Hornet Rally 083116

Carte de visite by George H. Johnson of San Francisco, Calif. This image has its origins in Nevada Territory on an April day in 1864. The town of Austin, population about 5,000 souls, just elected its first-ever mayor. A wager connected to the outcome of this election, involving a plain sack of ordinary flour, led to an unprecedented fundraiser for Union soldiers and sailors that gained national attention.

 

Here’s what happened:

 

Two candidates in Austin vied for the office of mayor. Democratic Party candidate David E. Buell went up against Republican candidate Charles Holbrook.

 

Chances being what they were, and with no formal polling available, both sides felt certain of victory.

 

Two men on opposing sides of the contest made a bet on the outcome.

 

The Democratic Party supporter, Reuel Colt Gridley, was a Missouri transplant who had failed to find a fortune in California but earned a respectable living in Austin as a partner in a general store. With plenty of miners in town, business prospered.

 

The Republican supporter, Dr. Henry Herrick, was a Lander County official who resided in the nearby community of Clinton.

 

The wager went like this: If the Republican candidate won, Gridley would march through Austin with a 50-pound sack of flour across his back while a band played “John Brown’s Body.” If the Democrat won, Dr. Herrick would haul the sack of flour to the tune of “Dixie.”

 

There are numerous period tellings of this story and what happened next. Two versions stand out for me. One of them comes from the April 21, 1864, edition of an Austin newspaper, the Reese River Reveille. The other comes from Carl W. Torrence’s 1944 History of Masonry in Nevada. They are vivid, realistic accounts of what transpired. Together they tell the larger story of “That Sanitary Sack of Flour.”

 

We begin with Torrence’s account:

 

The name which brought lasting fame and glory to Austin's Masonic lodges is the name of Reuel Colt Gridley, known best to history for his connection with, and interest in the United States Sanitary Commission during the Civil War. For the sick and wounded there was no Red Cross, no great Army Medical Corps. But the Sanitary Commission was carrying on nobly. Demands on its slender resources had been enormous, had time and again exhausted them. Sufficient money had been brought in to buy supplies. These had been assembled at depots, and the Commission found itself without funds to move them up to the places where they would soon be badly needed. This was the national setting.

 

The local setting was furnished by a municipal election in the little town of Austin. The election was hotly contested. In the heat of the battle, a wager was made between Doctor Herrick and Reuel Gridley. If the Democrats won, Dr. Herrick was to carry a sack of flour on his back across the town to the settlement of Clifton, a mile and a half down the canyon; if they lost Gridley was to become the beast of burden.

 

The Democrats were defeated, and in due time Gridley appeared with the flour, decorated in red, white and blue ribbons, and a few small flags. Beside him marched Dr. Herrick carrying Gridley's hat, coat, gloves and cane, and followed by thirty-six men on horseback, a band playing "Old John Brown” and then came almost the entire population of Austin.

 

Now, I want to pause Torrence’s account to share the reporting from the April 21 issue of the Reese River Reveille. Note the sponge and broom references to clean the political house.

 

Here we go:

 

Yesterday morning the wager was paid in the most splendid style. At 10 o’clock a large convocation of citizens, with the Austin band, people on horseback, and many flags of all sizes, are assembled about the store of Mr. Gridley, who was ready with his sack of flour trimmed with ribbons and mounted with a number of small flags. A procession was formed, with the city officers elect, mounted on horseback, at the head, followed by Dr. Herrick carrying the coat and cane of Mr. Gridley, who was immediately behind with the sack on his shoulder, with his son, a youngster of about ten years, carrying a small flag, marched beside him, and escorted by the Democratic Central Committee, two carrying flags, one a pole to which was attached a huge sponge, and another a pole carrying high in the air a new broom, then came the band playing “John Brown’s Body,” leading an immense procession of citizens. All marched down the street amidst the most enthusiastic cheering of spectators, and the screeching whistles of the numerous mills on the route. Upon reaching Clifton the principals, with the band and as many as could, marched in to the Bank Exchange saloon, where the ceremony of delivering the flour, surrendering the flag and throwing up the sponge was performed, with the most appropriate and graceful speeches by Messrs. Gridley, Markey, Worthington and Herrick. It is not necessary to say that the spirits of the bar added some, if possible, to the enthusiastic spirit of the attendant crowd. Cheers and tigers greets the speeches, the throwing up of the sponge, the surrender of the flags and the broom. “A new broom sweeps clean,” and the one transferred was new and large. It was typical of the clean sweep the party had made, and also that the course of the new officers of the city would be like the new broom, and that in their course of office they would leave a clean record.

 

Now, let’s flip back to Torrence’s Masonic History:

 

An argument arose as to the disposition of the flour. Herrick proposed that it be made into griddle cakes and swore that no Democrat should have one. Gridley insisted that it be put up at auction, the purchaser to put up the amount in gold and retain possession until the sack was again offered at auction and sold and so on until everyone had a chance to possess it. All proceeds to go to the Sanitary Commission.

 

Gridley was the first purchaser. This brought a round of cheers, and the bidding started in earnest. From the sale, the sum of five thousand dollars was sent by Gridley to the Commission.

 

Gold Hill in Storey County heard of the auction, and asked that the residents of that town be permitted to conduct an auction. So to Gold Hill went Gridley and his flour. The auction was repeated, miner bidding against merchant, banker against doctor. $5,225.00 was raised, and the supremacy of Gold Hill over Austin publicly admitted. Then the parade filed through Devil's Gate to Silver City, but a rain storm interfered with the sale, so on they went to Dayton, the county seat. Rivalry between the towns of the Comstock boosted Gridley's sales enormously. At Virginia City, Mr. Bonner of the Gould and Curry mine started the ball rolling with his bid of $3,500.00. The sales mounted until that section of Storey County raised $22,000.00.

 

From there Gridley, with his now famous sack of flour, went to Sacramento, San Francisco, and then to New York and the East. In all, Gridley turned over to the Commission, over $265,000.00, a sum which made possible the fine work of the Commission the last year of the war. Gridley, his work completed, returned to the West, broken in health and financially ruined. He had exhausted his means transporting his flour over the country. In 1866 he landed in Stockton without a dollar. He died in Paradise City, Stanislaus county, Nov. 21, 1870, and was buried in Stockton on Admission Day. A monument to his memory was dedicated in Rural Cemetery by Rawlins Post, Grand Army of the Republic.

 

And so you have the story of “that Sanitary Sack of Flour” pictured in this photograph. The money Gridley raised went along way to support U.S. military personnel.

 

A few months later, in October 1864, Nevada gained admission to the Union as the 36th state. The statehood processed was rushed by the Republican Congress so that Nevada citizens could vote in the presidential election. They did, and overwhelmingly, by almost 20 points, to send Abraham Lincoln back to the White House for a second term.

