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An outreach designed to produce students who are hooked on science. During the week of Jan. 10, the Advanced Materials Laboratory of Sandia National Laboratories invited about 200 fourth-grade students to attend one of eight sessions of purposeful and fun hands-on science experience.
(Photo by Randy Montoya)
6580. Continuing the discussion on the preceding Entry: both the Federal Government and RAN Command have accepted the decision of the Defence Honours and Awards Tribunal - announced on March 1, 2013 - not to belatedly award posthumous Victoria Crosses to any of the 13 men whose names were put before an Inquiry held over the past two years, including, of course, those of Ordinary Seaman Edward ['Teddy'] Sheean of HMAS ARMIDALE [I], Captain Hector Waller of HMAS PERTH [I] and Commander Robert Rankin of HMAS YARRA [II], men whose names are all honoured in the nomenclature of the Collins Class submarines.
In announcing the Tribunal's decision, the Parliamentary Secretary for Defence, Senator David Feeney, said it would be greeted with 'relief' by some, and 'anguish' by others.
This raises the qujestion of who would be feeling 'relief,' and who would be feeling 'anguish' ?
Accepting that the individual consideration of these cases involved complex issues requiring a rigorous level of dispassionate review, we would have to say that we still feel the field for feelings of 'relief' is both bureaucratic and very narrow, and that the field for feelings ranging from 'anguish' to a flattened sense of disappointment involves many thousands of people - from the families and connections of the men considered, to the personnel of our defence forces, particularly the Navy.
The Tribunal believes it has upheld the integrity of Australia's Defence Honours and Awards system, but we are not aware that has ever been in doubt, and find that to have not found ONE of these cases of gallantry worthy of the highest recognition is an extraordinarily bureaucratic and conservative approach.
We can barely imagine it happening in any other country.
Eleven of the 13 men on the list were from the Royal Australian Navy, which - as Kimberley Dunstan points out in an eloquent comment under the preceding Entry - wasdoubly unique among the Australian forces in allowing its higher awards to be determined not by its own command, but by the Royal Navy, and by the fact that no member of the RAN has ever been awarded a Victoria Cross.
Kim suggests those two facts are linked, and finds an substantial element of lingering cultural cringe in it.
We will now list the 13 men considered, and rejected, for the Victoria Cross, inj the next Entry.
Photo: LSIS Nina Fogliani, RAN.
A major challenge with an insourcing outsourcing analysis involves gathering reliable data. Discuss the various groups that should be involved when conducting an insourcing outsourcing analysis
A major challenge with an insourcing outsourcing analysis involves gathering reliable data. Discuss the various groups that should be involved when conducting an insourcing outsourcing analysis
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Purchase Management
Attempt Any Four Case Study
CASE 1 -The Santek Images Business Unit
Consolidated Products is a $21 billion company headquartered in Atlanta, Georgia. The company’s five business units, which offer a wide array of products and services, are the result of an aggressive strategy of mergers and acquisitions starting in the late 1980s. The corporate staff is surprisingly small, comprised of general management, legal staff, and human resources. Part of the reason for this small staff is due to the eclectic array of businesses housed within one corporate entity. A Business Week editor recently commented that “Consolidated Products could easily be broken up into five separate companies, since at one time it was five separate companies.” The editor also said that if the company “ever learned how to leverage its size in the marketplace, Consolidated Products could be a Wall Street powerhouse!”
While Consolidated Products is a global corporation with facilities around the world, it operates each business unit as a highly independent and decentralized company. The corporate culture is best described as entrepreneurial, with each business unit being headed by an executive vice president who has complete profit and loss accountability. One of the business units, Santek Images, is the focus of this case.
Santek Images
Santek Images produces instant film and the imaging products that use that film for industrial applications. Increasingly, Santek has shifted much of its production requirements to oversees producers. The outsourcing of finished products, also called contract purchasing, represents a 180-degree shift from the vertically integrated model that Santek pursued during the 1970s and 80s. A key driver behind the outsourcing of non-core products was the realization that previous ways of doing business could not support 10-20 new-product launches a year, which is the target that Santek’s executive vice president has established.
Many products at Santek use self-contained instant film, which Santek refers to as media. Only one other company in the world has similar technical capabilities. However, Santek now faces intense competition from digital technology, forcing the unit to make digital imagery part of its image acquisition core competency. Most outsourcing at Santek now involves product hardware, such as the product casing, rather than media.
There are several reasons why Santek insources media while outsourcing hardware. Most of the innovation valued by customers occurs within media rather than hardware, making media a primary area to focus research and development efforts. Furthermore, the margins for media products are higher than the margins for hardware products. From an investment and financial perspective, limited corporate resources are best allocated to media rather than hardware. While hardware is necessary, it does not offer the best financial and innovative opportunities. This does not mean that hardware is not important. Santek recently suffered through an embarrassing recall because a contract manufacturer produced a finished product casing that cracked when exposed to high temperatures (above 90 degrees).
Asian suppliers provide virtually all outsourced hardware requirements. While Japan is the epicenter for hardware manufacturing, other low cost areas in Asia are emerging. Outsourcing to Asia offers two major benefits—access to technology and low cost. As with most electronics and their supporting components, U.S. and European producers are no longer competitive.
Beginning in 2002, Santek began to actively search for contract or outsource manufacturers, particularly for camera hardware. Unfortunately, there was no organization in place to formally support that effort. While a small OEM group worked to find contract manufacturers during the 1970s to 1995, Santek did not endorse or focus on outsourcing as a key corporate strategy. As a result, creating an outsourcing organization was not a major concern at Santek.
In 2001, Santek formed a contract purchasing organization, which has primary responsibility for hardware outsourcing. The contract-purchasing director (also referred to as the outsourcing director) reports to the vice president of new product delivery. This group has responsibility for procurement (identifying and qualifying outsource manufacturers), product quality, and working with contract manufacturers during new product development.
To date, the contract-purchasing director believes his staff has done a good job of shifting production from internal to external sources. In addition to managing two international procurement groups, the contract-purchasing director is responsible for managing relationships with the outsource providers. After several years of outsourcing, the director of contract purchasing, Steve Keller, started to notice that the performance gains from outsourcing were flattening out quickly. When he recently surveyed his contract manufacturers about their perception of doing business with Santek, he was surprised by their answers.
Of the 12 contract manufacturers currently used, seven thought of Santek as just another customer. These suppliers did not believe there was anything unique or special about the relationship. Three other suppliers expressed serious concern about doing future business with Santek since they were dedicating their capacity (through longer-term contracts) to other customers (who were not competitors of Santek). Two other suppliers expressed an interest in developing a closer relationship with Santek. It appeared that these suppliers were developing new technology and products that aligned well with Santek’s future product plans. These two also had the longest working relationship with Santek of the current suppliers. Steve could not help but wonder if his group could do more to develop or elevate the relationship with these two suppliers. And, if he could develop the relationship, could his group achieve greater performance improvements?
Questions:
1.Many outsourcing decisions involve the concept of a core competency. Define what is meant by this term. Discuss if film technology is truly a core competency of Santek.
2.Develop a process that would guide firms through the insourcing/outsourcing process. Create a process that is robust enough to use across a variety of product/service applications.
3.A major challenge with an insourcing/outsourcing analysis involves gathering reliable data. Discuss the various groups that should be involved when conducting an insourcing/outsourcing analysis. What information can each of these groups provide?
4.Do you think hardware suppliers are candidates for alliances or partnerships with Santek? Why?
5.Partnerships and alliances are special forms of supplier-buyer relationships. First, define the concept of partnerships and alliances. Second, identify when a firm should pursue a partnership or alliance with selected suppliers. Use the portfolio segmentation tool to assist with your answer.
6.Develop a process that firms can use when identifying and developing supply chain alliances.
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Original picture taken February 1994 on slide. Digital captured from paper print.
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Noken is a multifunctional knotted or woven bag, native to the Papua. Its distinctive usage, which involves being hung from the head, is traditionally used to carry various goods, and also children. In 2012, noken was listed in the UNESCO Intangible Cultural Heritage Lists as a cultural heritage of Indonesia. Women carrying noken are still a common sight in Wamena.
In several areas of Papua, noken – instead of the usual ballot box – is preferred as a way to place ballots, where it is recognized as a ballot tool in the Papua regional leadership elections.
The Baliem Valley, also spelled Balim Valley and sometimes known as the Grand Valley, of the highlands of Western New Guinea, is occupied by the Dani people. The main town in the valley is Wamena. The valley is about 80 km in length by 20 km in width and lies at an altitude of about 1,600-1,700 metres, with a population of over 200,000.
As far as the outside world was concerned, the discovery of the Baliem Valley and the unexpected presence of its large agricultural population was made by Richard Archbold’s third zoological expedition to New Guinea in 1938. On 21 June an aerial reconnaissance flight southwards from Hollandia (now Jayapura) found what the expedition called the ‘Grand Valley’. Since then the valley has gradually been opened up to a limited amount of tourism.
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The Dani people, also spelled Ndani, and sometimes conflated with the Lani group to the west, are a people from the central highlands of western New Guinea (the Indonesian province of Papua).
They are one of the most populous tribes in the highlands, and are found spread out through the highlands. The Dani are one of the most well-known ethnic groups in Papua, due to the relatively numerous tourists who visit the Baliem Valley area where they predominate. "Ndani" is the name given to the Baliem Valley people by the Moni people, and, while they don't call themselves Dani, they have been known as such since the 1926 Smithsonian Institution-Dutch Colonial Government expedition to New Guinea under Matthew Stirling who visited the Moni.
LANGUAGE
Linguists identify at least four sub-groupings of Dani languages:
Lower-Grand Valley Dani (20,000 speakers)
Mid-Grand Valley Dani (50,000 speakers)
Upper-Grand Valley Dani (20,000 speakers)
and the Lani or Western Dani (180,000 speakers)
The Dani languages differentiate only two basic colours, mili for cool/dark shades such as blue, green, and black, and mola for warm/light colours such as red, yellow, and white. This trait makes it an interesting field of research for language psychologists, e.g. Eleanor Rosch, eager to know whether there is a link between way of thought and language.
