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Consumers Energy employees, family members and friends volunteered to raise money and Walk For Warmth in Zeeland, Michigan on February 11, 2012.
As part of NRC's public outreach, Don Jackson, a Region I branch chief, meets with various service organizations across southern Vermont on May 6, 2009, to explain NRC activities in the region around the Vermont Yankee nuclear plant.
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
To comment on this photo go to public-blog.nrc-gateway.gov/2012/04/01/nrc-moves-its-publ....
A Ukrainian Armed Forces Chaplain and Ukrainian National Guard Soldiers finish a prayer at the closing ceremony for Exercise Rapid Trident 16 in Yavoriv, Ukraine July 8, 2016. The exercise is a regional command post and field training exercise that involves about 2,000 Soldiers from 13 different nations, being held at the International Peacekeeping and Security Center in Yavoriv, Ukraine June 27 - July 8, 2016. (U.S. Army photo by Sgt. 1st Class Whitney Hughes/Released)
NRC's Lynnea Wilkins, Carleen Sanders, Diana Woodyatt and Lisa Regner talk to girls in Laurel, Md., about careers in science, technology, engineering, and mathematics, and provide hands-on activities with household items and a rate meter to help students and parents understand radiation.
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
To comment on this photo go to public-blog.nrc-gateway.gov/2012/04/01/nrc-moves-its-publ....
A day in a Junkyard
Salahuddin Ahmad, Melbourne Polytechnic, Victoria, Australia.
Either it is an accident or beyond its age, our carefully handled favourite car gets old, damaged, rusty, abandoned or impounded and becomes unwanted. It then finds a temporary shelter in a junkyard. A junkyard is also known as a car wrecker, a place where damaged or old vehicles are broken up and recycled to obtain useable parts and scrap metal.
Junkyards make a significant contribution to the economy. It is estimated that the vehicle attrition rate in Australia is 4.1% which is approximately 700,000 vehicles a year and produces 980,000 tonnes of waste each year. Thus, it requires a significant amount of workforce involvement to safely dispose of these vehicles as well as sustain the growth of this industry.
Imlachs Self Serve Auto Parts, a junkyard in Springvale, Victoria is a busy place full of activity throughout the day. People come here to sell their unwanted cars as scrap metal or collect recyclable parts from the damaged vehicles. There are 3 multi-dismantling machines, 2 forklifts, 6 trucks and 4 automotive lifts in operation with 36 shift workers to operate and run the business.
The Junkyard offers an environmentally friendly place to dispose of unused and unwanted vehicles. These unwanted cars contain toxic battery acids, toxic chemicals, engine oils and other fluids which can cause long term damage to soils, water and air quality. To minimise the environmental impacts, the most environmentally friendly way is to dispose of them in a junkyard with authorized operators.
Location: Imlachs Self Serve Auto Parts, Springvale, Victoria, Australia.
Consumers Energy employees participated in the Jackson, Michigan Walk for Warmth hosted by the local Community Action Agency on February 24, 2012. The walk began in front of the Consumers Energy headquarters and more than 255 employees, friends and family volunteered and donated. Funds raised from the walk will help provide home heating assistance to low-income individuals.
Consumers Energy employees participating in the Mt. Pleasant, Michigan Walk for Warmth on February 4, 2012.
THE TELUS WORLD SKI & SNOWBOARD FESTIVAL
Photos by Ron Sombilon Gallery and Hush Magazine
www.Facebook.com/HushVancouver
.
Note text: "To the Southern Weekly and its readers --
I look forward to continuing the ties between our two countries and congratulate you for contributing to the analysis and flow of vital policy information. An educated citizenry is the key to an effective government, and a free press contributes to that well-informed citizenry.
Barack Obama"
President Obama's laudatory note to Southern Weekend, a Chinese national newspaper regularly on the edge of permissible press freedom in China, and sometimes over it. They lose their editor every two years or so for running afound of the Propaganda Department of the Chinese Communist Party.
The Interview transcript from America.gov
19 November 2009
President Obama’s Interview with Xiang Xi of Southern Weekly
Obama answers questions on U.S.-China relations, trade and economic issues
THE WHITE HOUSE
Office of the Press Secretary
November 19, 2009
INTERVIEW OF PRESIDENT OBAMA
BY XIANG XI, SOUTHERN WEEKLY
St. Regis Hotel
Beijing, China
Q: Your first trip to China is ending. So can you use just one sentence to tell us your favorite about the trip?
PRESIDENT OBAMA: It has been a very productive trip. We have worked on a range of issues of mutual concern to the United States and China, and I think it signifies the continued growth of the relationship that is so important not only to our two peoples but also to the world.
Q: I know you love basketball. So do you think you have time to play basketball while you're being President?
PRESIDENT OBAMA: You know, I do play, not as often as I used to, but I still play maybe once every week or two. And I enjoy going to games, as well. I wish I could have gone to see the Shanghai Sharks, but it wasn't in my schedule. And I'm looking forward to meeting Yao Ming, who is one of my favorite players.