 

I want to thank Jeremy Rowe, who first made me aware of Gridley’s Sanitary Sack of Flour in a story he wrote for Military Images magazine in our Autumn 2019 issue. You can read it here: www.militaryimagesmagazine-digital.com/2019/09/01/rc-grid...

 

You’ll find another account of this story in the 1866 book, History of the United States Sanitary Commission, by Charles J. Stille: ia801609.us.archive.org/16/items/historyofuniteds00stiluo...

 

There is yet another account by Sam Clemens, who we know best as Mark Twain, the great American humorist. Sam, then in his late 20s, worked at the Virginia City Territorial Enterprise as a reporter. Twain happened to grow up near the Gridley family in Hannibal, Missouri, and knew Gridley. Twain’s version of the story is told in his 1872 classic, Roughing It. You can read it here: books.google.com/books/about/Roughing_it.html?id=BKgvAAAA...

 

Here’s his version of events:

 

The new mayor gave him the sack of flour, and he shouldered it and carried it a mile or two, from Lower Austin to his home in Upper Austin, attended by a band of music and the whole population. Arrived there, he said he did not need the flour, and asked what the people thought he had better do with it. A voice said:

 

"Sell it to the highest bidder, for the benefit of the Sanitary fund."

 

The suggestion was greeted with a round of applause, and Gridley mounted a dry-goods box and assumed the role of auctioneer. The bids went higher and higher, as the sympathies of the pioneers awoke and expanded, till at last the sack was knocked down to a mill man at two hundred and fifty dollars, and his check taken. He was asked where he would have the flour delivered, and he said:

 

"Nowhere-sell it again."

 

Now the cheers went up royally, and the multitude were fairly in the spirit of the thing. So Gridley stood there and shouted and perspired till the sun went down; and when the crowd dispersed he had sold the sack to three hundred different people, and had taken in eight thousand dollars in gold. And still the flour sack was in his possession.

 

The news came to Virginia, and a telegram went back:

 

"Fetch along your flour sack!"

 

Thirty-six hours afterward Gridley arrived, and an afternoon mass meeting was held in the Opera House, and the auction began. But the sack had come sooner than it was expected; the people were not thoroughly aroused, and the sale dragged. At nightfall only five thousand dollars had been secured, and there was a crestfallen feeling in the community. However, there was no disposition to let the matter rest here and acknowledge vanquishment at the hands of the village of Austin. Till late in the night the principal citizens were at work arranging the morrow's campaign, and when they went to bed they had no fears for the result. At eleven the next morning a procession of open carriages, attended by clamorous bands of music and adorned with a moving display of flags, filed along C street and was soon in danger of blockade by a huzzaing multitude of citizens. In the first carriage sat Gridley, with the flour sack in prominent view, the latter splendid with bright paint and gilt lettering; also in the same carriage sat the mayor and the recorder. The other carriages contained the Common Council, the editors and reporters, and other people of imposing consequence. The crowd pressed to the corner of C and Taylor streets, expecting the sale to begin there, but they were disappointed, and also unspeakably surprised; for the cavalcade moved on as if Virginia had ceased to be of importance, and took its way over the "divide," toward the small town of Gold Hill. Telegrams had gone ahead to Gold Hill, Silver City and Dayton, and those communities were at fever heat and rife for the conflict. It was a very hot day, and wonderfully dusty. At the end of a short half hour we descended into Gold Hill with drums beating and colors flying, and enveloped in imposing clouds of dust. The whole population—men, women and children, Chinamen and Indians, were massed in the main street, all the flags in town were at the mast head,

and the blare of the bands was drowned in cheers. Gridley stood up and asked who would make the first bid for the National Sanitary Flour Sack. Gen. W. said:

 

"The Yellow Jacket silver mining company offers a thousand dollars, coin!"

 

A tempest of applause followed. A telegram carried the news to Virginia, and fifteen minutes afterward that city's population was massed in the streets devouring the tidings for it was part of the programme that the bulletin boards should do a good work that day. Every few minutes a new dispatch was bulletined from Gold Hill, and still the excitement grew. Telegrams began to return to us from Virginia beseeching Gridley to bring back the flour sack; but such was not the plan of the campaign. At the end of an hour Gold Hill's small population had paid a figure for the flour sack that awoke all the enthusiasm of Virginia when the grand total was displayed upon the bulletin boards. Then the Gridley cavalcade moved on, a giant refreshed with new lager beer and plenty of it-for the people brought it to the carriages without waiting to measure it-and within three hours more the expedition had carried Silver City and Dayton by storm and was on its way back covered with glory. Every move had been telegraphed and bulletined, and as the procession entered Virginia and filed down C street at half past eight in the evening the town was abroad in the thoroughfares, torches were glaring, flags flying, bands playing, cheer on cheer cleaving the air, and the city ready to surrender at discretion. The auction began, every bid was greeted with bursts of applause, and at the end of two hours and a half a population of fifteen thousand souls had paid in coin for a fifty-pound sack of flour a sum equal to forty thousand dollars in greenbacks!It was at a rate in the neighborhood of three dollars for each man, woman and child of the population. The grand total would have been twice as large, but the streets were very narrow, and hundreds who wanted to bid could not get within a block of the stand, and could not make themselves heard. These grew tired of waiting and many of them went home long before the auction was over. This was the greatest day Virginia ever saw, perhaps.

 

Gridley sold the sack in Carson city and several California towns; also in San Francisco. Then he took it east and sold it in one or two Atlantic cities, I think. I am not sure of that, but I know that he finally carried it to St. Louis, where a monster Sanitary Fair was being held, and after selling it there for a large sum and helping on the enthusiasm by displaying the portly silver bricks which Nevada's donation had produced, he had the flour baked up into small cakes and retailed them at high prices.

 

It was estimated that when the flour sack's mission was ended it had been sold for a grand total of a hundred and fifty thousand dollars in greenbacks ! This is probably the only instance on record where common family flour brought three thousand dollars a pound in the public market.

 

It is due to Mr. Gridley's memory to mention that the expenses of his sanitary flour sack expedition of fifteen thousand miles, going and returning, were paid in large part, if not entirely, out of his own pocket. The time he gave to it was not less than three months. Mr. Gridley was a soldier in the Mexican war and a pioneer Californian. He died at Stockton, California, in December, 1870, greatly regretted.

 

I encourage you to use this image for educational purposes only. However, please ask for permission.

The World Social Security Forum takes place in Brussels, Belgium, from 14 to 18 October 2019. It is hosted by the public social security institutions of Belgium. The Forum is the largest and most important international event for social security. Involving more than 1,000 participants, from more than 150 countries, including ministers, administrators, CEOs and senior managers in social security administration.

ISSA Award for Outstanding Achievements in Social Security

Officers marshalling the "We are Luton" protest along New Bedford Road.