FIRST CONTACT
A small fringe group of the Dani, living south of Puncak Trikora and presenting themselves as the Pesegem and the Horip tribes, were met on October 29, 1909, by the Second South New Guinea Expedition led by Hendrikus Albertus Lorentz, who stayed several nights in their village. First contact with the populous Western Dani was made in October 1920 during the Central New Guinea Expedition, which group of explorers stayed for six weeks with them at their farms in the upper Swart River Valley (now Toli Valley). The Grand Valley Dani were only sighted in the summer of 1938 from an airplane by Richard Archbold.
CULTURE
Sweet potatoes are important in their local culture, being the most important tool used in bartering, especially in dowries. Likewise pigs feasts are extremely important to celebrate events communally; the success of a feast, and that of a village big man (man of influence) or organiser, is often gauged by the number of pigs slaughtered.
The Dani use an earth oven method of cooking pig and their staple crops such as sweet potato, banana, and cassava. They heat some stones in a fire until they are extremely hot, then wrap cuts of meat and pieces of sweet potato or banana inside banana leaves. The food package is then lowered into a pit which has been lined with some of the hot stones described above, the remaining hot stones are then placed on top, and the pit is covered in grass and a cover to keep steam in. After a couple of hours the pit is opened and the food removed and eaten. Pigs are too valuable to be served regularly, and are reserved for special occasions only.
Ritual small-scale warfare between rival villages is integral to traditional Dani culture, with much time spent preparing weapons and treating any resulting injuries. Typically the emphasis in battle is to insult the enemy and wound or kill token victims, as opposed to capturing territory or property or vanquishing the enemy village.
Changes in the Dani way of life over the past century are tied to the encroachment of modernity and globalization, despite tourist brochures describing trekking in the highlands with people from the 'stone age'. Observers have noted that pro-independence and anti-Indonesian sentiment tends to run higher in highland areas than for other areas of Papua. There are cases of abuses where Dani and other Papuans have been shot and/or imprisoned trying to raise the flag of West Papua, the Morning Star.
ETHNOGRAPHIC STUDIES
In 1961, as a member of the Harvard-Peabody study, filmmaker Robert Gardner began recording the Dani of the Baliem River Valley. In 1965, he created the film Dead Birds from this experience. Gardner emphasizes the themes of death and people-as-birds in Dani culture. "Dead birds" or "dead men" are terms the Dani use for the weapons and ornaments taken from the enemy during battle (wim). These trophies are displayed during the two day dance of victory (edai) after an enemy is killed.
Michael Rockefeller, son of former Vice-President of the United States Nelson Rockefeller, was a member of the Harvard-Peabody study and involved in the production of Dead Birds. While conducting further research on the Asmat people elsewhere in New Guinea, Michael Rockefeller disappeared. His body was never found.
WIKIPEDIA
AltaRock Energy is working on a project involving new technology, techniques, and advanced monitoring protocols for the purpose of testing the feasibility and viability of enhanced geothermal systems for renewable energy production.
The project area is 22 miles south of Bend, Oregon, within the Bend-Fort Rock Ranger District of the Deschutes National Forest. The entire project is located on National Forest System Lands and would utilize an existing well pad and existing 10,000-ft deep geothermal well on a Federal geothermal lease. This geothermal project will enable the AltaRock Energy to create, test, and demonstrate the Enhanced Geothermal Systems (EGS) reservoir technology and its potential for electricity generation in areas with underground heat but little or no natural water. The EGS projects produce electricity using heat extracted with engineered fluid flow paths in hot rocks. These pathways are developed by stimulating them with cold water injected into a well at a relatively high pressure.
Development and testing of the EGS will involve several components, including the development of an underground reservoir, one “stimulation” well to help create the reservoir and transport water to it, two production wells to transport heated water out of the reservoir, and an array of up to 20 surface and “down-hole” seismic monitoring devices.
Eleven of the monitoring sites are on Federal geothermal leases administered by the BLM, and nine are on lands that are administered by the U.S. Forest Service, including one surface micro-seismic monitoring station and a motion sensor installed in the Newberry National Monument.
The United States leads the world in electricity generation with geothermal power. The U.S. Energy Information Administration reported that in 2012, U.S geothermal power plants produced about 17 billion kilowatt-hours (kWh), or 0.4% of total U.S. electricity generation. Six states had geothermal power plants: California had 36 plants producing about 80% of the Nation's geothermal-produced electricity; Nevada had 21 plants producing about 16% of the Nation's geothermal-produced electricity; Utah had two plants; and Hawaii, Idaho, and Oregon each had one plant. Geothermal energy is also used directly for space and water heating applications.
The Geothermal Steam Act of 1970, as amended (84 Stat, 1566; 30 U.S.C. 1001-1025), provides the Secretary of the Interior with the authority to lease public lands (245 million acres) and other federal lands, including National Forest lands (193 million acres), for geothermal exploration and development in an environmentally sound manner. This authority has been delegated to the Bureau of Land Management (BLM).
Leases are required to explore for or develop geothermal resources on public lands. Leasing requirements are described in the 43 CFR 3200 Geothermal Leasing Regulations.
As of June 5, 2013 there were 78 federal geothermal leases encompassing 102,484 acres in Oregon, a 2% acreage decrease since May 2012, and four leases encompassing 8,436 acres in Washington representing no change over the same period. There have also been 15 parcels nominated for leasing, 6 in Oregon (11,452 acres) and 9 in Washington (35,480 acres). Three of these are on BLM land; the remaining 12 are on U.S. Forest Service (USFS) land.
Specific project and location information for OR/WA can be found at this website: www.blm.gov/or/energy.
Photo: Michael Campbell, BLM.
Throughout Bali, Balinese long-tailed macaques tend to stay within forested areas. However, Balinese long-tailed macaques, including those within the Sacred Monkey Forest of Padangtegal, occasionally wander into rice fields or even village areas that are adjacent to the forest. Outside of forested areas, monkeys can become pests and the Balinese tend to apply whatever means necessary to protect their crops and other property. The Sacred Monkey Forest's long-tailed macaques are the subject of an ongoing resarch project that is being conducted by the Balinese Macaque Project. The Balinese Macaque Project involves researchers from the United States, Guam, and the University of Udayana (Bali, Indonesia). To date, the Balinese Macaque Project has conducted research to determine the mating strategies, migration and range patterns, dominance ralationships, and habitat use of Balinese long-tailed macaques. The Balinese Macaque Project hopes that such research will facilitate the development of conservation strategies for Balinese long-tailed macaques and sites like the Sacred Monkey Forest of Padangtegal.
CULTURAL SIGNIFICANCE
Within Balinese Hinduism, monkeys can be the embodiment of both positive and negative forces. The dual nature of monkeys is especially reflected in the Ramayana (a very popular Indian epic poem). Within the Ramayana, Sita (the beloved bride of Rama) is abducted by Rawana (an evil king). Rama (an incarnation of Dewa Wisnu) calls upon Sugriwa (king of the monkeys) and Hanuman (Sugriwa's General) to help him retrieve Sita. However, within the Ramayana, there are also antagonist monkeys like Subali that attempt to assist Rawana. In the end, Hanuman, along with his monkey army, defeats Rawana's evil forces and helps Rama to retrieve Sita.
Because monkeys can embody both positive and negative forces, the Balinese both loathe and revere monkeys. Monkeys that occupy sacred Balinese Hindu temple sites (like the Sacred Monkey Forest) tend to be revered and protected by the Balinese. One reason for this is that monkeys, in the form of a Barong, are believed to be capable of guarding temple sites against evil spirits (for additional discussion on Barongs, see the chapter titled "GODS, GODDESSES, AND DEMONS"). However, the Balinese belief that monkeys can be negative in nature is reinforced when, for example, they raid rice fields or snatch items from souvenier shops.
MACAQUE FAMILIES
Adult male and female Balinese long-tailed macaques have distinguishable physical characteristics. Males tend to be larger then females. Male Balinese long-tailed macaqes can weigh up to 10 kilograms (approximately 18 pounds). Males, in comparison to females, have broader shoulders and larger canine teeth. In addition, females have facial hair that resembles a 'bear' whereas males have more pronounced 'mustaches'.
Compared with adult males, sub-adult males have smaller bodies, smaller canine teeth, shorter back/shoulder hair and narrower shoulders. Compared with adult females, sub-adult females typically have shorter nipples. This is because female macaques do not reach adult status until after they have given birth.
Young macaques are split into 3 age groups. Young macaques that are between the age of 0-6 months old and have predominantly black hair color are called 'Infant 1'. Young macaques that are between the age of 6-12 months old and have black hair only on their head are called 'Infant 2'. Finally, young macaques that are between 1-3.5 years in age are called 'Juveniles'. Mother macaques can be very protective and tourists should always be cautious when approaching infant macaques.
Wall art work at Gloucester railway station (formerly known as Gloucester Central station) is the main railway station serving Gloucester, Gloucestershire.
The railway development at Gloucester was very complex involving four different railway companies and five distinct railway stations. The first company onto the scene was the Birmingham and
Gloucester Railway, which was a standard gauge line opening 4 November 1840. This line from
Cheltenham was built by the Birmingham and Gloucester railway on a formation built by the
Cheltenham and Great Western Union Railway. The first station was a terminus built on land near the cattle market. This was seen as a temporary structure to be replaced by a more permanent structure nearer the docks when more finance was available, but this never happened and this structure determined the site of the station today.
The Cheltenham and Great Western Union Railway (C&GWU) opened a 7 ft (2,134 mm) broad gauge line from Swindon to Gloucester on the 8 July 1844, and built their station adjacent and to the north of the Birmingham and Gloucester station. The line from Gloucester to Cheltenham was upgraded to mixed gauge so that the C&GWU could share tracks to Cheltenham, which meant trains had to reverse at Gloucester.