Q: 2009 is 30 years anniversary of China and U.S. diplomacy. On the press reception you said you welcome China to be a strong, prosperous country, playing a more important role on international affairs. And in the two countries' joint declaration, China also welcomed America to play an important role as a Asia Pacific country. So how do you see the China-America cooperation in Asia Pacific area?
PRESIDENT OBAMA: Well, first of all, I think it's obvious that China's emergence as a major economic power in the world has been one of the most important things to happen over the last two decades. And part of the reason that China has been able to grow so rapidly is because of strong trade ties between the United States and China.
More importantly, we're seeing our relationship move beyond just issues of trade and economics. We're now consulting with each other on critical issues like climate change that can't be solved unless the United States and China participate.
And so increasingly I think what you'll see is a broad strategic relationship between the two countries in which not only are we seeking to cooperate on key economic issues that can increase prosperity for both peoples, but that we're also working closely together on everything from climate change to nonproliferation,, to dealing with issues of terrorism, to making sure that we're addressing critical issues like global poverty and food security.
And I welcome China's role in the world -- on the world stage. As it has more resources and more confidence, it's able to take on more and more responsibilities. And we look forward to being an effective partner with China.
Q: My fourth question is, America has not recognized China's market economic status. So what effort you give to this question?
PRESIDENT OBAMA: Well, keep in mind that China's non-market status under the WTO only applies to a few segments of the economy. Most of China's economic sectors are treated as part of the market economy. That's why trade with the United States is so robust. And my understanding is, is that the Chinese government is taking steps necessary in order for it to achieve a market status by 2015, and certainly we are interested in working with China for such a result.
Q: Do you have to schedule, to work on to recognize China's market economy status?
PRESIDENT OBAMA: Well, this is an issue that involves a lot of technical economic questions. And so what we have done through our strategic and economic dialogue is to create a framework where we can work through many of these detailed issues at a technical level -- hopefully they can be resolved.
Q: We notice China and America has a large content of trade, but America has many restrictions against China on high-technology exportation. Both China and America's companies are not very satisfied on this. So it also restricts the two countries' trade balance. How do you comment on this?
PRESIDENT OBAMA: Well, first of all, I think it's just important to recognize obviously that the United States has the most open markets in the world. That's why China is able to accumulate such significant trade surpluses with the United States. The issue of high-tech exports, though, is something that we are reviewing. I discussed this with President Hu. We do think there are opportunities for U.S. exporters to export high-tech technology or to export high technology to China. And some of these restrictions may be outdated, so we're going to be doing a comprehensive review.
One of the main goals I think in the G20 summit in Pittsburgh was to agree that we need a more balanced growth pattern in which China is increasing domestic demand, and other surplus countries are increasing domestic demand, and the United States is saving more and exporting more. That I think will help to stabilize the world financial system as well as help create higher standards of living here in China and more jobs in the United States. And so this could be part of a broader approach that we need to take, and that includes looking at trade provisions, it includes what our currency policies are. All these things go into this broader goal of more balanced growth.
Q: You talked twice, in Tokyo and Shanghai, that America not trying to contain China's rise. So how do you plan to carry out this policy? How do you do it?
PRESIDENT OBAMA: Well, I think through the kinds of ongoing discussions and dialogue that we're currently having with China. It is in the United States' interests to have a stable and prosperous China that helps to anchor a stable and prosperous Asia in the same way that Japan's stability, South Korea's stability creates a more peaceful world and greater commercial ties with the United States. The same is true in respect to our policy towards China.
I think that the only thing that could prevent such a positive outcome is if there are misunderstandings and miscalculations between the two sides. And that's why it's so important for us to have these continuous dialogues both on the economic set of issues, but also on security issues. And the more trust that's been established between the two countries, the less likely such misunderstandings could occur.
Q: Thank you very much.
Read more: www.america.gov/st/texttrans-english/2009/November/200911...
20110224, Dr Fred Caldwell, Auburn Veterinarian magazine, Therapeutic Equine Program
at Storybook Farm, involving fourth-year students & our faculty, w/ horses.
Naadam is the national sports festival of Mongolia, involving wrestling, archery and horse-racing (and alongside sheep anklebone tossing competions). In 2012, just before the London Olympics, the Mongolian Olympians also joined the introductory ceremony
Area high school students shadow NRC employees at headquarters as part of "Job Shadow Day" on April 9, 2009, here Darren Ash (left center), Chief Information Officer and Thomas Boyce (right center), director of the Office of Information Services, talk to students about information technology security issues facing federal agencies and the NRC.
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
To comment on this photo go to public-blog.nrc-gateway.gov/2012/04/01/nrc-moves-its-publ....
The way to the future is through knowing our risk. A community vulnerability analysis involving the women of Thaung Tan village, Myanmar, is one of many disaster risk reduction activities being undertaken in Dedayer township. The town’s disaster risk reduction work includes developing community risk reduction action plans, raising public awareness, first aid practice, installing radios to provide early warning and building facilities such as bridges and jetties. "Our village is getting stronger with such things – almost all of the people listen to the weather report on the radio now," explains Daw Than Myint. "If another cyclone comes, we plan to run to the new concrete school built. It was designed to be a shelter in times of a cyclone."