 

This afternoon’s protest in Luton involving the English Defence League and a counter protest organised by Unite Against Facism and others under the collective banner of ‘We are Luton’ has concluded peacefully.

 

The combined operation by Bedfordshire Police and Luton Borough Council enabled the town centre to remain protest free in order to allow the community and businesses to operate as normally as possible. Bury Park, a key neighbourhood in the town, also reported ‘business as usual’ during the day.

 

Two people were arrested during the policing operation for minor public order offences and remain in police custody. One was an EDL supporter and the other from the ‘We are Luton’ group.

 

The policing operation was mounted with the assistance of officers from around 20 police forces. The protestors themselves are thought to have numbered possibly up to 3000 for the EDL and around 1000 ‘We are Luton’ although these are not confirmed.

 

Isolated incidents of minor disorder occurred when a handful of smoke flares were set off and bottles were thrown towards officers policing the EDL protest, prompting them to put on their protective clothing as a precautionary measure. During the counter ‘We are Luton’ protest some of the group tried to move away from the main march but were pushed back by mounted officers. No further issues were reported.

 

Paramedics from the East of England Ambulance Service assisted six patients, four were generally unwell and two were injured by accident. Four have had hospital treatment.

 

Assistant Chief Constable Andrew Richer, who led the operation said: “Over all the policing of these protests has been a resounding success and is testament to everyone involved including the community themselves and our partners. It is disappointing that we saw disorder from some members of Unite Against Fascism, who were part of the ‘We are Luton’ march, who attempted to break out of the agreed protest route. This shows policing of these events is justified as there is such a large area to protect.”

 

“The policing operation has been in the planning for weeks and the professionalism of the officers was borne out today. We were assisted by 20 forces and it’s a great example of how forces can work together in difficult circumstances.”

 

“I’d like to thank everyone involved in the planning and execution of the operation, all our partner agencies and in particular the community mediators who volunteered to help us communicate. Their involvement really made a difference. I am confident the town is now back to normal and disruption has been minimised.”

 

At Bedfordshire Police our aim is "fighting crime, protecting the public."

 

We cover 477 square miles, serve a population of around 550,000 and employ in the region of 1,260 Police Officers, 950 police staff and 120 Police Community Support Officers (PCSOs). For more information about Bedfordshire Police, visit our website www.bedfordshire.police.uk

 

Stony Brook, NY; Stony Brook University: Spring 2020 Involvement Fair in the SAC Ballrooms.

3:45PM Tuesday: Catskills Hatzolah is currently on the scene of a serious MVA in Monticello, involving a ShortLine Bus. The crash is on Route 42 at the ShopRite Mall, (in front of Dunkin Donuts). Sources tell CatskillScoop.com that the crash involves the bus, as well as another vehicle. Emergency personnel from multiple agencies are on the scene, and have one victim in traumatic arrest. A Medevac has been requested to the scene for a second victim, reportedly with serious injuries.

 

UPDATE 4:00PM: Hatzolah & MobileMedics are treating numerous passengers from the bus – most of them with minor injuries. The victim in traumatic arrest has been transported to Catskill Regional Medical Center by ambulance.

 

UPDATE 4:50PM: Police tell CatskillScoop.com that the SUV was heading north on Route 42 just past the Dunkin’ Donuts where the road merges from two lanes to one. The SUV was pushed into the southbound lane, hitting the front of the bus head-on.

  

Further details will be published when they become available to us.

 

(CatskillScoop.com Newsroom)

They were laughing at a puppet magic show (yes..it involves a puppet..and magic)

Plot - Alex Katz, Georg Baselitz, Iris (Detail), 2009, Albertina - Sammlung Batliner

 

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

 

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

 

www.wien-vienna.at/albertinabaugeschichte.php

 

The Pokemon Sword and Shield Isle of Armor is the first and latest DLC of Pokemon SWSH! This update involves new legendary pokemon, game features and mostly great quality of life in-game.

 

Pokemon SWSH XCI/NSP ROM: bit.ly/pokeswshyuzupc

 

Official Yuzu Emulator: yuzu-emu.org/

 

System Requirements:

CPU: Atleast 4 cores (Higher Core count = better performance)

GPU: atleast GTX 1060 or amd equivalent

RAM: 8GB RAM (16GB is recommended)

Storage: atleast 1TB since Switch games are large in file size

 

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#pokemonswordandshield #pokemonswshexpansionpass #pokemonswordandshielddlc

This news was released by Center for Public Policy Analysis on April 6, 2008

 

Laos, Vietnam: Mobilization to Kill Hmong

 

The Lao Peoples Democractic Republic (LPDR) regime, in cooperation with the Socialist Republic of Vietnam (SRV), have issued a new order and drafted a comprehensive strategy to mount a major military offensive to exterminate thousands of Hmong in hiding in the jungles and mountains of Laos, including thousands of unarmed women and children.

 

(PressZoom) - The Lao Peoples Democractic Republic ( LPDR ) regime, in cooperation with the Socialist Republic of Vietnam ( SRV ), has issued a new order and drafted a comprehensive strategy to mount a major military offensive to exterminate thousands of Hmong in hiding in the jungles and mountains of Laos. The offensive will involve special battalions of troops and special operations commandos from Vietnam who are now being deployed to the closed military zones of operation. The reported object is to eliminate and exterminate some 15,000 Lao Hmong in hiding in key areas of Laos by the end of April 2008. Hmong in Laos are bracing for these new anticipated attacks by Laos and Vietnam which are expected to be massive and ruthless.

 

Reliable sources from inside Laos have stated that on March 23, 2008, the LPDR regime under the direction of President Choummaly Sayasone and Prime Minister Bouasone Bouphavanh as well as Deputy Prime Minister and Defense Minister Douangchay Phichit, who is also a Member of the Politburo and Major General Asang Laoly ordered the implementation of a comprehensive and deadly plan to intensify and expand military operations to attack and kill thousands of dissident unarmed Hmong civilians and opposition members in-hiding by the end of April 2008,stated Philip Smith, Executive Director of the Center for Public Policy Analysis in Washington, D.C. These new and ominous military actions, in cooperation with senior generals in Vietnam's Ministry of Defense, against unarmed civilians and the continued use of food as a weapon to kill thousands of unarmed Lao-Hmong people constitutes a clear violations of international law and rises to the level of war crimes and crimes against humanity to which these individual military leaders in Laos and Vietnam will need to be held accountable and brought to trial, especially General Douangchay Phichit, Smith concluded. www.asiapacific.amnesty.org/library/Index/ENGASA260042004...

www.nytimes.com/2007/12/17/world/asia/17laos.html

 