At the same time as the C&GWU opened, the Bristol and Gloucester Railway also opened a broad gauge line from Bristol to Standish Junction a few miles south of Gloucester, and shared the tracks of the C&GWU into Gloucester station. In 1845, the Midland Railway, which had already bought the
Birmingham and Gloucester Railway, also absorbed the Bristol and Gloucester Railway. Similarly, the Great Western Railway had taken over the C&GWU, which resulted in a jointly-owned (MR & GWR), mixed-gauge station from which trains ran on shared mixed-gauge track both northwards and
southwards from Gloucester.
In 1847, the GWR opened the Cheltenham Loop line which completed the triangle junction east of the station. This allowed GWR trains to avoid the reversal at Gloucester, but so as to allow GWR
passengers to access Gloucester, a link line was built to a station on the loop called the Gloucester T
station. Carriages were detached from trains at the T station, turned on turntables and taken into the main Gloucester station. This operation was not very successful and so was abandoned, along with the loop line, in 1851. Hereafter, GWR trains from London to Cheltenham continued to reverse at the main station, a practise that continues to this day.
On the 19 September 1851, the Gloucester and Dean Forest Railway and the South Wales Railway opened a line southwestwards from Gloucester towards the Forest of Dean, Chepstow and South Wales. A new, 2-platform through-station was built immediately north of the existing station,
although this was rebuilt in 1855 with a longer, single platform after it was found the original station was too small.
On 22 May 1854, the Midland Railway opened a new, standard gauge railway between Gloucester and Standish Junction, thus avoiding running on the ex-CGWU line into Gloucester. This new line
paralleled the old route as far as Tuffley, where the Tuffley Loop swung into Gloucester and looped back onto the main Bristol-to-Birmingham line. The MR also rebuilt the old 1840 station, lengthening platforms and adding new buildings, but because this was still a terminus and the Tuffley Loop headed eastwards, trains still had to reverse in and out of the station. This anomaly was not sorted out for another 40 years until the MR opened a new station on 12 April 1896, south-east of the
existing station, on the Tuffley Loop. The old station was demolished, to be replaced by sidings, and the new MR station was linked to the GWR station by a 250-yards-long, covered footbridge.
In 1901, the Cheltenham Loop, now known as 'the Gloucester avoiding line', was re-instated,
primarily for goods traffic, but also for passengers from 1908. Between 1914 and 1920, the GWR
station was expanded with a second long platform north of the running lines, two centre tracks for through movements and bay platforms. The two main platforms were also split in two with a scissors crossing in the middle. In 1951, the Western station was renamed Gloucester Central and the Midland station renamed Gloucester Eastgate to avoid confusion.
By the mid-1960s, plans were floated to rationalise the stations - the 1914 upside platform at Gloucester Central was reduced to a parcels-only platform and Gloucester Eastgate was reduced to two platforms. There was also a proposal for an entirely new station on the triangular junction east of the existing stations, to avoid the troublesome reversals, but this was not taken further. Even then, although the through-platforms of Gloucester Eastgate on the Bristol-Birmingham (former Midland Railway) line avoided the still-current problems with trains having to reverse direction, it was seen as a hindrance because the Tuffley Loop line had five level crossings, which caused a lot of traffic problems in town. Therefore, in 1975, Gloucester Eastgate and the Tuffley Loop line were closed and all operations were concentrated at Gloucester Central. This station was redeveloped and re-opened in 1977 with new station buildings and an extended platform at 1977 ft, long enough to take two Inter-City 125 trains then being introduced to the Western Region. In 1984, the 1914 parcels platform was brought back into use as a passenger platform and a new footbridge was opened to provide access.
Gloucester's second station, Gloucester Eastgate, was connected to the Central station via a covered footbridge until Eastgate station was closed.
Mount Whitney is the highest summit in the contiguous United States with an elevation of 14,505 feet (4,421 m). It is on the boundary between California's Inyo and Tulare counties, 84.6 miles (136.2 km) west-northwest of the lowest point in North America at Badwater in Death Valley National Park at 282 ft (86 m) below sea level. The west slope of the mountain is in Sequoia National Park and the summit is the south end of the John Muir Trail which runs 211.9 mi (341.0 km) from Happy Isles in Yosemite Valley. The east slope is in the Inyo National Forest in Inyo County.
The summit of Whitney is on the Sierra Crest and near many of the highest peaks of the Sierra Nevada. The peak rises 10,778 ft (3,285 m) or just over two miles above the town of Lone Pine 15 miles to the east, in the Owens Valley.
Mount Whitney is above the tree line and has an alpine climate and ecology. Very few plants grow near the summit: one example is the Sky Pilot, a cushion plant that grows low to the ground. The only animals are transient, such as the butterfly Parnassius phoebus and the Gray-crowned Rosy Finch.
The estimated elevation of the summit of Mount Whitney has changed over the years. The technology of elevation measurement has become more refined and, more importantly, the vertical coordinate system has changed. The peak was commonly said to be at 14,494 ft (4,418 m) and this is the elevation stamped on the USGS brass benchmark disk on the summit. An older plaque on the summit (sheet metal with black lettering on white enamel) reads "elevation 14,496.811 feet" but this was estimated using the older vertical datum (NGVD29) from 1929. Since then the shape of the Earth (the geoid) has been estimated more accurately. Using a new vertical datum established in 1988 (NAVD88) the benchmark is now estimated to be at 14,505 ft (4,421 m).
The eastern slope of Whitney is far steeper than its western slope. This is because the entire Sierra Nevada is the result of a fault-block that is analogous to a cellar door: the door is hinged on the west and is slowly rising on the east. The rise is caused by a normal fault system that runs along the eastern base of the Sierra, below Mount Whitney. Thus, the granite that forms Mount Whitney is the same as the granite that forms the Alabama Hills thousands of feet below. The raising of Whitney (and the downdrop of the Owens Valley) is due to the same geological forces that cause the Basin and Range Province: the crust of much of the intermontane west is slowly being stretched.
The most popular route to the summit is by way of the Mount Whitney Trail which starts at Whitney Portal, at an elevation of 8,360 ft (2,550 m), 13 mi (21 km) west of the town of Lone Pine. The hike is about 22 mi (35 km) round trip with an elevation gain of over 6,100 ft (1,900 m). Permits are required year round, and to prevent overuse a limited number of permits are issued by the Forest Service between May 1 and November 1. Most hikers do the trip in two days. Those in good physical condition sometimes attempt to reach the summit and return to Whitney Portal in one day, thus requiring only a somewhat easier-to-obtain "day use" permit rather than the overnight permit. This is considered an "extreme" day hike, which normally involves leaving Whitney Portal before sunrise and 12 to 18 hours of strenuous hiking, while struggling with altitude sickness, cold air, and occasionally treacherous surface conditions (because snow and/or ice are normally present on parts of the trail, except for a short period from early July to late September).
en.wikipedia.org/wiki/Mount_Whitney
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
This was the re-enactment of some gun battle or festival celebrating something involving lots of guns, extremely loud bangs, lots of smoke and men dressed in costume that we found ourselves caught up in. I took far more photos than there are here and come to think about it, I have videos to edit yet.
We decided to go for a city break rather than sun in Tenerife again this September. Other than a few days in the North East we haven’t been away since last March and wanted a change and hopefully some sun. The problem is getting flights from the north of England to the places we want to go to. We chose Valencia as we could fly from East Midlands – which was still a pain to get to as it involved the most notorious stretch of the M1 at five in the morning. In the end we had a fairly good journey, the new Ryanair business class pre-booked scheme worked quite well and bang on time as usual. It was dull when we landed with storms forecast all week, the sky was bright grey – the kiss of death to the photography I had in mind. I was full of cold and wishing I was at work. It did rain but it was overnight on our first night and didn't affect us. There has been a drought for eleven months apparently and it rained on our first day there! The forecast storms didn't materialise in Valencia but they got it elsewhere.
You May notice discrepancies in the spelling of some Spanish words or names, this is because Valencian is used on signs, in some guide books and maps. There are two languages in common use with distinct differences. There may also be genuine mistakes - it has been known!
Over the course of a Monday to Sunday week we covered 75 miles on foot and saw most of the best of Valencia – The City of Bell Towers. The Old City covers a pretty large area in a very confusing layout. There was a lot of referring to maps – even compass readings! – a first in a city for us. The problem with photography in Valencia is that most of the famous and attractive building are closely built around, some have poor quality housing built on to them. Most photographs have to be taken from an extreme angle looking up. There are no high points as it is pan flat, there are a small number of buildings where you can pay to go up on to the roof for a better view and we went up them – more than once!
The modern buildings of The City of Arts and Sciences – ( Ciutat de Las Arts I de les Ciencies ) are what the city has more recently become famous for, with tourists arriving by the coachload all day until late at night. They must be photographed millions of times a month. We went during the day and stayed till dark one evening, I gave it my best shot but a first time visit is always a compromise between ambition and realism, time dictates that we have to move on to the next destination. I travelled with a full size tripod – another first – I forgot to take it with me to TCoAaS! so It was time to wind up the ISO, again! Needless to say I never used the tripod.
On a day when rain was forecast but it stayed fine, albeit a bit dull, we went to the Bioparc north west of the city, a zoo by another name. There are many claims made for this place, were you can appear to walk alongside some very large animals, including, elephants, lions, giraffe, rhino, gorillas and many types of monkey to name a few. It is laid out in different geographical regions and there is very little between you and the animals, in some cases there is nothing, you enter the enclosure through a double door arrangement and the monkeys are around you. It gets rave reviews and we stayed for most of the day. The animals it has to be said gave the appearance of extreme boredom and frustration and I felt quite sorry for them.
The course of The River Turia was altered after a major flood in the 50’s. The new river runs west of the city flanked by a motorway. The old river, which is massive, deep and very wide between ancient walls, I can’t imagine how it flooded, has been turned into a park that is five miles long. There is an athletics track, football pitches, cycle paths, restaurants, numerous kids parks, ponds, fountains, loads of bridges, historic and modern. At the western end closest to the sea sits The City of Arts and Sciences – in the river bed. Where it meets the sea there is Valencia’s urban Formula One racetrack finishing in the massive marina built for The Americas Cup. The race track is in use as roadways complete with fully removable street furniture, kerbs, bollards, lights, islands and crossings, everything is just sat on the surface ready to be moved.