Photo by Dedaye Team / Oxfam
Photo: POH
Portraits of Hope's massive public art and civic project – involving more than 20,000 kids, adults and volunteers – that visually transformed Manhattan. By recruiting and utilizing more than 5,400 fully operational NYC taxis to participate in the unprecedented 4-month exhibition, the cabs and city streets of New York were transformed into a giant mobile canvas. The unprecedented event integrated two key characteristics that define the City: the saturation of the iconic taxis; and the vertical physicality of Manhattan. www.portraitsofhope.org
Garden in Transit -- A Portraits of Hope Project
Portraits of Hope's NYC Public Art and Civic Project -- NYC Taxis
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
5,400+ New York City Taxis
23,000 Children and Adults
200+ Participating Schools, Hospitals, and NYC institutions
700,000 Sq. ft. of paintings
Youth and Program Sessions in NY, CA, NJ, OH, GA, PA
Project-based learning: interdisciplinary contemporary issues and civic education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for hospitalized children and persons with disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, and other serious conditions
10-month program and collaborative phase
4-month New York City public art exhibition
Youth sessions and exhibition in Brooklyn, Bronx, Manhattan, Queens, Staten Island
Portraits of Hope rings NASDAQ opening bell
Special thank you to Helen Bing and Peter Bing, Vornado Realty, Hotel Pennsylvania, MACtac, Empire Blue Cross/Blue Shield
Port Authority of New York and New Jersey
Cordelia Corporation, Veriflora, Wooster Paint Company, Jenner & Block, Purdy-Bessemer Holdings, FedEx, Hudson River Park Trust, Susan Kohlmann, Debbie and Hal Jacobs, Nazdar, Abbot & Abbot Box Corp. AAA Flag & Banner, Bruce and Nancy Newberg Family Fund, Pillsbury Sutro Shaw Pittman, Davidow Charitable Fund, Joleen and Mitch Julis, Armstrong Nickoll Family Foundation, Polo Ralph Lauren Foundation, Ore Hill Partners LLC, Time Warner, Building Maintenance Services LLC, PTG Event Services, FedEx, NASDAQ
NRC's Doug Coe, Hosung Ahn and Richard Chang (left to right) talk to a student (2nd from left) about his project at the annual Montgomery County science fair on March 26, 2007. Four projects will receive a special NRC Award.
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
To comment on this photo go to public-blog.nrc-gateway.gov/2012/04/01/nrc-moves-its-publ....
The Mavis Seed joyous, energetic acoustic pop, folk, and gospel band live performances storytelling involving originality sincerity grounded humble refreshing reedy zined matt burnside sara dee
I had a cool idea involving scarves, and I guess this is how it turned out.
Senioritis is setting in, and school has only been in session for two weeks. I am only taking 12 credits, and I still don't want to do anything. (Don't worry, family that may be reading this--I am still doing my homework. ;D)
SWEATSHIRT: hideandseek.bigcartel.com/product/new-bird-flashdance-hoodie
There For Tomorrow - Re:Deathbed
^^Leaked yesterday! Check it. therefortmrw.tumblr.com/post/1296570575/re-deathbed-leak#...
Strobist info: Sunpak 383 at 1/16th power shot thru an umbrella, camera right.
Fire involving three storey public house. Two hydraulic platforms in use as water towers, water support unit, 12 BA. Six hose reel's and thermal image in use. Building destroyed by fire, now under going demolition.
The University of Illinois Springfield hosted its annual Welcome Week Involvement Expo in an effort to get students active on August 29, 2012. The expo featured over 100 student organizations, clubs, community groups, and businesses.
St Joseph Plantation
3535 Highway 18
Vacherie, Louisiana
St James Parish
One of the major plantation houses on the Great River Road between Baton Rouge and New Orleans, St. Joseph (c. 1840) stands on the Mississippi’s west bank above Vacherie in St. James Parish. A large raised Creole plantation house with Greek Revival detailing, the two-story house features briquette-entre-poteaux (brick-between-posts) construction. Its architectural integrity has not been compromised by the post-mid-nineteenth century alterations it has received.
St. Joseph is the largest type of French Creole plantation house built in Louisiana. The premier etage (principal living space) is a full story above grade. The brick basement story is enclosed. A double gallery spans the façade, while the rear has the typical cabinet-loggia range on each level. The floor plan of the premiere etage is unusual for a French Creole plantation house. It is symmetrical, containing a central hall with a four-room suite on each side. Each suite consists of two rooms facing the front and two facing the rear. According to Dr. Jay Edwards of Louisiana State University, who has made a study of the methods Creoles used to enlarge their houses, dwellings as large as St. Joseph and with similar room configurations are often the result of expansions involving the enclosure of side galleries. However, the architectural evidence indicates that the upper story was built all of a piece. The detailing is similar throughout and the side rooms are too wide for the areas to have previously been galleries.