Amnesty International has issued numerous reports about war crimes in Laos, including a March 2007 report about the Lao military's attacks and mass starvation Hmong civilians and dissident and opposition groups. Independent humanitarian and human rights organizations as well as journalists including Doctors Without Borders ( MSF ), the New York Times, Time magazine ( Asia-Edition ), Le Monde, Al Jazeera and others have documented the attacks by the Lao military on Laotian and Hmong civilians, dissident and opposition groups in Laos.

www.english.aljazeera.net/NR/exeres/3901AC50-813C-409F-8F...

www.amnesty.org/en/library/info/ASA26/003/2007

 

The Lao Peoples Army ( LPA ) is reportedly mobilizing significant battalions of fresh combat troops in key areas of Laos, at the direction and command of PAVN units from Vietnam, and with the support of vintage, Soviet built MI-8 helicopter gunships equipped with rocket launchers and machine guns to launch ethnic cleansing operations and military attacks against thousands of unarmed Lao Hmong civilians at Phou Da Phao, Phou Bia Mountain area and elsewhere, Smith stated. Two MI-8 helicopter gunships were reportedly deployed again by the Lao military for several weeks to attack and kill the Lao and Hmong people seeking refuge and sanctuary in the Phou Da Phao area, Smith continued.

 

We condemn this new military campaign, and these cruel attacks, atrocities and war crimes by the Lao military and Vietnam on unarmed Hmong in Laos; we urge the international community to provide emergency intervention to seek to draw attention to this crisis and to stop this new round of upcoming military attacks which we understand will me massive in terms of the troop levels and the intervention of Vietnam to assist the Lao regime's efforts to wipe out and exterminate some 15,000 Hmong civilians in Laos, stated Vaughn Vang, Executive Director of the Lao Human Rights Council.http://www.presszoom.com/print_story_143358.html

 

Mr. Tong Pao Yang and Mr. Nou Mang Chang issued the following statement and joint appeal from inside Laos to the international community:

 

It is important to note, that the LPDR regime has reportedly suspended Colonel Kham Xeng Yang, a communist officer in the Lao Peoples Army ( LPA ) because he failed to complete the brutal order issued by the Lao Minister of Defense Lao Deputy Prime Minister & Defense Minister Douangchay Phichit, who is also Member of the Politburo, to kill or capture all Lao-Hmong civilians and dissident Hmong groups in-hiding in key areas inside Laos. The Lao regime is using Hmong soldiers to kill and commit war crimes against their fellow Hmong people, which they are sometimes not capable of doing. These are terrible crimes against humanity being committed by the military of Laos and Vietnam now against thousands of unarmed Hmong civilians that are surrounded and under attack.

 

Most importantly, however, on behalf of many thousands of Hmong groups now hiding from ongoing LPDR military attacks in Laos, we are appealing to the United States, U.S., U.S. Congress, United Nation, European Unions, ASEAN and the international community, to demand the Lao PDR regime to stop its current military offensive and ongoing attack helicopter and air force bombing. Major military units, and fresh battalions of troops, of the Lao military and Socialist Vietnam are now mobilizing for a new, upcoming planned ground offensive which seeks to massacre all Hmong in hiding groups which our information indicates will likely begin in early April of this year. We are innocent civilians, women and children and we do not want to be killed or captured by the Lao PDR government troops. All unarmed Hmong civilians, especially women and children have the right to life, liberty and the rights for a life free from persecution, torture and brutal human rights abuses currently be directed against our Lao and Hmong people by the communist regime of Laos and Vietnam.

 

Tong Pao Yang and Nou Mang Chang continued their statement from inside Laos and joint appeal to the international community:

 

Our information and field intelligence sources indicate that they have appointed Colonel Boa SaVan as one of the key commanders of the Lao PDR government to carry out this deadly operation which includes plans to continue to encircle, trap, kill and starve to death thousands of Laotian and Hmong civilians. The Lao PDR government has given the order to Colonel Boa SaVan's troops to slaughter or capture all remaining Hmong groups in hiding by the end of April 2008. Civilians will not be spared. A food is being used as a weapon to kill and starve our people who only seek to live in peace and freedom.

 

Mr. Tong Pao Yang and Mr. Nou Mang Chang concluded:

 

The LPDR's Colonel Boa SaVan has already worked to order new air attacks and the deployment of ground troops in Xieng Khouang Province to prepare for new attacks on Lao-Hmong groups in Phou Da Phao, Phou Bia and in Vang Vieng province. His military trucks have begun carrying his troops at night to the locations where Hmong groups in hiding are located and are standing by to launch fresh military attacks against these innocent Hmong groups in hiding in Vang Vieng Province. Large numbers of troops from Vietnam are also being deployed now to attack and kill our people.

 

In response to these developments, Vaughn Vang, Director, of the Lao Human Rights Council made the following four point statement:

 

We the Lao Human Rights Council propose the following four points to end the genocide, ethnic cleansing war, human rights violation, and mass starvation directed against some 15,000 Lao-Hmong civilians now hiding from attack and persecution in key jungle and mountain areas in Laos:

 

We urgently appeal to the United States, United Nations, the world community, European Union, ASEAN and international human rights and humanitarian organizations, to investigate and stop the communist Laos government's ethnic cleansing war, genocide, oppression and human rights violations, and campaign of mass starvation directed against dissident Lao and Hmong civilians and religious and minority opposition groups; and to press the LPDR regime to immediately end all military attacks from ground and air troops against the innocent, unarmed Hmong civilians, women, and children in-hiding in the jungle of Laos.

  

We urgently appeal to the United States, United Nations High Commission for Human Rights and the international community, International Human Rights Commission ( independent commission ) and other international human rights organizations to investigate and stop the ethnic cleansing war, human rights violation, and genocide, against the Lao-Hmong in-hiding in the jungle of Laos;

 

We urgently appeal to the United States, United Nations, the International Red Cross and international relief agencies to send food, and medical supplies, and to provide other basic human needs to the 15,000 Hmong who are being attacked daily and facing mass starvation, ethnic cleansing war and human rights violations against them in the jungle of Laos;

 

Finally, we urgently appeal to the United States, United Nation, and ASEAN Nations to bring true peace, democracy, human rights, stability and national reconciliation to Laos and the Lao-Hmong dissident and opposition groups who seek an open and free society.

 

Vaughn Vang continued : Some 15,000 Hmong civilians, women and children, trapped and surrounded by Lao and Vietnamese military units that seek to kill them are now urgently appealing to the United States, U.S. Congress, United Nations, and the international community to intervene in an emergency manner to save their lives. Without emergency intervention, the Hmong in-hiding in the jungle of Laos will continue to be starved to death, killed and subjected to atrocities, torture and war crimes by the Lao PDR government regimes by the end of April 2008.

 

This cry for help continues to come from the mountains and jungles of Laos due to the LPDR regime and Vietnams continued brutal persecution and killing of freedom-loving Laotian and Hmong people. Your immediately attention to the desperate lives of these innocent, unarmed Hmong civilians, women, and children in-hiding is demanded and necessary to give them the life, liberty and human rights they all, as human beings, deserve, Vaughn Vang, said in conclusion.