We found the beach almost by accident, we were desperate for food after putting in a lot of miles and the afternoon was ticking by. What a beach, 100’s of metres wide and stretching as far as the eye could see with a massive promenade. The hard thing was choosing, out of the dozens of restaurants, all next door to each other, all serving traditional Paella – rabbit and chicken – as well as seafood, we don’t eat seafood and it constituted 90% of the menu in most places. Every restaurant does a fixed price dish of the day, with a few choices, three courses and a drink. Some times this was our only meal besides making the most of the continental breakfast at the hotel. We had a fair few bar stops with the local wine being cheap and pleasant it would have been a shame not to, there would have been a one woman riot – or strike!
On our final day, a Sunday, we were out of bed and down for breakfast at 7.45 as usual, the place was deserted barring a waiter. We walked out of the door at 8.30 – in to the middle of a mass road race with many thousands of runners, one of a series that take place in Valencia – apparently! We struggled to find out the distance, possibly 10km. The finish was just around the corner so off we went with the camera gear, taking photos of random runners and groups. There was a TV crew filming it and some local celebrity (I think) commentating. Next we came across some sort of wandering religious and musical event. Some sort of ritual was played out over the course of Sunday morning in various locations, it involved catholic priests and religious buildings and another film crew. The Catholic tourists and locals were filling the (many) churches for Sunday mass. Amongst all of this we had seen men walking around in Arab style dress – the ones in black looked like the ones from ISIS currently beheading people – all carrying guns. A bit disconcerting. We assumed that there had been some sort of battle enactment. We were wrong, it hadn’t happened yet. A while later, about 11.30 we could hear banging, fireworks? No it was our friends with the guns. We were caught up in total mayhem, around 60 men randomly firing muskets with some sort of blank rounds, the noise, smoke and flames from the muzzles were incredible. We were about to climb the Torres de Serranos which is where, unbeknown to us, the grand, and deafening, finale was going to be. We could feel the blast in our faces on top of the tower. Yet again there was a film camera in attendance. I couldn’t get close ups but I got a good overview and shot my first video with the 5D, my first in 5 years of owning a DLSR with the capability. I usually use my phone ( I used my phone as well). Later in the day there was a bullfight taking place, the ring was almost next to our hotel, in the end we had other things to do and gave it a miss, it was certainly a busy Sunday in the city centre, whether it’s the norm or not I don’t know.
There is a tram system in Valencia but it goes from the port area into the newer part of the city on the north side, it wouldn’t be feasible to serve the historic old city really. A quick internet search told me that there are 55,000 university students in the city, a pretty big number. I think a lot of the campus is on the north side and served by the tram although there is a massive fleet of buses as well. There is a massive, very impressive market building , with 100’s of stalls that would make a photo project on its own, beautiful on the inside and out but very difficult to get decent photos of the exterior other than detail shots owing to the closeness of other buildings and the sheer size of it. Across town, another market has been beautifully renovated and is full of bars and restaurants and a bit of a destination in its own right.
A downside was the all too typical shafting by the taxi drivers who use every trick in the book to side step the official tariffs and rob you. The taxi from the airport had a “broken” meter and on the way home we were driven 22 km instead of the nine that is the actual distance. Some of them seem to view tourists as cash cows to be robbed at all costs. I emailed the Marriot hotel as they ordered the taxi, needless to say no answer from Marriot – they’ve had their money. We didn’t get the rip off treatment in the bars etc. that we experienced in Rome, prices are very fair on most things, certainly considering the city location.
All in all we had a good trip and can highly recommend Valencia.
Students got a chance to explore some of Lafayette’s organizations, clubs, and programs during the Involvement Fair on the Quad. The College boasts more than 200 opportunities for students to become involved in campus life, including academic honor societies, cultural and social organizations, community outreach, arts programs, sports clubs, and living groups. The fair is sponsored by Student Government and the Office of Student Leadership and Involvement.
Photos by Zachary Hartzell
Sept. 8, 2015
This was the re-enactment of some gun battle or festival celebrating something involving lots of guns, extremely loud bangs, lots of smoke and men dressed in costume that we found ourselves caught up in. I took far more photos than there are here and come to think about it, I have videos to edit yet.
We decided to go for a city break rather than sun in Tenerife again this September. Other than a few days in the North East we haven’t been away since last March and wanted a change and hopefully some sun. The problem is getting flights from the north of England to the places we want to go to. We chose Valencia as we could fly from East Midlands – which was still a pain to get to as it involved the most notorious stretch of the M1 at five in the morning. In the end we had a fairly good journey, the new Ryanair business class pre-booked scheme worked quite well and bang on time as usual. It was dull when we landed with storms forecast all week, the sky was bright grey – the kiss of death to the photography I had in mind. I was full of cold and wishing I was at work. It did rain but it was overnight on our first night and didn't affect us. There has been a drought for eleven months apparently and it rained on our first day there! The forecast storms didn't materialise in Valencia but they got it elsewhere.
You May notice discrepancies in the spelling of some Spanish words or names, this is because Valencian is used on signs, in some guide books and maps. There are two languages in common use with distinct differences. There may also be genuine mistakes - it has been known!
Over the course of a Monday to Sunday week we covered 75 miles on foot and saw most of the best of Valencia – The City of Bell Towers. The Old City covers a pretty large area in a very confusing layout. There was a lot of referring to maps – even compass readings! – a first in a city for us. The problem with photography in Valencia is that most of the famous and attractive building are closely built around, some have poor quality housing built on to them. Most photographs have to be taken from an extreme angle looking up. There are no high points as it is pan flat, there are a small number of buildings where you can pay to go up on to the roof for a better view and we went up them – more than once!
The modern buildings of The City of Arts and Sciences – ( Ciutat de Las Arts I de les Ciencies ) are what the city has more recently become famous for, with tourists arriving by the coachload all day until late at night. They must be photographed millions of times a month. We went during the day and stayed till dark one evening, I gave it my best shot but a first time visit is always a compromise between ambition and realism, time dictates that we have to move on to the next destination. I travelled with a full size tripod – another first – I forgot to take it with me to TCoAaS! so It was time to wind up the ISO, again! Needless to say I never used the tripod.
On a day when rain was forecast but it stayed fine, albeit a bit dull, we went to the Bioparc north west of the city, a zoo by another name. There are many claims made for this place, were you can appear to walk alongside some very large animals, including, elephants, lions, giraffe, rhino, gorillas and many types of monkey to name a few. It is laid out in different geographical regions and there is very little between you and the animals, in some cases there is nothing, you enter the enclosure through a double door arrangement and the monkeys are around you. It gets rave reviews and we stayed for most of the day. The animals it has to be said gave the appearance of extreme boredom and frustration and I felt quite sorry for them.
The course of The River Turia was altered after a major flood in the 50’s. The new river runs west of the city flanked by a motorway. The old river, which is massive, deep and very wide between ancient walls, I can’t imagine how it flooded, has been turned into a park that is five miles long. There is an athletics track, football pitches, cycle paths, restaurants, numerous kids parks, ponds, fountains, loads of bridges, historic and modern. At the western end closest to the sea sits The City of Arts and Sciences – in the river bed. Where it meets the sea there is Valencia’s urban Formula One racetrack finishing in the massive marina built for The Americas Cup. The race track is in use as roadways complete with fully removable street furniture, kerbs, bollards, lights, islands and crossings, everything is just sat on the surface ready to be moved.
We found the beach almost by accident, we were desperate for food after putting in a lot of miles and the afternoon was ticking by. What a beach, 100’s of metres wide and stretching as far as the eye could see with a massive promenade. The hard thing was choosing, out of the dozens of restaurants, all next door to each other, all serving traditional Paella – rabbit and chicken – as well as seafood, we don’t eat seafood and it constituted 90% of the menu in most places. Every restaurant does a fixed price dish of the day, with a few choices, three courses and a drink. Some times this was our only meal besides making the most of the continental breakfast at the hotel. We had a fair few bar stops with the local wine being cheap and pleasant it would have been a shame not to, there would have been a one woman riot – or strike!
On our final day, a Sunday, we were out of bed and down for breakfast at 7.45 as usual, the place was deserted barring a waiter. We walked out of the door at 8.30 – in to the middle of a mass road race with many thousands of runners, one of a series that take place in Valencia – apparently! We struggled to find out the distance, possibly 10km. The finish was just around the corner so off we went with the camera gear, taking photos of random runners and groups. There was a TV crew filming it and some local celebrity (I think) commentating. Next we came across some sort of wandering religious and musical event. Some sort of ritual was played out over the course of Sunday morning in various locations, it involved catholic priests and religious buildings and another film crew. The Catholic tourists and locals were filling the (many) churches for Sunday mass. Amongst all of this we had seen men walking around in Arab style dress – the ones in black looked like the ones from ISIS currently beheading people – all carrying guns. A bit disconcerting. We assumed that there had been some sort of battle enactment. We were wrong, it hadn’t happened yet. A while later, about 11.30 we could hear banging, fireworks? No it was our friends with the guns. We were caught up in total mayhem, around 60 men randomly firing muskets with some sort of blank rounds, the noise, smoke and flames from the muzzles were incredible. We were about to climb the Torres de Serranos which is where, unbeknown to us, the grand, and deafening, finale was going to be. We could feel the blast in our faces on top of the tower. Yet again there was a film camera in attendance. I couldn’t get close ups but I got a good overview and shot my first video with the 5D, my first in 5 years of owning a DLSR with the capability. I usually use my phone ( I used my phone as well). Later in the day there was a bullfight taking place, the ring was almost next to our hotel, in the end we had other things to do and gave it a miss, it was certainly a busy Sunday in the city centre, whether it’s the norm or not I don’t know.
