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Leica SL (Typ 601)
Leica 24-90mm f2.8-4 ASPH Vario-Elmarit-SL Lens
Street Photography in Málaga, Spain
A rare colour image .... I did try a black and white conversion, but now having a Monochrom M (246), I can't find the right balance so left this one in colour.
Derweze (Turkmen language: The Gate, also known as Darvaza) is a Turkmenistan village of about 350 inhabitants, located in the middle of the Kara-Kum desert, about 260 km north from Ashgabat. Darvaza inhabitants are mostly Turkmen of the Teke tribe, preserving a half-nomadic lifestyle.
The Derweze area is rich in natural gas. While drilling in 1971 geologists accidentally found an underground cavern filled with natural gas. The ground beneath the drilling rig collapsed, leaving a large hole with a diameter of about 50-100 meters. To avoid poisonous gas discharge, it was decided to burn the gas. Geologists had hoped the fire would go out in a few days but it has been burning ever since. Locals have named the cavern The Door to Hell. Next to capturing the gas, flaring is safer and friendlier to the environment than releasing the methane into the atmosphere as methane is a relatively potent greenhouse gas with a high global warming potential of 72 (averaged over 20 years) or 25 (averaged over 100 years). Turkmenistan plans to increase its production of natural gas. In April 2010, the President of Turkmenistan Gurbanguly Berdimuhamedow visited the site and ordered that the hole should be closed, or other measures be taken to limit its influence on the development of other natural gas fields in the area.
Not far from the burning crater are two other craters of similar origin. These craters are not burning as the gas pressure is much weaker. At the bottom of one of these craters is light grey mud while the last crater contains a turquoise lake. This lake prevents further attempts at drilling. Not far from the burning crater are several dormant wells (en.wikipedia.org/wiki/Derweze).
My video: youtu.be/VVwPAx-Fmyc
SPNC - Year 4 - Instruction # 03
"Avoid tunnel vision, let the edges compete for attention in the frame."
Known for Main interests, Logic, metaphysics, philosophy of language, philosophy of mathematics, philosophy of mind, epistemology
Ludwig Josef Johann Wittgenstein (26 April 1889 – 29 April 1951) was an Austrian philosopher who worked primarily in logic, the philosophy of mathematics, the philosophy of mind, and the philosophy of language.
From 1929 to 1947, Wittgenstein taught at the University of Cambridge. During his lifetime he published just one slim book, the 75-page Tractatus Logico-Philosophicus (1921), one article, one book review and a children's dictionary. His voluminous manuscripts were edited and published posthumously. Philosophical Investigations appeared as a book in 1953, and has since come to be recognised as one of the most important works of philosophy in the 20th century. His teacher, Bertrand Russell, described Wittgenstein as "the most perfect example I have ever known of genius as traditionally conceived; passionate, profound, intense, and dominating".
Born in Vienna into one of Europe's richest families, he inherited a fortune from his father in 1913. He initially made some donations to artists and writers, and then, in a period of severe personal depression after the First World War, he gave away his entire fortune to his brothers and sisters. Three of his brothers committed suicide, which Wittgenstein had also contemplated. He left academia several times—serving as an officer on the front line during World War I, where he was decorated a number of times for his courage; teaching in schools in remote Austrian villages where he encountered controversy for hitting children when they made mistakes in mathematics; and working as a hospital porter during World War II in London, where he told patients not to take the drugs they were prescribed while largely managing to keep secret the fact that he was one of the world's most famous philosophers. He described philosophy as "the only work that gives me real satisfaction".
His philosophy is often divided into an early period, exemplified by the Tractatus, and a later period, articulated in the Philosophical Investigations. "Early Wittgenstein" was concerned with the logical relationship between propositions and the world and he believed that by providing an account of the logic underlying this relationship, he had solved all philosophical problems. "Late Wittgenstein," however, rejected many of the assumptions of the Tractatus, arguing that the meaning of words is best understood as their use within a given language-game. His mentor Bertrand Russell was likely the first to coin this distinction in Wittegenstein's work.
A survey among American university and college teachers ranked the Investigations as the most important book of 20th-century philosophy, standing out as "the one crossover masterpiece in twentieth-century philosophy, appealing across diverse specializations and philosophical orientations." The Investigations also ranked 54th on a list of most influential twentieth-century works in cognitive science prepared by the University of Minnesota's Center for Cognitive Sciences. However, in the words of his friend Georg Henrik von Wright, he believed "his ideas were generally misunderstood and distorted even by those who professed to be his disciples. He doubted he would be better understood in the future. He once said he felt as though he was writing for people who would think in a different way, breathe a different air of life, from that of present-day men
Born in Vienna, Austria-Hungary
Artwork by TudioJepegii
Originally opened in 1921, the 500-seat Seminole three-story building on Krome Avenue was built for Henry Booker, Sr. and James Washington English for movies and live entertainment. The theater was heavily damaged in a 1940 fire, leaving little more than a blackened shell.