    

www.youtube.com/watch?v=m5k8oXaG-bQ

www.youtube.com/watch?v=bEWhLZGpvPc

www.youtube.com/watch?v=he9fW1q5jLM

www.youtube.com/watch?v=W_mmjfdH36U

Glimpses of Primary School Sports Day involving Classes 1 and 2 (2014-15)

Campus-wide committees, fraternity and sorority life, and over 70 recognized clubs and organizations on campus.

A serious road incident involving police horses has prompted a new horse road safety campaign, launched today (28 May) in Manchester city centre.

 

PC Wendy Townley and police horse Steele were seriously injured in the line of duty while patrolling the streets of Manchester.

 

A vehicle collided with Steele’s back legs. This caused him to be forced backwards onto the bonnet of the car and smashed the windscreen. Steele was then flung forwards 10 feet onto his knees; falling onto his side, while PC Townley was thrown off Steele. The incident caused significant injuries to horse and rider. Fellow police horse Crackit and his rider PC Emma Whittenbury managed to evade the impact, but were severely shaken up.

 

After a year of health care and training to recover from the incident, PC Townley is back on duty and Steele is on a ‘back to work’ rehabilitation programme. They are now spearheading a campaign for

Greater Manchester Police (GMP) and charity The British Horse Society (BHS) urging drivers to slow down around horses.

The launch event in central Manchester will be attended by the GMP and Lancashire uniformed mounted divisions with their police horses. Cheshire rural officers will also be in attendance.

 

The launch supports the BHS’s Dead Slow campaign. In the five years since the launch of the charity’s horse accidents website, over 2,000* reports of road incidents involving horses across the UK have been reported to the charity. Of these, 36 caused rider deaths, and 181 resulted in a horse dying from their injuries or being put to sleep.

 

In Greater Manchester alone, 28 road incidents have been reported to the charity to date, causing the death of one horse and the serious injury of a rider.

 

The campaign falls under GMP’s Operation Considerate, an initiative urging all road users to show others more respect on the roads. Greater Manchester Police will be hosting driver horse awareness events across the region, and is supporting the BHS Dead Slow key messaging on their horse boxes to raise awareness.

 

Alan Hiscox, Director for the BHS, said: “It’s fantastic to see the recovery of PC Townley and Steele, but too often road incidents can cause life changing injuries or unnecessary deaths. This has got to stop. With Greater Manchester Police’s support we aim to make the roads safer for horses and riders in the region.”

 

Inspector Neil Humphreys from Greater Manchester Police’s Tactical Mounted Unit said: “Thankfully our colleagues and horses made a full recovery but we know it could have been a very different story, which is why we’re delighted to support the British Horse Society with their road safety campaign.

“We all have a responsibility to make our roads safer and the aim of ‘Dead Slow’ is to encourage all road users to share the road responsibly and be considerate of each other.

 

“When approaching a horse, motorists should pass wide and slow to keep themselves safe as well as the rider and horse.”

 

For more information about Policing in Greater Manchester please visit www.gmp.police.uk

 

To report crime call police on 101 the national non-emergency number.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

 

Photo: Chris_crssd (flickr)

 

Portraits of Hope's unprecedented Los Angeles coastline public art and civic project involving more than 10,500 kids, adults and volunteers, which visually transformed all 156 Los Angeles County beach lifeguard towers on 31 miles of beach – including Malibu, Will Rogers, Santa Monica, Venice, Marina Del Rey, Playa Del Rey, El Segundo, Manhattan Beach, Hermosa Beach, Redondo Beach, Torrance, Palos Verdes, and San Pedro. www.portraitsofhope.org

 

Summer of Color -- A Portraits of Hope Project

Portraits of Hope's LA County Public Art and Civic Project – LA County Lifeguard Towers

Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope

 

156 Los Angeles County Lifeguard Towers

 

31 Miles of Beach and Coastline

 

10,500 Children and Adults

 

118 Participating Schools, Hospitals, Social Service and Civic Institutions

 

350,000 Sq. Ft of Paintings

 

Youth and Program Sessions in Greater LA

 

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, visual impairments, and other serious conditions

 

6-month program and collaborative

phase

 

5-month Los Angeles County beach public art

exhibition

 

Close Cooperation with LA County Supervisors Zev Yaroslavsky and Don Knabe and the LA County Department of Beaches and Harbors and LA County Lifeguards

 

Special thank you to Image Options, Laird Plastics and Recycling, Ford Motor Company

 

Benjamin Moore Paints, Skinny Cow, Verseidag Seemee US, EFI Vutek, Morley Builders, Vista Paint, The Weingart Foundation, CornerstoneOnDemand, Drumstick, Chris Bonas, Casa Del Mar, Tim Bennett, Andy Boyle, Nazdar Coatings, Adina Beverages, Robert Gore Rifkind

Foundation, Helen and Peter Bing, Loren Philip Photography, Starbucks Volunteer Services,

Subversive Nature Designs, MACtac, The Barnes Family, Hasbro Studios, Wooster Brush, The Bachelor, UCLA, Mark Benjamin, Susan Kohlmann, Tomarco Fastening & Anchoring Solutions, AAA Flag & Banner, Jenner & Block, A.V.I. Construction, The Newberg Family, Debra Ricketts, The Penske Family, The Davidow Charitable Fund. Annie Barnes, UCLA Freshmen and Transfer Students, USC-UNICEF, LMU Students

 

21st March 2015 saw Miles Continental ŠKODA's first involvement with the Coffee Culture Le Race. For us, the day itself was a culmination of 5 months of training with our very own 'ŠKODA Cycle Wave'. Along with the support of fellow local businesses, we trained together throughout the months and started the race itself as one.

 

At the end of the race, our guests had use of the ŠKODA tent, with lounge facilities and refreshments.

 

We really enjoyed the entire event and look forward to the next one.

 

Register your interest in joining us for next year's event: eepurl.com/39hoP

 

View more of our involvement on our website: www.milescontinental.co.nz/lerace

 

Thanks so much to our fellow sponsors of the Coffee Culture Le Race, particularly those awesome people that joined us for our group meetings and offered their sage advice (special mention to ŠKODA New Zealand and Alison Shanks!):

 

* Coffee Culture

* Specialized New Zealand

* The Press - www.press.co.nz

* Chain Reaction Cycles

* iHeartRadio

* Pure Sports Nutrition

* Akaroa 365 days of the Year

* Les Mills - New Zealand

* Tineli New Zealand

* Mackley Carriers Ltd

* Nature Valley Australia & New Zealand

* Lindauer

* TotalPos Solutions

* SMITH OPTICS NZ

* Dole Fresh New Zealand

* Photo & Video International

* Meadow Mushrooms

* Breads of Europe

* O'Neill Rentals

* MG Marketing

* Pasta Vera

* Moffatts Flower Company

* Interislander

* Global Adventure Guide

* Complete Performance Ltd

* Odlin Cycle Coaching

* Ronald McDonald House South Island

* 5 Passes Tour

* Cycling New Zealand

 

#LeRace

 

Please credit www.milescontinental.co.nz if using these photos.