There is a tram system in Valencia but it goes from the port area into the newer part of the city on the north side, it wouldn’t be feasible to serve the historic old city really. A quick internet search told me that there are 55,000 university students in the city, a pretty big number. I think a lot of the campus is on the north side and served by the tram although there is a massive fleet of buses as well. There is a massive, very impressive market building , with 100’s of stalls that would make a photo project on its own, beautiful on the inside and out but very difficult to get decent photos of the exterior other than detail shots owing to the closeness of other buildings and the sheer size of it. Across town, another market has been beautifully renovated and is full of bars and restaurants and a bit of a destination in its own right.
A downside was the all too typical shafting by the taxi drivers who use every trick in the book to side step the official tariffs and rob you. The taxi from the airport had a “broken” meter and on the way home we were driven 22 km instead of the nine that is the actual distance. Some of them seem to view tourists as cash cows to be robbed at all costs. I emailed the Marriot hotel as they ordered the taxi, needless to say no answer from Marriot – they’ve had their money. We didn’t get the rip off treatment in the bars etc. that we experienced in Rome, prices are very fair on most things, certainly considering the city location.
All in all we had a good trip and can highly recommend Valencia.
Various Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Black-shouldered Kite (Elanus axillaris)
The black-shouldered kite (Elanus axillaris) or Australian black-shouldered kite is a small raptor found in open habitat throughout Australia and resembles similar species found in Africa, Eurasia and North America, which have in the past also been named as black-shouldered kites. Measuring 35–38 cm (14–15 in) in length with a wingspan of 80–95 cm (31–37 in), the adult black-shouldered kite is a small and graceful, predominantly pale grey and white, raptor with black shoulders and red eyes. Their primary call is a clear whistle, uttered in flight and while hovering.
Though reported across Australia, they are most common in the south-east and south-west corners of the mainland. Their preferred habitat is open grasslands with scattered trees and they are often seen hunting along roadsides. Like all the elanid kites, it is a specialist predator of rodents, which it hunts singly or in pairs by hovering in mid-air above open land.
Black-shouldered kites form monogamous pairs, breeding between August and January. The birds engage in aerial courtship displays which involve high circling flight and ritualised feeding mid-air. Three or four eggs are laid and incubated for around thirty days. Chicks are fully fledged within five weeks of hatching and can hunt for mice within a week of leaving the nest. Juveniles disperse widely from the home territory.
Taxonomy
The black-shouldered kite was first described by English ornithologist John Latham in 1802, as Falco axillaris. Its specific name is derived from the Latin axilla, meaning "shoulder".
The name "black-shouldered kite" was formerly used for a Eurasian and African species, Elanus caeruleus, with the Australian species, Elanus axillaris, and the North American species, the white-tailed kite Elanus leucurus, treated as subspecies of this. These three Elanus species have comparable plumage patterns and sizes, however, they are now regarded as distinct, and the name black-winged kite is used for E. caeruleus. Modern references to the black-shouldered kite should therefore unambiguously mean the Australian species, E. axillaris. The Australian black-shouldered kite was formerly called E. notatus, but it was not clear that the name applied to this species alone.
In 1851, British zoologist Edward Blyth described Elaninae, the "smooth clawed kites" as a formal subfamily of Accipitridae. However, they are also grouped in Accipitrinae, the broader subfamily of hawks and eagles described by French ornithologist Louis Jean Pierre Vieillot in 1816.
A taxonomic proposal based on DNA studies has recommended classifying Elanus kites as a separate family (Elanidae). A 2004 molecular study of cytochrome-b DNA sequences shows them to have split off from typical hawks and eagles at an earlier date than the Osprey, which has been classified in its own family.
Description
Black-shouldered kites are around 35 to 38 cm (14 to 15 in) in length and have a wingspan of between 80 and 95 cm (31 and 37 in) and an average weight of 291 g (10.3 oz). Adults are a very pale grey with a white head and white underparts. The leading edge of the inner wing is black. When perched, this gives them their prominent black "shoulders". They have red eyes, with a black 'comma' that extends behind the eyes. They have a squared tail and a streamlined aerodynamic body. The bill is short with a sharp, hooked tip to the upper mandible. Their nostrils and the cere are bright yellow and the bill is black. The legs and feet are also yellow, and the feet have three toes facing forwards and one toe facing backwards. The sexes are similar, with females only just larger than males, although they can be up to 15% heavier.
The juveniles’ markings follow a similar pattern to adult birds, but they are washed with a rusty brown on the head and upper breast, and the back and wings are mottled buff or brown with prominent white tips. The young birds’ eyes are brown.
The black-shouldered kite is very similar to the related raptor species, the letter-winged kite (E. scriptus) but has the black mark above and behind the eye, a white rather than grey crown, and shows all-white underparts in flight except for the black patch at the shoulder and dark wingtips.
Vocalizations
Black-shouldered kites are generally silent, except in the breeding season when their calls, though weak, can be persistent. They primarily utter clear whistled 'chee, chee, chee' calls in flight and while hovering, or a hoarse wheezing 'skree-ah' when perched. The call has been confused with that of a silver gull. A short high whistle is the primary contact call between a pair, while a harsh scraping call is the most common call used by females and large young, and brooding females call to their young with a deep, soft, frog-like croak.
A variety of different calls have been recorded from captive birds, including harsh, harmonic, chatter and whistle vocalisations. Harsh calls were made when a bird was alarmed or agitated, whistle-type calls were emitted in general contexts, sometimes monotonously, and shorter duration 'chatter' calls were given when a bird sighted a human near the enclosure.
Distribution and habitat
Although reported from almost all parts of Australia, they are most common in the relatively fertile south-east and south-west corners of the mainland, and in south-east Queensland. They are rare in the deep desert and appear to be only accidental visitors to northern Tasmania and the Torres Strait islands. As the species has an extremely large range and the population is increasing, it has been listed as "Least Concern" on the IUCN Red List of Threatened species. Although they are rare vagrants on the islands of Bass Strait and in northern Tasmania, on the Australian mainland they vary from uncommon to common, appearing almost anywhere following rain or the movement of flood waters. In southwestern Australia, they are now one of the most commonly recorded raptors in the wheatbelt.
They are sedentary, or nomadic following food sources. Their numbers fluctuate during drought and floods, and can be irruptive in response to sudden increases in mouse populations. The most distant banding recovery was from South Australia to eastern New South Wales, a distance of 1,000 km (620 mi).
Although found in timbered country, they are mainly birds of the grasslands. They prefer open areas with scattered clumps of trees, including tree-lined watercourses through open country. In urban areas they are found on the edge of towns on wasteland or irregularly mown areas. They also hunt over coastal dunes and drier marshland, and farmland. Black-shouldered kites are most often seen hunting over grassy roadside verges.
European occupation of Australia has, on the whole, benefited black-shouldered kites through land clearing and irrigation for agriculture and grain harvesting and storage practices which provide suitable conditions for much larger numbers of mice. According to raptor researcher Dr Stephen Debus, this species did not suffer from eggshell thinning during the period of DDT use in Australia, though he believes it is possible that secondary poisoning may occur from rodenticides used during mouse plagues or from pesticides used during locust plagues. Populations in areas with high sheep and rabbit numbers may decline, as these animals compact the soil and reduce the available habitat for mice.
Behaviour
Sociality
Black-shouldered kites usually hunt singly or in pairs, though where food is plentiful they occur in small family groups and can be loosely gregarious at times of irruptions, with up to 70 birds reported feeding together during a mouse plague. They roost communally, like other Elanus species.
They are territorial when food is not abundant. The practise of "tail flicking" where, on landing, the tail is flicked up and lowered and the movement repeated persistently is thought to be a possible territorial display. Black-shouldered kites have been observed in aerial combat at the margins of territories, locking talons in a behaviour described as "grappling".
Food and hunting
Black-shouldered kites live almost exclusively on mice, and have become a specialist predator of house mice, often following outbreaks of mouse plagues in rural areas. They take other suitably sized creatures when available, including grasshoppers, rats, small reptiles, birds, and even (very rarely) rabbits, but mice and other mouse-sized mammals account for over 90% of their diet. Their influence on mouse populations is probably significant: adults take two or three mice a day each if they can, around a thousand mice a year. On one occasion, a male was observed bringing no less than 14 mice to a nest of well-advanced fledglings within an hour. In another study, a female kite was seen to struggle back to fledglings in the nest with a three-quarters grown rabbit, a heavy load for such a small bird.
Like other elanid kites, black-shouldered kites hunt by quartering grasslands for small creatures. This can be from a perch, but more often by hovering in mid-air. When hunting the kite hovers with its body hanging almost vertically, and its head into the wind. Unlike the Australian kestrel, the black-winged kite shows no obvious sideways movement, even in a strong breeze. One study of a nesting pair noted that the male searched aerially for 82% of the search time. Typically, a kite will hover 10 to 12 m (33 to 39 ft) above a particular spot, peering down intently, sometimes for only a few seconds, often for a minute or more, then glide swiftly to a new vantage point and hover again. When hunting from a perch, a dead tree is the preferred platform. Like other Elanus kites, The black-shouldered kite grips a vertical branch with a foot on either side, each one above the other and turned inwards, which enables them to maintain a secure footing on relatively small branches. Though hovering is the most common hunting method, the kites have been observed searching the ground beneath a vantage point for periods of up to an hour.
When a mouse or other prey is spotted, the kite drops silently onto it, feet-first with wings raised high; sometimes in one long drop to ground level, more often in two or more stages, with hovering pauses at intermediate heights. Prey is seized in the talons and about 75% of attacks are successful. Prey can either be eaten in flight or carried back to a perch. Birds will have a favoured feeding perch, beneath which accumulate piles of pellets or castings.
They are diurnal, preferring to hunt during the day, particularly in the early morning and mid to late afternoon, and will occasionally hunt in pairs. Their hunting patterns, outside breeding periods and periods of abundant prey, have distinct crepuscular peaks, perhaps corresponding to mouse activity.