Dr. Cazimir Bernard Mericq purchased a one-arpent tract (which would later be part of St. Joseph Plantation) from the Scioneaux family c. 1840. This land included a “maison principale.” (Whether it was the candidate or an earlier house cannot be documented.) Mericq died in 1855, and in 1857 or 1858 Alexis Ferry, II and his wife Josephine became St.Joseph’s third known owners. Josephine Ferry was the daughter of well-known Louisiana Creole planter Valcour Aime, whose famous plantation, known as Petit Versailles, stood a short distance downriver from St. Joseph. Oral tradition suggests that Ferry enclosed the dwelling’s lower level, but his detailed four-volume journal (housed at Tulane University’s manuscript library) lacks mention of any major changes to the house, nor does the architectural evidence support the notion of an open lower floor (see Part 7). The Ferrys expanded the plantation, but debt forced them to sell in 1873. Since 1877 the home and land have belonged to the Waguespack family. Their family corporation, St. Joseph Planting and
Manufacturing, Inc., grows sugar cane on the plantation. Family members recently rehabilitated the house, which is now open for tours.
As per: www.crt.state.la.us/hp/nationalregister/nhl/document2.asp...
For more information: www.stjosephplantation.com/
Seventeen Consumers Energy employees, family members and friends volunteered to raise money and Walk For Warmth in Hartland, Michigan on February 25, 2012.
Measurements at the experimental agriculture plot at pk17 in Yangambi - DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
USC students for the first time in over a years attend the involvement fair in person on Trousdale Parkway, August 30, 2021. (USC Photo/Gus Ruelas)
Through involving with Plan facilitated children organisation (CO) an extreme poor girl, Lipi Ara has become confident in her work. Participation in various trainings in the CO has enhanced her potentiality to be developed as a good citizen. Presently she is highly dedicated to realise rights of the children in the community..
Lipi Ara aspires that she will be grown up as a good citizen in the country. Along with concentrating in the study she will continue to work for realising the rights for the children. She acknowledges the impact of Plan’s intervention on her life. As she expressed, “Earlier I was not so confident. Involvement in children organisation, adolescent peer groups and Union child forum has brought significant changes in my life. Presently I am confident in my work. I know where I should go and how should I talk to people to realise our rights. I have found that people listen to me as well. I have realised that along with providing effort for my own improvement I should work for the protection of the children in the village. With our joint effort we will be able to improve the lives of the children in the country.”
Wikipedia, Trawling is an industrial method of fishing that involves pulling a fishing net through the water behind one or more boats. The net used for trawling is called a trawl. This principle requires netting bags which are towed through water to catch different species of fishes or sometimes targeted species. Trawls are often called towed gear or dragged gear.
The boats that are used for trawling are called trawlers or draggers. Trawlers vary in size from small open boats with as little as 30 hp (22 kW) engines to large factory trawlers with over 10,000 hp (7.5 MW). Trawling can be carried out by one trawler or by two trawlers fishing cooperatively (pair trawling).
Trawling can be contrasted with trolling. While trawling involves a net and is typically done for commercial usage, trolling instead involves a reel, rod and a bait or a lure and is typically done for recreational purposes. Trawling is also commonly used as a scientific sampling, or survey, method.
Bottom vs. midwater trawling
Bottom trawling
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Trawling can be divided into bottom trawling and midwater trawling, depending on how high the trawl (net) is in the water column. Bottom trawling is towing the trawl along (benthic trawling) or close to (demersal trawling) the sea floor. Bottom trawling is an industrial fishing method in which a large net with heavy weights is dragged across the seafloor, scooping up everything in its path. Bottom trawling can be disadvantageous because it can stir up significant amounts of sediments that lie on the sea bed [1] and can harm some marine species.[2] It also causes water pollutants to mix with some plankton, which in turn will move into the food chain, which will then create harmful algae blooms leading to insufficient oxygen. A 2021 study estimated that greenhouse gas emissions from bottom trawling were as much as aviation.[3] However, the estimation methods in the original article published in the journal Nature,[4] have been criticized by other scientists, claiming that the green house gas emission estimates are uncertain.[5] Pr 2024 there is an intense scientific debate going on about this and no final conclusion can yet be drawn. Newer, trial methods employing bottom trawling gear that do not touch the seabed could potentially have lower environmental impact than livestock or fed aquaculture if employed.[6] Midway trawling or pelagic trawling target fishes that are living in the upper water column of the ocean. The funnel shaped trawl nets are hauled by one or two boats. This method is generally used to catch fishes of a single species. Unlike bottom trawling, this type of trawl does not come into contact with the sea bed and hence is not involved in damage of marine habitat. Some species caught with this trawling method are mackerel, herring, and hoki. However there may be some disadvantages in using this method as in the process of catching the targeted species of fish, one may end up capturing non targeted fish accidentally and thus discarding of juvenile commercial species of fish may impact on the population. Still, bycatch level is typically lower.
Midwater trawling is also known as pelagic trawling. Midwater trawling catches pelagic fish, whereas bottom trawling targets both bottom-living fish (groundfish) and semi-pelagic fish.
The gear itself can vary a great deal. Pelagic trawls are typically much larger than bottom trawls, with very large mesh openings in the net, little or no ground gear, and little or no chaffing gear. Additionally, pelagic trawl doors have different shapes than bottom trawl doors, although doors that can be used with both nets do exist.