Exercise Bersatu Padu

 

In June 1968, during the Five Power Ministerial Meeting in Kuala Lumpur (involving Singapore, Malaysia, the United Kingdom, Australia and New Zealand), it was agreed that a military exercise involving all five countries would be held in West Malaysia. In view of the eventual British pullout from Singapore in 1971, this exercise would demonstrate the concept of military support for Malaysia and Singapore in the event of an attack by foreign forces on their territories. The exercise was to be called Bersatu Padu, meaning “Solid or Complete Unity” in Malay and bring together 25,000 soldiers, 200 aircraft and 50 ships.

 

Air Support Command's strategic lift was only part of the Bersatu Padu story which involved 25,000 men, five navies and four air forces, jungle training, and an intensive tactical phase entitled "Exercise Granada."

The strategic lift itself was split into two, the first spread over 10 days in April 1970, lifting more than 2,300 troops, 200 fully laden vehicles, 170 fully laden trailers, 20 helicopters, a dozen howitzers and some 90,000 lbs of cargo. The second part of the airlift was between 14th May and 3rd June when Air Support Command carried another 1,300 exercise passengers and 250,000 lbs of cargo in support of the RAF's deployment of combat aircraft to the Far East.

 

In less than 4 1/2 days, little Penarek Airfield received a total of 133 aircraft, carrying 2,800 passengers, 285,000 lbs of freight and 323 vehicles ranging from motor cycles to tractors. The sorties were flown by a combined transport force of Hercules of Nos. 47 and 30 Squadrons from No. 38 Group's base at Fairford; Hercules from Far East Air Force's No. 48 Squadron; four Bristol Freighters of the RNZAF's No. 41 Squadron, and two RNZAF Hercules detached for the exercise.

 

Exercise Bersatu Padu. An overview of the exercise by UKMAMS.

 

The main exercise in Bersatu Padu was 'Exercise Granada'. This exercise called for the capture of Penarek Airfield, followed by operations against enemy bases by the 4th Brigade (consisting of Malaysian, Australian and New Zealand troops) and 19th Brigade. On 13 June, Penarek Airfield was successfully captured and the airlifting of 19th Brigade took place. By 20 June, four enemy bases had been taken over by 19th Brigade. On 28 June, 5 SIR took part in the final assault on the enemy stronghold, where the role of Ganasian defenders was played by the British Royal Marine Commandos. The assault was a success, with equal losses on both sides (the British unit had 102 “killed in action” while 5 SIR had 105 “killed/wounded in action”). This was a remarkable achievement for 5 SIR, for it had come up evens against a more experienced unit (the Marine Commandos were to have a distinguished stint in the Falklands War later on). There were also air and sea exercises held in Butterworth and the South China Sea, but Singapore’s involvement was minimal and provided mainly administrative support.

 

Exercise Bersatu Padu:

www.youtube.com/watch?v=fxDCaAcsl1o

 

Accidental Diploment by Maurice Baker pp 196-198

books.google.co.nz/books?id=9xe3CgAAQBAJ&pg=PA197&amp...

Exercise Bersatu Padu. MINDEF History by Derek Liew 1970

At the Student Involvement Fair, 89 student organizations and campus departments representing various aspects of Hendrix life. Photo by Jazmin Calixto.

slfashionpassion.wordpress.com/2014/11/05/seduction-invol...

9/14/2023 on the Lawn

by Gianna Iovino

M6 Gailey 03/07/2023

A disorder of childhood involving repetitive, nonfunctional motor behavior (hand waving or head banging), that interferes with normal activities or results in bodily injury, and persists for four weeks or longer. The repetitive movements that are common with this disorder include thumb sucking, nail biting, nose-picking, breath holding, bruxism, head banging, rocking/rhythmic movements, self-biting, self-hitting, picking at the skin, hand shaking, hand waving, and mouthing of objects. Stereotypic movement disorder is often misdiagnosed as tics or Tourette's. Unlike the tics of Tourette's, which tend to appear around age six or seven, repetitive movements typically start before age two, are more bilateral than tics, and consist of intense patterns of movement for longer runs than tics.

Dave: OK Bruno, time for a serious portrait with dramatic light.

Bruno: Got it.

Dave: Alright, sit here and I'll hook you up with some treats as we go along.

Bruno: Got it.

Dave: Looking good. Time for your serious face.

Bruno: Got it.

Dave: I'm not sure you understand what I mean by serious face.

Bruno: Nope, I understand.

Dave: Since when does 'serious face' involve a giant goofy grin?

Bruno: It is my serious face, My seriously awesome face!

 

--------

 

Some how the giant grin does not quite fit the lighting, but that's what this guy always brings to the party. Gotta love him.

 

The Sheikh Zayed Grand Mosque (Arabic: جَامِع ٱلشَّيْخ زَايِد ٱلْكَبِيْر Jāmiʿ Aš-Šaykh Zāyid Al-Kabīr) is a mosque located in Abu Dhabi, the capital city of the United Arab Emirates. It is the country's largest mosque, and is the key place of worship for daily Islamic prayers. There is a smaller replica of this mosque in Surakarta, a city in Indonesia. The late Sheikh Zayed bin Sultan Al Nahyan built this mosque to convey historic consequence and to embody the Islamic message of peace, tolerance and diversity.

 

The Grand Mosque was constructed between 1994 and 2007 and was inaugurated in December 2007. The building complex measures approximately 290 by 420 m (950 by 1,380 ft), covering an area of more than 12 hectares (30 acres), excluding exterior landscaping and vehicle parking. The main axis of the building is rotated about 12° south of true west, aligning it in the direction of the Kaaba in Mecca, Saudi Arabia.

 

The project was launched by the late president of the U.A.E., Sheikh Zayed bin Sultan Al Nahyan, who wanted to establish a structure that would unite the cultural diversity of the Islamic world with the historical and modern values of architecture and art. In 2004, Sheikh Zayed died and was buried in the courtyard of the mosque.

 

Sheikh Zayed Grand Mosque Center (SZGMC) offices are located in the west minarets. SZGMC manages the day-to-day operations and serves as a center of learning and discovery through its educational cultural activities and visitor programs. The library, located in the northeast minaret, serves the community with classic books and publications addressing a range of Islamic subjects: sciences, civilization, calligraphy, the arts, and coins, including some rare publications. The collection comprises material in a broad range of languages, including Arabic, English, French, Italian, Spanish, German, and Korean. For two years running, it was voted the world's second favourite landmark by TripAdvisor.