Flight
Black-shouldered kites spiral into the wind like a kestrel. They soar with v-shaped up-curved wings, the primaries slightly spread and the tail widely fanned. In level flight progress is rather indirect. Their flight pattern has been described as 'winnowing' with soft steady beats interspersed with long glides on angled wings. They can most often be seen hovering with wings curved and tail pointing down.
Breeding
Aerial courtship displays involve single and mutual high circling flight, and the male may fly around slowly with stiff exaggerated flaps, commonly known as butterfly-flight. Courting males dive at the female, feeding her in mid-flight. The female grabs food from the male's talons with hers while flipping upside-down. They may lock talons and tumble downwards in a ritualised version of grappling, but release just before landing. All courtship displays are accompanied by constant calling.
Black-shouldered kites form monogamous pairs. The breeding season is usually August to January, but is responsive to mice populations, and some pairs breed twice in a good season. Both sexes are involved in building the nest, which is a large untidy shallow cup of sticks usually in the foliage near the top of trees, taking about two weeks to complete the nest-building. The flat nest is built of thin twigs and is around 28 to 38 cm (11 to 15 in) across when newly built, but growing to around 78 cm (31 in) across and 58 cm (23 in) deep after repeated use. The nest is lined with green leaves and felted fur, though linings of grass and cow dung have also been reported.[10] It is generally located in the canopy of an isolated or exposed tree in open country, elevated 5 to 20 m (16 to 66 ft) or more above the ground. Black-shouldered kites have been known to use old Australian magpie, crow or raven nests.
Females perform most of the care of eggs and nestlings, though males take a minor share of incubation and brooding. The clutch consists of three to four dull white eggs of a tapered oval shape measuring 42 mm × 31 mm (1.7 in × 1.2 in) and with red-brown blotches that are often heavier around the larger end of the egg. The female incubates the eggs for 30 days and when the eggs hatch the chicks are helpless but have soft down covering their body. For the first two weeks or so the female broods the chicks constantly, both day and night. The female does no hunting at all for the first three weeks after hatching, but calls to the male from the nest, and he generally responds by bringing food. The female feeds the chicks with the mice brought back to the nest by the male, feeding them in tiny pieces for the first week or two, at which time the chicks are capable of swallowing a mouse whole. The nestling period lasts around 36 days, and the post-fledging period at least 36 days with parental feeding for at least 22 days. When the chicks are older both parents take it in turns to feed them. Black feathers start to appear along the chicks' wings when they are about a fortnight old, and they are fully fledged and are ready to fly in five weeks. Within a week of leaving the nest the young birds are capable of hunting for mice on their own.
Juveniles disperse widely, taking up territory that can be as far as 1,000 km (620 mi) from the nest site.
[Credit: en.wikipedia.org]
Students learned about chemical reactions by launching Mentos volcanoes during Sandia's 36th annual Hands-On Minds-On Technologies (HMTech) summer program.
Learn more at bit.ly/3OlccYu
Photo by Tyrese Green
Pierluigi Praturlon - Das süße Leben/La dolce vita/The Sweet Life, 1959 (Regie/Director: Federico Fellini, IT/FR, 1960), Privatsammlung
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.
AltaRock Energy is working on a project involving new technology, techniques, and advanced monitoring protocols for the purpose of testing the feasibility and viability of enhanced geothermal systems for renewable energy production.
The project area is 22 miles south of Bend, Oregon, within the Bend-Fort Rock Ranger District of the Deschutes National Forest. The entire project is located on National Forest System Lands and would utilize an existing well pad and existing 10,000-ft deep geothermal well on a Federal geothermal lease. This geothermal project will enable the AltaRock Energy to create, test, and demonstrate the Enhanced Geothermal Systems (EGS) reservoir technology and its potential for electricity generation in areas with underground heat but little or no natural water. The EGS projects produce electricity using heat extracted with engineered fluid flow paths in hot rocks. These pathways are developed by stimulating them with cold water injected into a well at a relatively high pressure.
Development and testing of the EGS will involve several components, including the development of an underground reservoir, one “stimulation” well to help create the reservoir and transport water to it, two production wells to transport heated water out of the reservoir, and an array of up to 20 surface and “down-hole” seismic monitoring devices.
Eleven of the monitoring sites are on Federal geothermal leases administered by the BLM, and nine are on lands that are administered by the U.S. Forest Service, including one surface micro-seismic monitoring station and a motion sensor installed in the Newberry National Monument.
The United States leads the world in electricity generation with geothermal power. The U.S. Energy Information Administration reported that in 2012, U.S geothermal power plants produced about 17 billion kilowatt-hours (kWh), or 0.4% of total U.S. electricity generation. Six states had geothermal power plants: California had 36 plants producing about 80% of the Nation's geothermal-produced electricity; Nevada had 21 plants producing about 16% of the Nation's geothermal-produced electricity; Utah had two plants; and Hawaii, Idaho, and Oregon each had one plant. Geothermal energy is also used directly for space and water heating applications.
The Geothermal Steam Act of 1970, as amended (84 Stat, 1566; 30 U.S.C. 1001-1025), provides the Secretary of the Interior with the authority to lease public lands (245 million acres) and other federal lands, including National Forest lands (193 million acres), for geothermal exploration and development in an environmentally sound manner. This authority has been delegated to the Bureau of Land Management (BLM).
Leases are required to explore for or develop geothermal resources on public lands. Leasing requirements are described in the 43 CFR 3200 Geothermal Leasing Regulations.
As of June 5, 2013 there were 78 federal geothermal leases encompassing 102,484 acres in Oregon, a 2% acreage decrease since May 2012, and four leases encompassing 8,436 acres in Washington representing no change over the same period. There have also been 15 parcels nominated for leasing, 6 in Oregon (11,452 acres) and 9 in Washington (35,480 acres). Three of these are on BLM land; the remaining 12 are on U.S. Forest Service (USFS) land.
Specific project and location information for OR/WA can be found at this website: www.blm.gov/or/energy.
Photo: Michael Campbell, BLM.
"With all this talk of football and family involvement in the sport, I think I should tell you that my vote for probably the best player to wear a uniform from the family would be for Good 'Ole Unca' Merv. He's too modest to tell you all this himself but, back in the day, he played both ways for Earle Haig Collegiate in Toronto (offensive centre and defensive tackle). Merv was a big boy (still is) and the defensive front 4 (a four man line was unheard of in those days) were all big guys and "had their way" with all opposition! By the way, Earle Haig won the Toronto City Championship the year Merv was in grade 13! Unca' Merv was voted to the all Toronto Allstar team chosen by all three newspapers (Star, Telegram (at the time) and the Globe). Unca' Merv was recruited by Simon Fraser University in B.C. (who played in the American University western league) and he went there for one year, but found it hard being so far away from home and had to give up his dream of playing there. He became friends with Dave Cutler ( place kicker for Edmonton Eskimos) who played for Simon Fraser while at University. Unca' Merv transferred to U. of G. for the balance of his education but ruined a knee on a summer job and never got to play football again - too bad, he would have done well on a team at Guelph.
Thought you all might like a little history of Good 'Ole Unca' Merv"
Good 'Ole Unca' Brian
This project involves the four-laning of Highway 1 on the western end of the Village of Chase.
Chase Creek Road Highway Project
Improvements include:
3.3 km section widened to four lanes, including median and roadside barrier
At-grade protected T-intersection at both Chase Creek Road and Shuswap Avenue
Grade separated pedestrian crossing and multi-use pathway to link Neskonlith Indian Reserve No. 2 and the Village of Chase
Cattle underpass to comply with Agricultural Land Commission requirements
Convert 1.5 km of existing highway to frontage road to consolidate access
River Dargle Flood Defence Scheme.
These images were taken in the first week of November 2016.
These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:
Back in November 2014, we 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.
Now we see that further works are being undertaken.
Word has it that extra ‘stabilisation work’ has 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 are now being used to attach steel rod cradles -- which, in turn, I believe will be filled with poured concrete. Variation on the method they've used elsewhere along this stretch of the river.
At this time of year, it's not a particularly nice place to be working in. The low, late sun never swings around sufficiently to light+warm this stretch. The day we were there, the air was barely above freezing point -- so, gotta be bloody cold down in that recess. No type of construction gear, or footwear, is going to keep the cold from seeping into your bones.
And, on a related point, it is a particularly tough spot for the inhabitants of the 3 traveller community dwellings adjacent to this work. Blood cold, and eternally damp.
The village of Haworth in the heart of West Yorkshire's Bronte Country is famous (amongst other things) for hosting a very special 1940s weekend.
The event usually involves locals and visitors alike getting togged up in 1940s gear to enjoy a wide range of nostalgic events, which often include a RAF vintage plane flypast, as well as spivs peddling their wares and authentic swing jive and Lindy Hop dancing being performed both in the streets during the day and at specially arranged dances which are held at local dance halls and pubs in the evenings.
Haworth village is situated at the edge of the Pennine moors in West Yorkshire, England, the area made famous by the Bronte sisters, known as Bronte country. Haworth is first mentioned as a settlement in 1209. The name may refer to a hedged enclosure or hawthorn enclosure. The name was recorded as Howorth on a 1771 map.
AltaRock Energy is working on a project involving new technology, techniques, and advanced monitoring protocols for the purpose of testing the feasibility and viability of enhanced geothermal systems for renewable energy production.
The project area is 22 miles south of Bend, Oregon, within the Bend-Fort Rock Ranger District of the Deschutes National Forest. The entire project is located on National Forest System Lands and would utilize an existing well pad and existing 10,000-ft deep geothermal well on a Federal geothermal lease. This geothermal project will enable the AltaRock Energy to create, test, and demonstrate the Enhanced Geothermal Systems (EGS) reservoir technology and its potential for electricity generation in areas with underground heat but little or no natural water. The EGS projects produce electricity using heat extracted with engineered fluid flow paths in hot rocks. These pathways are developed by stimulating them with cold water injected into a well at a relatively high pressure.