Net structure
Nets for trawling in surface waters and for trawling in deep water and over the bottom. Note the "tangles" with ensnared marine life
When two boats are used (pair trawling), the horizontal spread of the net is provided by the boats, with one or in the case of pelagic trawling two warps attached to each boat. However, single-boat trawling is more common. Here, the horizontal spread of the net is provided by trawl doors (also known as "otter boards"). Trawl doors are available in various sizes and shapes and may be specialized to keep in contact with the sea bottom (bottom trawling) or to remain elevated in the water. In all cases, doors essentially act as wings, using a hydrodynamic shape to provide horizontal spread. As with all wings, the towing vessel must go at a certain speed for the doors to remain standing and functional. This speed varies, but is generally in the range of 2.5–4.0 knots.[citation needed]
The vertical opening of a trawl net is created using flotation on the upper edge ("floatline") and weight on the lower edge ("footrope") of the net mouth. The configuration of the footrope varies based on the expected bottom shape. The more uneven the bottom, the more robust the footrope configuration must be to prevent net damage. This is used to catch shrimp, shellfish, cod, scallops and many others. Trawls are funnel-shaped nets that have a closed-off tail where the fish are collected and is open on the top end as the mouth.[citation needed]
Trawl nets can also be modified, such as changing mesh size, to help with marine research of ocean bottoms.[7]
Environmental effects
Further information: Bottom trawling § Environmental damage
Although trawling today is heavily regulated in some nations, it remains the target of many protests by environmentalists. Environmental concerns related to trawling refer to two areas: the lack of selectivity and the physical damage which the trawl does to the seabed.[8]
Selectivity
Trawl catch of myctophids and glass shrimp from the bottom at greater than 200 meters depth
Since the practice of trawling started (circa 14th century), there have been concerns over trawling's lack of selectivity.[9] Trawls may be non-selective, sweeping both marketable and undesirable fish and fish of both legal and illegal size. Any part of the catch which cannot be used is considered by-catch, some of which is killed accidentally by the trawling process. By-catch commonly includes valued species such as dolphins, sea turtles, and sharks, and may also include sublegal or immature individuals of the targeted species.
Many studies have documented large volumes of by-catch that are discarded. For example, researchers conducting a three-year study in the Clarence River found that an estimated 177 tons of by-catch (including 77 different species) were discarded each year.[10]
Size selectivity is controlled by the mesh size of the "cod-end" — the part of the trawl where fish are retained. Fishermen complain that mesh sizes which allow undersized fish to escape also allow some legally catchable fish to escape. There are a number of "fixes", such as tying a rope around the "cod-end" to prevent the mesh from opening fully, which have been developed to work around technical regulation of size selectivity. One problem is when the mesh gets pulled into narrow diamond shapes (rhombuses) instead of squares.
The capture of undesirable species is a recognized problem with all fishing methods and unites environmentalists, who do not want to see fish killed needlessly, and fishermen, who do not want to waste their time sorting marketable fish from their catch. A number of methods to minimize this have been developed for use in trawling. By-catch reduction grids (typically made of stainless steel or plastic) or square mesh panels of net can be fitted to parts of the trawl, allowing certain species to escape while retaining others. In fish trawls, the grid is mounted so the smallest organisms (juvenile fish, shrimp) pass through the grid and enter the sea again. In shrimp trawls, the grid pushes the largest organisms (fish) through a hole in the roof of the net, reducing by-catch of fish. The latter type of grid is mandatory in Norway and has been in use for 20 years.[11] The grids are typically equipped with sensors that measure the angle of the grid, so the fishermen can tell whether the grid is working correctly.
Studies have suggested that shrimp trawling is responsible for the highest rate of by-catch.[12]
Physical damage
Trawling is controversial because of its environmental impacts. Because bottom trawling involves towing heavy fishing gear over the seabed, it can cause large-scale destruction on the ocean bottom, including coral shattering, damage to habitats and removal of seaweed.[citation needed]
Porpoise Caught in Fishing Net
The primary sources of impact are the doors, which can weigh several tonnes and create furrows if dragged along the bottom, and the footrope configuration, which usually remains in contact with the bottom across the entire lower edge of the net. Depending on the configuration, the footrope may turn over large rocks or boulders, possibly dragging them along with the net, disturb or damage sessile organisms or rework and re-suspend bottom sediments. These impacts result in decreases in species diversity and ecological changes towards more opportunistic organisms. The destruction has been likened to clear-cutting in forests.