 

The Grand Mosque has been a significant destination for visiting foreign leaders during official state visits to the UAE. Notable visitors include Indian Prime Minister Narendra Modi.

VARPALOTA TRAINING AREA, Hungary - Saker Falcon is a multinational training exercise involving roughly 200 Soldiers from U.S. Army Europe's 12th Combat Aviation Brigade, two Dutch Air Assault battalions, and Hungarian military forces. The objectives of the training include enhancing joint combined interoperability with allied and partner nations and preparing participants to operate in a joint, multinational, integrated environment with support from Hungarian governmental agencies. Saker Falcon, underway from April 3 through April 17, reinforces U.S. Army Europe's strategic objectives to increase regional flexibility, preserve and enhance NATO interoperability, and facilitate multinational training. (Royal Netherlands Army photo by Cpl. Zadrach Salampessy)

Curiosity power

Tool of abstraction

Active involvement

 

Student organizations participate in the Fall Involvement Fair on The Plaza, September 2, 2021

Photo: Rand Eppich

 

Portraits of Hope's unprecedented Los Angeles coastline public art and civic project involving more than 10,500 kids, adults and volunteers, which visually transformed all 156 Los Angeles County beach lifeguard towers on 31 miles of beach – including Malibu, Will Rogers, Santa Monica, Venice, Marina Del Rey, Playa Del Rey, El Segundo, Manhattan Beach, Hermosa Beach, Redondo Beach, Torrance, Palos Verdes, and San Pedro. www.portraitsofhope.org

 

Summer of Color -- A Portraits of Hope Project

Portraits of Hope's LA County Public Art and Civic Project – LA County Lifeguard Towers

Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope

 

156 Los Angeles County Lifeguard Towers

 

31 Miles of Beach and Coastline

 

10,500 Children and Adults

 

118 Participating Schools, Hospitals, Social Service and Civic Institutions

 

350,000 Sq. Ft of Paintings

 

Youth and Program Sessions in Greater LA

 

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, visual impairments, and other serious conditions

 

6-month program and collaborative

phase

 

5-month Los Angeles County beach public art

exhibition

 

Close Cooperation with LA County Supervisors Zev Yaroslavsky and Don Knabe and the LA County Department of Beaches and Harbors and LA County Lifeguards

 

Special thank you to Image Options, Laird Plastics and Recycling, Ford Motor Company

 

Benjamin Moore Paints, Skinny Cow, Verseidag Seemee US, EFI Vutek, Morley Builders, Vista Paint, The Weingart Foundation, CornerstoneOnDemand, Drumstick, Chris Bonas, Casa Del Mar, Tim Bennett, Andy Boyle, Nazdar Coatings, Adina Beverages, Robert Gore Rifkind

Foundation, Helen and Peter Bing, Loren Philip Photography, Starbucks Volunteer Services,

Subversive Nature Designs, MACtac, The Barnes Family, Hasbro Studios, Wooster Brush, The Bachelor, UCLA, Mark Benjamin, Susan Kohlmann, Tomarco Fastening & Anchoring Solutions, AAA Flag & Banner, Jenner & Block, A.V.I. Construction, The Newberg Family, Debra Ricketts, The Penske Family, The Davidow Charitable Fund. Annie Barnes, UCLA Freshmen and Transfer Students, USC-UNICEF, LMU Students

 

This extract from the Victorian Parliamentary Inquiry into the South Pacific Labor Trade clearly shows the involvement of the Fanny Campbell

The brigantine Fanny Campbell was the first ship built in the Cape Hawke area. She was built on the banks of the Coolongolook River by William Peat. William Peat of Balmain, shipwright, was bankrupted in 1867 and subsequently set up a small sawmill and shipbuilding operation near Coolongolook. He built four ships on this site:

 

Fanny Campbell – 1870

Annie Taylor – 1871

Clara Crawford – 1871

Elibank Castle - 1874

 

Details

Name: Fanny Campbell

Registration: ON 064352

Registered Sydney 53/1870 - 9th December 1870

Type: Brigantine

No. masts: 2

Build: Carvel

Head: Woman’s Breast

Stern: Elliptic

Launched: Late 1870

Builder: William Peat, Cape Hawke

Length: 105.6 ft

Width: 22.2 ft

Depth: 9.6 ft

Register Tonnage (1 shipping ton = 100 cu ft): 151.41 tons gross (and net)

Owner: John Campbell (9th Dec 1870 - 1872)

Wrecked: 18th March 1872 in Banks Group, New Hebrides

Register Closed 7th October 1872.

 

Short Period in Australia

Immediately after registration she was copper bottomed in Sydney. “The new schooner Fanny Campbell, built by Mr. Peat, at Cape Hawke, is now on Cuthbert's Patent Slip, being coppered. As a faithfully built craft, she is one of the finest ever turned out in the colony, and is a credit to her constructor. The whole of the timber employed is of the best colonial hardwood, and she is copper fastened up to eight feet.” The Sydney Morning Herald - Saturday 10 December 1870

 

After a few trips up the NSW coast, she departed Sydney in July 1871 for Townsville and on to Mackay where she was prepared for her first and only voyage to the Islands.

 

A very short career as a labour trader

The Fanny Campbell left Mackay in January 1872 under the control of Captain John Loutit. The vessel was licenced to carry 140 native labourers (recruits) as set out by His Excellency the Governor of Queensland.

“In this colony licenses are used for one voyage only, and whether the full numbers for which the license was issued are recruited or not, it is cancelled and a fresh one issued.”

THE RIGHT HONORABLE THE SECRETARY OF STATE FOR THE COLONIES, REPORT ON THE SUBJECT OF THE LABOR TRADE IN THE WESTERN PACIFIC, QUEENSLAND.

REPORT ON THE SUBJECT OF THE LABOR TRADE IN THE WESTERN PACIFIC

 

On this voyage she was returning 70 labourers who had completed their indenture in Queensland. She was also carrying Government agent Mr. Ramsay, passenger Mr Roberts and the crew. The labourers returning home had come from a number of islands in New Caledonia and the New Hebrides (now Vanuatu).

 

The first port of call was the Isle of Pines in New Caledonia; the vessel arrived on 4th February after a difficult voyage. Returning labourers were dropped off at numerous locations as the Fanny Campbell headed north. On 17th March she was standing offshore waiting to enter a small anchorage near Tarasag village at around 11:45 p.m. when was blown onto a reef on what was almost certainly Gauna Island [recorded in papers of the day as Ganna or Yarro] in the Banks Group, approximately 400 km north of Port Vila, Vanuatu. After about 3 hours she was a complete wreck.