Development and testing of the EGS will involve several components, including the development of an underground reservoir, one “stimulation” well to help create the reservoir and transport water to it, two production wells to transport heated water out of the reservoir, and an array of up to 20 surface and “down-hole” seismic monitoring devices.
Eleven of the monitoring sites are on Federal geothermal leases administered by the BLM, and nine are on lands that are administered by the U.S. Forest Service, including one surface micro-seismic monitoring station and a motion sensor installed in the Newberry National Monument.
The United States leads the world in electricity generation with geothermal power. The U.S. Energy Information Administration reported that in 2012, U.S geothermal power plants produced about 17 billion kilowatt-hours (kWh), or 0.4% of total U.S. electricity generation. Six states had geothermal power plants: California had 36 plants producing about 80% of the Nation's geothermal-produced electricity; Nevada had 21 plants producing about 16% of the Nation's geothermal-produced electricity; Utah had two plants; and Hawaii, Idaho, and Oregon each had one plant. Geothermal energy is also used directly for space and water heating applications.
The Geothermal Steam Act of 1970, as amended (84 Stat, 1566; 30 U.S.C. 1001-1025), provides the Secretary of the Interior with the authority to lease public lands (245 million acres) and other federal lands, including National Forest lands (193 million acres), for geothermal exploration and development in an environmentally sound manner. This authority has been delegated to the Bureau of Land Management (BLM).
Leases are required to explore for or develop geothermal resources on public lands. Leasing requirements are described in the 43 CFR 3200 Geothermal Leasing Regulations.
As of June 5, 2013 there were 78 federal geothermal leases encompassing 102,484 acres in Oregon, a 2% acreage decrease since May 2012, and four leases encompassing 8,436 acres in Washington representing no change over the same period. There have also been 15 parcels nominated for leasing, 6 in Oregon (11,452 acres) and 9 in Washington (35,480 acres). Three of these are on BLM land; the remaining 12 are on U.S. Forest Service (USFS) land.
Specific project and location information for OR/WA can be found at this website: www.blm.gov/or/energy.
Photo: Michael Campbell, BLM.
This was the re-enactment of some gun battle or festival celebrating something involving lots of guns, extremely loud bangs, lots of smoke and men dressed in costume that we found ourselves caught up in. I took far more photos than there are here and come to think about it, I have videos to edit yet.
We decided to go for a city break rather than sun in Tenerife again this September. Other than a few days in the North East we haven’t been away since last March and wanted a change and hopefully some sun. The problem is getting flights from the north of England to the places we want to go to. We chose Valencia as we could fly from East Midlands – which was still a pain to get to as it involved the most notorious stretch of the M1 at five in the morning. In the end we had a fairly good journey, the new Ryanair business class pre-booked scheme worked quite well and bang on time as usual. It was dull when we landed with storms forecast all week, the sky was bright grey – the kiss of death to the photography I had in mind. I was full of cold and wishing I was at work. It did rain but it was overnight on our first night and didn't affect us. There has been a drought for eleven months apparently and it rained on our first day there! The forecast storms didn't materialise in Valencia but they got it elsewhere.
You May notice discrepancies in the spelling of some Spanish words or names, this is because Valencian is used on signs, in some guide books and maps. There are two languages in common use with distinct differences. There may also be genuine mistakes - it has been known!
Over the course of a Monday to Sunday week we covered 75 miles on foot and saw most of the best of Valencia – The City of Bell Towers. The Old City covers a pretty large area in a very confusing layout. There was a lot of referring to maps – even compass readings! – a first in a city for us. The problem with photography in Valencia is that most of the famous and attractive building are closely built around, some have poor quality housing built on to them. Most photographs have to be taken from an extreme angle looking up. There are no high points as it is pan flat, there are a small number of buildings where you can pay to go up on to the roof for a better view and we went up them – more than once!
The modern buildings of The City of Arts and Sciences – ( Ciutat de Las Arts I de les Ciencies ) are what the city has more recently become famous for, with tourists arriving by the coachload all day until late at night. They must be photographed millions of times a month. We went during the day and stayed till dark one evening, I gave it my best shot but a first time visit is always a compromise between ambition and realism, time dictates that we have to move on to the next destination. I travelled with a full size tripod – another first – I forgot to take it with me to TCoAaS! so It was time to wind up the ISO, again! Needless to say I never used the tripod.
On a day when rain was forecast but it stayed fine, albeit a bit dull, we went to the Bioparc north west of the city, a zoo by another name. There are many claims made for this place, were you can appear to walk alongside some very large animals, including, elephants, lions, giraffe, rhino, gorillas and many types of monkey to name a few. It is laid out in different geographical regions and there is very little between you and the animals, in some cases there is nothing, you enter the enclosure through a double door arrangement and the monkeys are around you. It gets rave reviews and we stayed for most of the day. The animals it has to be said gave the appearance of extreme boredom and frustration and I felt quite sorry for them.
The course of The River Turia was altered after a major flood in the 50’s. The new river runs west of the city flanked by a motorway. The old river, which is massive, deep and very wide between ancient walls, I can’t imagine how it flooded, has been turned into a park that is five miles long. There is an athletics track, football pitches, cycle paths, restaurants, numerous kids parks, ponds, fountains, loads of bridges, historic and modern. At the western end closest to the sea sits The City of Arts and Sciences – in the river bed. Where it meets the sea there is Valencia’s urban Formula One racetrack finishing in the massive marina built for The Americas Cup. The race track is in use as roadways complete with fully removable street furniture, kerbs, bollards, lights, islands and crossings, everything is just sat on the surface ready to be moved.
We found the beach almost by accident, we were desperate for food after putting in a lot of miles and the afternoon was ticking by. What a beach, 100’s of metres wide and stretching as far as the eye could see with a massive promenade. The hard thing was choosing, out of the dozens of restaurants, all next door to each other, all serving traditional Paella – rabbit and chicken – as well as seafood, we don’t eat seafood and it constituted 90% of the menu in most places. Every restaurant does a fixed price dish of the day, with a few choices, three courses and a drink. Some times this was our only meal besides making the most of the continental breakfast at the hotel. We had a fair few bar stops with the local wine being cheap and pleasant it would have been a shame not to, there would have been a one woman riot – or strike!
On our final day, a Sunday, we were out of bed and down for breakfast at 7.45 as usual, the place was deserted barring a waiter. We walked out of the door at 8.30 – in to the middle of a mass road race with many thousands of runners, one of a series that take place in Valencia – apparently! We struggled to find out the distance, possibly 10km. The finish was just around the corner so off we went with the camera gear, taking photos of random runners and groups. There was a TV crew filming it and some local celebrity (I think) commentating. Next we came across some sort of wandering religious and musical event. Some sort of ritual was played out over the course of Sunday morning in various locations, it involved catholic priests and religious buildings and another film crew. The Catholic tourists and locals were filling the (many) churches for Sunday mass. Amongst all of this we had seen men walking around in Arab style dress – the ones in black looked like the ones from ISIS currently beheading people – all carrying guns. A bit disconcerting. We assumed that there had been some sort of battle enactment. We were wrong, it hadn’t happened yet. A while later, about 11.30 we could hear banging, fireworks? No it was our friends with the guns. We were caught up in total mayhem, around 60 men randomly firing muskets with some sort of blank rounds, the noise, smoke and flames from the muzzles were incredible. We were about to climb the Torres de Serranos which is where, unbeknown to us, the grand, and deafening, finale was going to be. We could feel the blast in our faces on top of the tower. Yet again there was a film camera in attendance. I couldn’t get close ups but I got a good overview and shot my first video with the 5D, my first in 5 years of owning a DLSR with the capability. I usually use my phone ( I used my phone as well). Later in the day there was a bullfight taking place, the ring was almost next to our hotel, in the end we had other things to do and gave it a miss, it was certainly a busy Sunday in the city centre, whether it’s the norm or not I don’t know.
There is a tram system in Valencia but it goes from the port area into the newer part of the city on the north side, it wouldn’t be feasible to serve the historic old city really. A quick internet search told me that there are 55,000 university students in the city, a pretty big number. I think a lot of the campus is on the north side and served by the tram although there is a massive fleet of buses as well. There is a massive, very impressive market building , with 100’s of stalls that would make a photo project on its own, beautiful on the inside and out but very difficult to get decent photos of the exterior other than detail shots owing to the closeness of other buildings and the sheer size of it. Across town, another market has been beautifully renovated and is full of bars and restaurants and a bit of a destination in its own right.
A downside was the all too typical shafting by the taxi drivers who use every trick in the book to side step the official tariffs and rob you. The taxi from the airport had a “broken” meter and on the way home we were driven 22 km instead of the nine that is the actual distance. Some of them seem to view tourists as cash cows to be robbed at all costs. I emailed the Marriot hotel as they ordered the taxi, needless to say no answer from Marriot – they’ve had their money. We didn’t get the rip off treatment in the bars etc. that we experienced in Rome, prices are very fair on most things, certainly considering the city location.
All in all we had a good trip and can highly recommend Valencia.
This was the re-enactment of some gun battle or festival celebrating something involving lots of guns, extremely loud bangs, lots of smoke and men dressed in costume that we found ourselves caught up in. I took far more photos than there are here and come to think about it, I have videos to edit yet.
We decided to go for a city break rather than sun in Tenerife again this September. Other than a few days in the North East we haven’t been away since last March and wanted a change and hopefully some sun. The problem is getting flights from the north of England to the places we want to go to. We chose Valencia as we could fly from East Midlands – which was still a pain to get to as it involved the most notorious stretch of the M1 at five in the morning. In the end we had a fairly good journey, the new Ryanair business class pre-booked scheme worked quite well and bang on time as usual. It was dull when we landed with storms forecast all week, the sky was bright grey – the kiss of death to the photography I had in mind. I was full of cold and wishing I was at work. It did rain but it was overnight on our first night and didn't affect us. There has been a drought for eleven months apparently and it rained on our first day there! The forecast storms didn't materialise in Valencia but they got it elsewhere.