The primary dispute over trawling concerns the magnitude and duration of these impacts. Opponents argue that they are widespread, intense and long-lasting. Defenders maintain that impact is mostly limited and of low intensity compared to natural events. However, most areas with significant natural sea bottom disturbance events are in relatively shallow water. In mid to deep waters, bottoms trawlers are the only significant area-wide events.[citation needed]
Aerial Photo of Trawling Turbidity Plume in Louisiana
Bottom trawling on soft bottoms stirs up bottom sediments, loading suspended solids into the water column. It is estimated that 21.87 gigatons of sediment from the sea floor is resuspended annually due solely to the activity of trawlers.[citation needed] For scale, the amount of sediment deposited into the ocean by all rivers in the world is estimated to be 17.8 to 20 gigatons annually.[a] When the turbidity plumes from bottom trawlers are below a thermocline, the surface may not be impacted, but less visible impacts can still occur, such as persistent organic pollutant transfer into the pelagic food chain.[citation needed] Rototilling the sea floor and resuspending bottom sediment affects the nutrient levels and changes the entire chemistry of the ambient water, greatly reducing the photosynthesizing ability of plants and kelps while also impacting any animal living on the ocean floor. An article published in New Zealand Journal of Marine and Freshwater Research determined that the resuspended sediment creates anaerobic turbid conditions capable of killing scallop larvae that use the ocean floor as a habitat as they mature. The study also revealed that for filter feeders, despite there being more particulate matter in the water after a trawl, the protein per unit weight of sediment decreased, meaning they have to filter much more water for the same nutritional value.[13] A 2021 study estimated annual carbon emissions from bottom trawling at almost 1.5 billion tonnes (about 3% of the world total) and recommended that more marine protected areas be established.[14] Both the findings and the conclusions in the study have been scrutinized in more recent scientific works that do not come to the same conclusions as the mentioned study does.[15][16]
Despite these scientific disputes that to a large extent are oriented around scientific modelling, other effects of trawling are not disputed. A vast array of species are threatened by trawling around the world. In particular, trawling can directly kill coral reefs by breaking them up and burying them in sediments. In addition, trawling can kill corals indirectly by wounding coral tissue, leaving the reefs vulnerable to infection. The net effect of fishing practices on global coral reef populations is suggested by many scientists to be alarmingly high.[17] Published research has shown that benthic trawling destroys the cold-water coral Lophelia pertusa, an important habitat for many deep-sea organisms.[18]
Midwater (pelagic) trawling is a much "cleaner" method of fishing, in that the catch usually consists of just one species and does not physically damage the sea bottom. However, environmental groups have raised concerns that this fishing practice may be responsible for significant volumes of by-catch, particularly cetaceans (dolphins, porpoises, and whales).[19]
Studies on population and trawling
Red King Crab
The population of Alaska's Bristol Bay red king crab experienced an abrupt collapse during a three-year time span after 1980. During the 1970s the Bristol Bay red king crab fishery represented Alaska's most valuable single-species fishery until 1980, then in 1982 the catch had dropped to zero and was an incredible example of a population crash. The cause of this crash was controversial with U.S. and Alaskan crab managers and modelers, with some stating the phenomena was a natural occurrence due to Pacific decadal oscillation, a shift in the location of warm and cold waters at an irregular pattern, while other marine biologists questioned the involvement of the new trawling fishery targeting Yellowfin sole in the area. Subsequently, a study was conducted by C. Braxton Dew and Robert A. McConnaughey in 2005 using data from the yearly Bristol Bay bottom-trawl survey conducted by the National Marine Fisheries Service and from the North Pacific fishery-observer database (NORPAC), to determine the effect of trawling on the population collapse.
When the U.S. commercial harvest of the legal male red king crab reached its peak in 1980 after a 10-year increase, a trawl fishery for Yellowfin sole was introduced. The new trawl fishery was located in the same area as the Bristol Bay Pot Sanctuary, which was dissolved in 1976. The pot sanctuary was introduced to protect the brood stock of female king crab which congregate in Bristol Bay to lay their fertilized eggs. During the active years of the pot sanctuary the only catch allowed in the area was male red king crab of regulation size caught in crab pots. During the first year of the joint U.S.-Soviet Yellowfin sole fishery, 1980, the bycatch rates for red king crab in the Bering Sea and Aleutian Islands increased by 371% over the average rates from 1977-1979. The following year, in 1981, the bycatch rate increased again another 235% over the 1980 rate, with most of the bycatch being mature females. As more unmonitored domestic trawls, trawls where bycatch is not reported, began in the area that was formerly the sanctuary, anecdotal reports of "red bags," trawl bags with the cod-end, the end the fish are retained, plugged with red king crab began. During this time the percentage of males in the population jumped from 25% in 1981 and 16% in 1982 to 54% in 1985 and 65% in 1986.[20] Due to the sudden change in the sex ratio, Dew and McConnaughey concluded that sequential, sex-specific sources of fishing mortality were at work.
