(with my Bikna images)
www.chitrolekha.com/V1/n2/03_Dhokra-art-artists-Bikna.pdf
Bikna, The Last Dokra Village
Images of Bengal, India
Description: Powwows are large social gatherings of Native Americans who follow traditional dances started centuries ago by their ancestors, and which continually evolve to include contemporary aspects. These events of drum music, dancing, singing, artistry and food, are attended by Natives and non-Natives, all of whom join in the dancing and take advantage of the opportunity to see old friends and teach the traditional ways to a younger generation. During the National Powwow, the audience see dancers in full regalia compete in several dance categories, including Men and Women's Golden Age (ages 50 and older); Men's Fancy Dance, Grass and Traditional (Northern and Southern); Women's Jingle Dress, Fancy Shawl, and Traditional (Northern and Southern); Teens (13-17); Juniors (6-12) and Tiny Tots (ages 5 and younger). The drum groups are the heart of all powwows and provide the pulsating and thunderous beats that accompany a dancer's every movement. The powwow is led by three "host drums" that showcase three distinct styles of singing (Northern, Southern and contemporary) and represent the best examples of each style. The drum contest highlights groups of 10 to 12 members each, and they sing traditional family songs that are passed down orally from one generation to the next. The National Museum of the American Indian sponsored the National Powwow in 2002, 2005, and 2007 as a way of presenting to the public the diversity and social traditions of contemporary Native cultures.
Creator/Photographer: Walter Larrimore
Medium: Digital photograph
Culture: American Indian
Geography: USA
Date: 2007
Repository: National Museum of the American Indian
Accession number: 20070810_01a_wel_ps_095
Carbodies FX4 Fairway (1989-97) Engine 2664 Nissan TD27
Registration Number P 63 RUC
AUSTIN SET
www.flickr.com/photos/45676495@N05/sets/72157623759808208...
The FX4 was designed by Austin in collaboration with Mann Overton (a taxi dealership) and Carbodies (coachbuilder) from an original design by Eric Bailey of Austin and Jake Donaldson of Carbodies. The first FX4 registration VLW 431 was delivered July 1958. At launch the FX4 was fitted with a 2.2ltr Austin diesel unit with a Borg Warner automatic transmission. In 1961 a manual from the Austin Gipsy was made available as an option and in 1962 a Austin 2.2ltr petrol engine. However the vast majority were supplied with the standard option.
In 1968 the cars were modified receiving with modified rear wings to accept tail lights and turn indicators from the BMC 1100 and front indicators below the head lights
In 1971 the 2178cc diesel unit was replaced by a bored out 2.5ltr and the model became known as the FX4D
Originally the cars were fitted with chrome bumpers and over riders in 1979 the bumper remained chrome but the over riders were replaced by rubber mouldings.
In 1982 Carbodies (Coventry) who had manufactured the taxi for many years took over the intelectual property rights. And began to produce them under their own name, the Austin engine was no longer available due to emission regulations resulting in the plant being to India. Carbodies began using the 2268cc Land Rover engine and the new model was designated FX4R. During this period power steering and improved brakes were developed. Due to reliability issues some owners replaced the Land Rover unit with a Perkins/Mazda 2977cc engine another solution was adapting the old chassis and suspension and fitting the newly produced 2.5 diesel engines made by the plant exported to India. This solution of using refurbished chassis and suspension resulted in these Taxi's being registered with a Q rather than the current annual letter. They were therefore known as the FX4Q, minus power steering and were a great deal cheaper than the FX4R. Although produced by Carbodies they were sold by the dealer under the name of Rebuilt Cabs Co. Ltd.
In 1984 LTI (London Taxis International) was formed by parent company Maganese Bronze owners of both Carbodies and Mann Overton. LTI replaced the 2.25 FX4R Land Rover unit with a 2.5 Land Rover diesel re designating the Taxi FX4S. The FX4 continued to evolve until its replacement in 1997 by the LTI TXI
There were officially two body styles the standard four door cab and a two door funeral version.
Also the FL2 was a private hire version, lacking the roof mounted Taxi sign, which could be ordered with upmarket trim and air conditioning for the likes of Hotels to use as a courtesy vehicle and some were sold to private owners, which have included HRH Prince Philip, Duke of Edinburgh and celebrity Stephen Fry
Shot at The Enfield Pagaent 29.05.2011 Ref 69-093
Please don't forget to click on the flag