You May notice discrepancies in the spelling of some Spanish words or names, this is because Valencian is used on signs, in some guide books and maps. There are two languages in common use with distinct differences. There may also be genuine mistakes - it has been known!
Over the course of a Monday to Sunday week we covered 75 miles on foot and saw most of the best of Valencia – The City of Bell Towers. The Old City covers a pretty large area in a very confusing layout. There was a lot of referring to maps – even compass readings! – a first in a city for us. The problem with photography in Valencia is that most of the famous and attractive building are closely built around, some have poor quality housing built on to them. Most photographs have to be taken from an extreme angle looking up. There are no high points as it is pan flat, there are a small number of buildings where you can pay to go up on to the roof for a better view and we went up them – more than once!
The modern buildings of The City of Arts and Sciences – ( Ciutat de Las Arts I de les Ciencies ) are what the city has more recently become famous for, with tourists arriving by the coachload all day until late at night. They must be photographed millions of times a month. We went during the day and stayed till dark one evening, I gave it my best shot but a first time visit is always a compromise between ambition and realism, time dictates that we have to move on to the next destination. I travelled with a full size tripod – another first – I forgot to take it with me to TCoAaS! so It was time to wind up the ISO, again! Needless to say I never used the tripod.
On a day when rain was forecast but it stayed fine, albeit a bit dull, we went to the Bioparc north west of the city, a zoo by another name. There are many claims made for this place, were you can appear to walk alongside some very large animals, including, elephants, lions, giraffe, rhino, gorillas and many types of monkey to name a few. It is laid out in different geographical regions and there is very little between you and the animals, in some cases there is nothing, you enter the enclosure through a double door arrangement and the monkeys are around you. It gets rave reviews and we stayed for most of the day. The animals it has to be said gave the appearance of extreme boredom and frustration and I felt quite sorry for them.
The course of The River Turia was altered after a major flood in the 50’s. The new river runs west of the city flanked by a motorway. The old river, which is massive, deep and very wide between ancient walls, I can’t imagine how it flooded, has been turned into a park that is five miles long. There is an athletics track, football pitches, cycle paths, restaurants, numerous kids parks, ponds, fountains, loads of bridges, historic and modern. At the western end closest to the sea sits The City of Arts and Sciences – in the river bed. Where it meets the sea there is Valencia’s urban Formula One racetrack finishing in the massive marina built for The Americas Cup. The race track is in use as roadways complete with fully removable street furniture, kerbs, bollards, lights, islands and crossings, everything is just sat on the surface ready to be moved.
We found the beach almost by accident, we were desperate for food after putting in a lot of miles and the afternoon was ticking by. What a beach, 100’s of metres wide and stretching as far as the eye could see with a massive promenade. The hard thing was choosing, out of the dozens of restaurants, all next door to each other, all serving traditional Paella – rabbit and chicken – as well as seafood, we don’t eat seafood and it constituted 90% of the menu in most places. Every restaurant does a fixed price dish of the day, with a few choices, three courses and a drink. Some times this was our only meal besides making the most of the continental breakfast at the hotel. We had a fair few bar stops with the local wine being cheap and pleasant it would have been a shame not to, there would have been a one woman riot – or strike!
On our final day, a Sunday, we were out of bed and down for breakfast at 7.45 as usual, the place was deserted barring a waiter. We walked out of the door at 8.30 – in to the middle of a mass road race with many thousands of runners, one of a series that take place in Valencia – apparently! We struggled to find out the distance, possibly 10km. The finish was just around the corner so off we went with the camera gear, taking photos of random runners and groups. There was a TV crew filming it and some local celebrity (I think) commentating. Next we came across some sort of wandering religious and musical event. Some sort of ritual was played out over the course of Sunday morning in various locations, it involved catholic priests and religious buildings and another film crew. The Catholic tourists and locals were filling the (many) churches for Sunday mass. Amongst all of this we had seen men walking around in Arab style dress – the ones in black looked like the ones from ISIS currently beheading people – all carrying guns. A bit disconcerting. We assumed that there had been some sort of battle enactment. We were wrong, it hadn’t happened yet. A while later, about 11.30 we could hear banging, fireworks? No it was our friends with the guns. We were caught up in total mayhem, around 60 men randomly firing muskets with some sort of blank rounds, the noise, smoke and flames from the muzzles were incredible. We were about to climb the Torres de Serranos which is where, unbeknown to us, the grand, and deafening, finale was going to be. We could feel the blast in our faces on top of the tower. Yet again there was a film camera in attendance. I couldn’t get close ups but I got a good overview and shot my first video with the 5D, my first in 5 years of owning a DLSR with the capability. I usually use my phone ( I used my phone as well). Later in the day there was a bullfight taking place, the ring was almost next to our hotel, in the end we had other things to do and gave it a miss, it was certainly a busy Sunday in the city centre, whether it’s the norm or not I don’t know.
There is a tram system in Valencia but it goes from the port area into the newer part of the city on the north side, it wouldn’t be feasible to serve the historic old city really. A quick internet search told me that there are 55,000 university students in the city, a pretty big number. I think a lot of the campus is on the north side and served by the tram although there is a massive fleet of buses as well. There is a massive, very impressive market building , with 100’s of stalls that would make a photo project on its own, beautiful on the inside and out but very difficult to get decent photos of the exterior other than detail shots owing to the closeness of other buildings and the sheer size of it. Across town, another market has been beautifully renovated and is full of bars and restaurants and a bit of a destination in its own right.
A downside was the all too typical shafting by the taxi drivers who use every trick in the book to side step the official tariffs and rob you. The taxi from the airport had a “broken” meter and on the way home we were driven 22 km instead of the nine that is the actual distance. Some of them seem to view tourists as cash cows to be robbed at all costs. I emailed the Marriot hotel as they ordered the taxi, needless to say no answer from Marriot – they’ve had their money. We didn’t get the rip off treatment in the bars etc. that we experienced in Rome, prices are very fair on most things, certainly considering the city location.
All in all we had a good trip and can highly recommend Valencia.
Photo of the Winter Involvement Fair, an event that showcases over 50+ student groups and campus departments.
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.
Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
Scientists studying the inner workings of toxin-eating microbes, cancer cell propagation and other processes involving tiny samples need powerful microscopes that can focus on objects nearly 1,000 times smaller than the period at the end of this sentence. One challenge to creating such a microscope is the need to focus light at this scale. Using computer models of light and a transparent sphere hundreds of times smaller than one grain of table salt, researchers at PNNL showed they can focus light to an incredibly small and intense spotlight. This ability will enable researchers to visualize structure on extremely small length scales using visible light. A microscope that incorporated this light-focusing property would revolutionize the field with spatial resolution comparable to expensive and bulky scanning electron or transmission electron microscopes.
Team Members from PNNL: Samuel Peppernick, Alan Joly, Kenneth Beck and Wayne Hess.
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.
From left: Canoga Park High School students Jacqueline Huizar, Daisy Rios and Alex Surat, shown here with Northrop Grumman employee Stefan Bartkowicz (far right), participated in a student engineering competition on May 22 for Northrop Grumman's High School Involvement Partnership mentoring and scholarship program in Woodland Hills, Calif.
La Conner, Washington
The Swinomish Indian Tribal Community actively participates in crabbing, particularly focusing on Dungeness crabs, which are vital both ecologically and economically in the Salish Sea.
Their fisheries department conducts extensive research on Dungeness crab populations, including larval and juvenile stages, to better understand their development, habitat use, and population dynamics. They also lead efforts in fishery-independent monitoring, using specialized traps to study crab biology, molting cycles, and seasonal movements.
This research helps inform sustainable harvesting practices and ensures the long-term health of crab populations in the region. The Swinomish Fisheries team collaborates with various organizations and receives support from federal programs to carry out these initiatives.
Dungeness crab harvesting involves various techniques, each tailored to the environment and the crab's behavior.
Crab Pots: These are mesh or net traps with funnel-shaped openings that allow crabs to enter but prevent their escape. Pots are baited with items like fish carcasses or chicken parts and are left to soak for hours. Regulations often require escape hatches bound with biodegradable cords to ensure lost pots don't trap crabs indefinitely.
Dungeness crabs are prized for their sweet, tender meat, making them a favorite among seafood lovers.
Thank you for your visit and any faves or comments are always greatly appreciated!
~Sonja
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.
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we spent most of the day traveling, which involves the usual process: finding the right bus station, avoiding the touts, finding the right bus and then waiting while chatting with the other (local) passengers, while offering and being offered food, drinks and cigarettes.
once we finally got to Raqqa, it was even hard to be sure we actually were in Raqqa: the bus station was a sad little courtyard in the back of a plain commercial/industrial building, and we rushed down the bus at the last second. a very short bus ride later ("no no it's too far to walk!"... rrrright!) and we were in downtown Raqqa.
the town doesn't have much to offer to attract and keep travelers; the main attraction is a long stretch of mud walls that has been partly restored, to the point that it looks just like any wall, with some earth on top. given that everybody likes to walk on top of it, I'm sure it will be back to its unrestored state pretty soon.
that night we went through something that had become a tradition: the shave at the barber: early on in the trip I had made a point of getting a shave in each city, and Greg too. in Raqqa we treated ourselves to the best barber in town, just in the main square, and clearly very popular given the line of people. of course, as guests we weren't made to wait, and we spent the best part of an hour chatting with the people in the store and their customers, in the mixture of languages I call arabenglish... plenty of fun!
later on we went for a beer (hard to find in a small rural town!) and a dinner--or so we thought, as just as we were sitting down, a nearby group of men noticed us and designed themselves as our hosts. after getting us drinks and dinner, we jumped onto a cab and headed for some guy's home.
now, I don't know you, but in my part of the world, letting a local choose a taxi, talk to the driver in a language you don't know, and drive you down dark alleys to the end of town is a ticket to having all your belongings stolen, or worse. even though the idea crossed our minds at a certain point, that's totally not the case in Syria: we ended up at his place indeed, and spent one of the most amazing evenings, talking to his great extended family about life in Europe and in Syria, food, education, politics and anything else you can imagine. awesome!