Analyzing the findings of their study, Dew and McConnaughey determined a strong correlation between trawling activity and the sex ratio change as well as the total population decline. Dew and McConnaughey hypothesize that since female crabs return to and linger in Bristol Bay to lay pre-fertilized eggs, the trawling in the area disproportionally impacted the female population more than the male population and contributed to the change in sex ratio, as crabs do not die after they spawn. To account for the total change in population, they concluded the bycatch in trawls of female crabs with fertilized eggs contributed to the overall population decline, as less crab eggs were laid. Dew and McConnaughey noted that dissolving the Bristol Bay Pot Sanctuary exposed a vulnerable time in the red king crab's mating cycle to trawling. Dew and McConnaughey concluded that even though trawling contributed to altering the sex ratio and total population of red king crab, it cannot be declared the sole factor that led to the population collapse as additional factors, such as climate change, likely played a role.[20]
Bycatch
Bycatch reporting
Bycatch from a Shrimp Trawl
To ensure a non-biased estimate of bycatch, a fisheries observer, an independent field biologist, is deployed to every US-based trawling vessel when required by the regulations of the fishery. The responsibilities of an observer are to collect data on fishing activity, including areas and depth fished, and gear set and retrieval times; determine catch estimates, including the amount of each species discarded; gather data on individual fish, such as sex, length, and weight; and to compile bycatch data of protected species like marine mammals and seabirds.[21] During every trawl the observer is to stand on deck as the catch is sorted and actively estimate the catch weight of each species of bycatch using a standardized method. The data gathered by observers is shared with multiple organizations, including NOAA, which publishes its findings in the annual National Bycatch Reports, which is used to set bycatch limits for protected or regulated species and determine mortality estimates for endangered species. The observer lives aboard the vessel with the crew for the duration of the trip which can last for days or weeks. However, the observer method of monitoring trawls may not be entirely effective. Certain fisheries have bycatch limits that end a vessel's season if exceeded, and anecdotal reports of observers being pressured by crew and captain to lower their estimates have emerged. These reports center around the financial repercussions that the crew, who get paid a percentage of the total catch profits, would face if their vessel is barred from fishing. Although the reports are unverifiable, the observers claim that they underestimated the bycatch at rates of up to 50%.[22] In 2006, an electronic method of observing bycatch that does not require an in-person observer was introduced in Canada. The monitoring method utilizes video cameras that record the retention or discarding of all fish at the hauling site during all fishing events and log time and GPS information. The data gathered from the cameras is used in conjunction with the vessel's logs and dockside monitoring of the catch as it is being unloaded to construct an estimate of the total bycatch. Each of three data sets are also used to verify one another and can alert fisheries management to dishonest practices.[23]
Some fisheries, in the US and abroad, do not mandate an observer while the vessel operates. In these fisheries, the bycatch data is either self-reported or not reported at all. In some instances, fisherman voluntarily self-report their bycatch data to oversight bodies. The fisheries with unmonitored trawls often catch bycatch that is not as valuable as the bycatch monitored fisheries or utilize midwater trawling which yields less bycatch than the more standard bottom trawling. Fisheries that forgo bycatch reporting are encouraged by organizations such as NOAA to report their bycatch to aid the effort of tracking the health of the fishery. As the health of the ocean in the future is uncertain due to climate change and other factors, providing biologists with accurate data about a source of fish mortality is essential to preserve the renewable resource that is wild caught seafood.[24]
Cost
Regardless of the ecological effects of trawling, the cost of bycatch as trawlers operate poses an economic issue. It is estimated by Oceana that, worldwide, fishermen lose at least $1 billion worth of potential catch annually due to the disposal of bycatch.[25] Any animal that is caught and discarded as bycatch often dies and cannot reproduce, negatively impacting the stock of the species.[24] Bycatch is not limited to only inexpensive species of fish. Often, well known and prized fish species are disposed of as bycatch due to size and sex restrictions or because the vessel's permit does not include the species. The highest cost associated with the bycatch of a single species is Pacific halibut, worth an annual $58.7 million. For halibut the massive bycatch cost can be attributed to trawlers catching more halibut as bycatch than the halibut fishery catches total. In 2014, seven times as many halibut were caught and discarded as trawl bycatch then in the directed fishery.[26] Additionally, other prized fish species have an immense bycatch cost, the most costly are Sea trout worth $45.5 million, Atlantic sea scallop worth $32.7 million, red snapper worth $27.2 million, summer flounder worth $7.2 million, red grouper worth $6.7 million, Atlantic and Pacific cod worth $6.7 million, Tanner crab worth $4.6 million, king mackerel worth $4.3 million, sole worth $3.9 million, bluefin tuna worth $3.4 million, Chinook (king) salmon worth $1.4 million, and swordfish worth $1.3 million.[25] The aforementioned estimates were determined using the wholesale market price that fishing vessels sell their fish to processors for, which is often cents on the dollar compared to the price at a store and were determined using bycatch reports from observed vessels, which have a dedicated observer to estimate the amount of bycatch a vessel captures and could be less than the true values.
Current estimates from Oceana find that 10% of all fish caught worldwide is disposed as bycatch, with some vessels returning more bycatch than what they keep per trawl.[25] This lost potential catch of fish equates to upwards of 60,000 potential jobs for fisherman that would be needed to catch the same amount of fish in a directed fishery.[27] Due to regulation, generally trawlers are unable to land and sell protected or regulated species caught as bycatch. Those who oppose trawling assert that since bycatch rarely returns to the ocean alive, the practice does not promote sustainable economic behavior, as each fish caught as bycatch from trawling becomes a waste product rather than being sold and eaten. Often fishermen have the means and knowledge to reduce the amount of bycatch, yet they lack the economic incentives. Examples of strategies to economically incentivize reducing bycatch are individual or pooled bycatch quotas, landings fees, risk pooling, or assurance bonds that have been implemented in other countries to encourage fishermen to adopt better practices.[27] However, in Alaska some bycatch is utilized in a food share program created by a non-profit organization called SeaShare that is partnered with food banks across America. A group ex-trawler fishermen founded SeaShare in 1994 after successfully introducing changes to the National Marine Fisheries Service regulations to allow for the retention of bycatch solely for use by hunger-relief agencies. Since its inception SeasShare has donated 250 million servings of wild caught Alaskan seafood, totaling six million pounds (2,700,000 kg) of utilized bycatch.[28]Wikipedia
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.