 

During the trip the Fanny Campbell had picked up a number of recruits – all of whom swam to shore during the night leaving 18 islanders, Captain Loutit and Mr. Roberts on board anxiously awaiting dawn. All were able to go ashore in the morning in the remaining boat, the other having been smashed to pieces. They were able to take with them two bags of flour and some small arms. Before they could leave the ship, natives from the shore came aboard pilfering all they could find and causing concern among those on board. Once on the shore natives also stole a large quantity of their clothing.

 

In a desperate situation the survivors were pleased when the Chief of the village gave them a humpy for shelter; they were not troubled by the natives at all after the initial thefts. With a limited amount of food taken from the ship things began to get desperate. On the 4th April, 17 days after the Fanny Campbell was wrecked, the captain, two seamen, and two Lifa [Lifou New Caledonia] natives started in the boat for Havannah Harbour on Efate Island, a distance of around 400 km to the south. On the 10th April they were picked up by ketch G. V. Brooke that had been sent from Havannah Harbour to pick up everything remaining on the reef, and also to take the crew to Havannah Harbour. On their arrival at Gauna they found that those on shore were suffering very much from fever, malaria, and dysentery - three natives having died. The crew of the ketch commenced' working and recovered the anchors, chains, etc. and were planning to take the survivors back to Havannah Harbour.

 

Shortly after, on the 22nd April, the schooner Lyttona. under the command of Captain Rosengren, arrived and offered to take the crew back to Havannah Harbour. The Government agent, Mr. Roberts, the captain and a crew member took up the offer; the remaining survivors were to return on the G. V. Brooke to Tanna. The G. V. Brooke left on 25th April and, as she had not appeared at Havannah Harbour by the 5th May, fears were held that she too had been lost. Finally a letter from the New Hebrides was received in Rockhampton on the 11th June advising that the G. V. Brooke had arrived safely at Tanna.

 

Images related to the Fanny Campbell are in the album Fanny Campbell

 

All Images in this photo stream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.

 

GREAT LAKES MANNING RIVER SHIPPING, NSW - Flick Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List

This is a good news story involving the very successful restoration of a harvested Pine plantation back to native vegetation.

 

The photo shows part of the old Boboyan Pine Plantation area, now more aptly named the Gudgenby Bush Regeneration Area, in Namadgi National Park.

 

The Pines were harvested in the late 1990s. Debris or slash piles were burnt and then the area was replanted with local native plants to supplement natural regeneration. Extensive Blackberry control was necessary and is on-going.

 

All that remains of the old Pine Plantation are the rotting stumps seen in the photo's foreground.

 

We need to thank the late Eleanor Stodart and the Gudgenby Bush Regeneration Group, who worked with ACT Forests, Environment ACT and the ACT Parks and Conservation Service to achieve this great outcome.

Hornet Rally 083116

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

Feeding on Antignon leptotus flower.

 

Thanks to Graeme Cocks on Bowerbird for ID.

 

This is one of a series of shots taken for and during my involvement in the Wild Pollinator Count in November 2016: wildpollinatorcount.com/

Consumers Energy Vice President of Customer Experience and Operations, Patti Poppe, was one of the 85+ employees who participated in the Walk for Warmth at Great Lakes Crossing Outlets on February 11, 2012. The Walk for Warmth was coordinated by Oakland Livingston Human Services Agency.

In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.

de.wikipedia.org / wiki / Albertina_ (Vienna)

 

 

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

 

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

 

www.wien-vienna.at/albertinabaugeschichte.php

Local people and plant seed.

 

Photo by Aulia Erlangga/CIFOR

 

cifor.org

 

forestsnews.cifor.org

 

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

River Dargle Flood Defence Scheme.

These images were taken towards the end of the third week of February 2017.

 

These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:

 

Back in November 2014, we'd observed bank stabilisation works here involving excavation, repair and building of a support wall structure -- carried out by JONS Construction on behalf of the National Roads Authority.

 

We would occasionally catch sight of this work in the distance. Quite an impressive little piece of structural engineering.

Having built a retaining concave wall, backfilled for solidity, they were also drilling, fixing and sealing ground anchors to pin the entire structure together.

 

flic.kr/p/paSU8U

 

Now we see that further works are being undertaken.

Word has it that extra ‘stabilisation work’ had to be done to protect the integrity of the riverbank.

At the section here we can see that there’s not much space between the edge of the rock face and the Armco at the side of the dual-carriageway.

Have yet to determine what precisely that will entail. Serious work to reinforce the side access ramp down to the river.

 

The N11 carriageway runs adjacent to this sunken side of the riverbank -- barely 2 (large) paces divide the two. Even with twin strips of Armco along the roadside, it's perilously close. Traffic speeds along this stretch (maximum speed 100 kmp). Only needs a touch from a heavy vehicle to cause secondary impact, which (worst possible scenario) could result in something going airborne.

 

Working in these confined spaces puts a premium of safety and communication.

 

The guys have hard-filled a working shelf on the riverbed, to allow machinery access to the rockface. Obviously some serious drilling is called for before a form of extra 'pinning' is put in place.

They have sunk a series of hollowed tubes/casings -- obviously to form the foundations of a more extensive structure.

And some investigative work around the transverse buttress of the access bridge, parallel to the heavy-duty pipeline carrying water down from the Vartry reservoir.

 

At a (rough) guess -- I'd say the foundations were sunk to a depth of approx 4+m.

With such secure foundations in place, they would then look to construct a substantial bank of material, and/or retaining wall (similar to that in place further along the roadside bank).

 

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Previously the guys drilled and sunk 4+metre deep reinforced tubing and rods along a newly laid concrete base. Those stubs were then used to attach steel rod cradles -- which, in turn, were filled with poured concrete. Result - the wall quickly rises. Variation on the method they've used elsewhere along this stretch of the river.

 

A continuous stretch of protective wall has now been poured, and joined up with the section originally erected back in 2014.

As we can see from the side-on shot, the base of the wall has pre-cut openings for the retaining pins that have been driven into the side wall of the roadside cliff. These have been sealed and capped.

 

Progress has been rapid, the full stretch of wall is completed, and the guys are now working on back-filling the empty space between the protective wall and the roadside rock face. You don't just throw in a few trucks loads of soil and hope for the best. You load, layer, level and compress.

 

And, at the same time, the guys are clearing away material used to build access ramps down into the riverbed.

The thought crossed my mind -- in doing so (removing the stone-filled gabions etc,) are they potentially exposing the river bank on that side to erosion, slippage etc?

We know the destructive force of fast running waters. Hell, this is precisely why the protective works have been carried out along the rest of the stretch, down to the Bray Harbour. Unless they have other plans to stabilise it, what is going to be left here is loose soil -- very close to the access road into the halting site itself.

 

Some repair/reinforcing work is going on here to protect the (old) buttress that supports the pipework carrying water to the Bray region.

  

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.

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