Anything involving trains and I have to have it. This wartime frolic involves the Germans attempt to ship back to German hundreds of stolen treasures. But the leader of the local French resistance (Burt Lancaster) tries to stop said train.
USC students for the first time in over a years attend the involvement fair in person on Trousdale Parkway, August 30, 2021. (USC Photo/Gus Ruelas)
UIS student Andrea Carlson represents the Young Americans for Liberty group during the Spring Involvement Expo. Students attending the expo learned about opportunities with a variety of campus departments, student organizations, and community organizations.
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.
Fire involving three storey public house. Two hydraulic platforms in use as water towers, water support unit, 12 BA. Six hose reel's and thermal image in use. Building destroyed by fire, now under going demolition.
Mapping workshop in Nakhon, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
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Photos by www.RonSombilonGalleryPhotography.com
ABOUT ROAMING DRAGON
Roaming Dragon came to life as two lifelong friends identified a major void in Vancouver’s food scene…the absence of restaurant quality food being served via Food Trucks!
Since launching in June 2010, Roaming Dragon has earned praise for our menus, our involvement as leaders in the food truck revolution, and for elevating the food truck experience across Canada.
Roaming Dragon can be seen on the streets of Vancouver, catering the city’s most exciting events, at a Farmers Market, or participating in charity events.
We specialize in authentically unauthentic Pan-Asian deliciousness. We offer unique interpretations of dishes and flavours familiar throughout Southeast Asia.
Street Food. Catering. Events.
As crazy as it may sound, the Dragon is so much more than a truck that serves food…the Dragon has a spirit and energy of its own!
From the aesthetics of the Dragon to the delicious smells, the music to the welcoming lanterns, the amazing food to our incredible staff…the Dragon has heart and soul.
The combination of food, music, smells, and smiles from our team make the journey to the Dragon special. We’re PROUD of our team, PROUD of our food, PROUD of our suppliers, and most of all PROUD to serve our customers.
We fundamentally believe that you DESERVE the finest ingredients, prepared with care and respect, and presented in unique and delicious ways.
We’re PROUD to know where our food comes from, that it was raised ETHICALLY and NATURALLY. Our team takes PRIDE in bringing you the most INNOVATIVE Pan-Asian cuisine you’ll ever come across!
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To fear is one thing.
To let fear grab you by the tail and swing you around is another.
~Katherine Paterson
Fear Not is a community-based art project that creates an anti-fear environment both on the street and in art spaces. The ongoing exhibition will include over 150 images of Fear Not Indirect Mail that has been delivered on the streets of San Francisco, Oakland, Brisbane, Austin, Chicago, Nashville, Kapa’a, and Wailua in the United States, Karlsruhe in Germany, and Florence and Milan in Italy, and London in England will be on view. Fear Not Indirect Mail involves participants writing anti-fear messages on postcards that are turned into magnets and placed somewhere out in the community (on bus stops, street signs, etc.) for someone else to find.
Jennifer Maria Harris: "I have shown my work in traditional art venues for many years, but I have also always created artworks that exist outside of those spaces and that invite and involve people from all walks of life, even some who might not feel comfortable in, or interested in, a gallery or museum.
In the fall of 2007 I read an interview in The Sun magazine with Irish poet and philosopher John O'Donohue. The interview focused on questions of spirituality and creativity, and along the way it mentioned that the phrase "Do not be afraid" appears 366 times in the Bible. I imagined the person who had gone through over a thousand pages looking for that one message, and it made me think about how we are constantly making choices with regard to filtering the information around us, whether that's information from the Bible or another religious text, from friends and family, or from our own thoughts. That made me interested in creating a project that would make those choices more transparent.
As human animals, it is natural for us to choose to focus on and communicate about what to be afraid of. In our current culture, where we are surrounded by an overwhelming amount of information from around the globe, this results in an equally overwhelming amount of fear-oriented messages, both in our mass media and in the information we share with each other.
The Fear Not project seeks to address this culture of fear, which cuts across communities and contributes to the divisions in our society, by inviting people to consciously deliver anti-fear messages to each other and create a culture of Fear Not. The messages tell people not to be afraid, but I don't think the power behind the message is in the words. It's in the reminder that we can choose to see those words in the world around us. It's in the reminder that we can then choose to pass those words on. It's in the fact that someone else chose to share them with us, without regard for our race, religion, or political beliefs.
In all of these ways, I hope to emphasize how the power to shape our emotional environment, and the kind of world in which we choose to live, lies with us, not with the media or anyone else.
John Mason born 1927 American - Sculpture and ceramic art
Red X
1966
Stoneware
LACMA
X a movie rating indicating that admission will not be granted to anyone under the age of 18.
The symbol for reactance, a physical phenomenon involving electricity.
The symbol for the roman number 10.
24th letter of the modern alphabet.
Multiplication symbol.
Indication of an unknown quantity, person or thing, an error, a choice or a kiss.