Prolific theater architect Roy A. Benjamin was hired to rebuild the Seminole, which he designed in Streamline Moderne style. The cost of the movie theater's reconstruction was around $50,000. It reopened in the fall of 1940. In addition to movies, the Seminole continued to host live entertainment, as well as beauty contests and cooking demonstrations. In the early 1970s, the Seminole has renamed the Premier Theatre and began to show Spanish-language movies. It closed in 1979 due to declining attendance.
For years, the theater sat vacantly and fell into disrepair. In 1992, when Hurricane Andrew hit the Homestead area, the Seminole was not spared, and though its walls stood, the roof was torn off and the theater's interior suffered serious damage. In 1993, the Seminole Theater's owners donated the battered theater to the city, which designed it a local historic site two years later. The building is one of the few remaining examples of Art Moderne/Art Deco style theatres in all of Miami-Dade County.
The Seminole Theater Group was organized in 1997 with the intention of restoring the theater as a performing arts venue serving the Homestead and Dade County region. It is expected to cost about $4.2 million to bring the old Seminole back to life. The Seminole Theatre was reopened on October 28, 2015.
William B Medellin Architect P.A. as the historic preservation consultant for the project was responsible for the restoration of the historic facades, including the re-painting of the exterior walls to match the original historic colors; re-installation of missing historic elements such as the historic “Starburst” fretwork over the transom entrance doors and the historic travertine wainscot using historic salvaged travertine found at the Theater’s storage room. The interior lobby stairs and railings were the only original historic interior elements remaining in the building.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Homestead_Historic_Downtown_District
seminoletheatre.org/about/seminole-theatre-history
wbmarchitect.com/portfolio-posts/the-seminole-theater/
www.google.com/search?q=how+many+floors+does+the+seminole...
© All Rights Reserved - you may not use this image in any form without my prior permission.
© all rights reserved
We visit an ethnic Lave village at the Pa Suam waterfall. Located in the coffee capital of Laos Bolaven plateau and home to many ethnic tribes. Pa Suam is a beautiful waterfall and is a perfect place for a picnic. You can stroll around and check out the various ethnic villages and can stay overnight at one of the tree house type bungalows or opt for a homestay at an ethic village, the choice is yours. There about 160 ethnic groups in Laos speak a total of 82 distinct living languages. A homestay in an ethnic Lave village. Supposedly less than 350 Lave tribe members are left in the world. Lave are a subgroup of the main ethnic group called Gietrieng along with other minority subgroups Gié Dgieh, Tareh, Trieng Treng, Ve, Panoong Bnoong. The population of the Gietrieng is estimated on 27.000. The local authorities encourages ethnic residents to become involved in tourism in the area so they can earn income while preserving their culture.
Photo taken at an ethnic Lave village at the Pa Suam waterfall - Laos.
The Luam Pa waterfall is located on the Bolaven Plateau and is a great spot to spend a lazy afternoon or a quiet overnight stay at a unique tree-house type of bungalow. An unique homestay in an ethnic Lave village.
Leica M Monochrom (Typ 246)
Summilux-M 35mm ƒ1.4 ASPH FLE
ND 3 Stop Filter
Street Photography
London, UK
Textured experimentally in oil.
An old lady sat right in front of me, by a window side of a train compartment. She wore aristocracy like no other; around 75-80 years old, travelling alone from Kolkata. Her son would receive her from the station. She was communicating with her son over the cell phone. She was on the edge of her mood, at times relaxed and sometimes fidgety, as the train was running late. She was an expressive woman, as her gestures reflected her mood. She was ignorant about everything happening in the compartment, as she was eager to reach the station on time. I took a few shots of her gestures with my cell phone camera, secretly. They turned out to be pretty productive, as natural documentation of one’s body languages.
Title in other languages:
English: Flower box in Bonn Lengsdorf (Germany)
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
German postcard, no. 44 (of 64). Photo: Constantin. Elke Sommer and Mila Baloh in Unter Geiern/Among Vultures (Alfred Vohrer, 1964). Caption: At the last moment Annie intervenes. In front of everyone, she reports that the "preacher" is really the vulture Weller and a murderer. Her firm and determined manner makes even Judge Leader doubt Martin's guilt.
In the late 1950s, blonde, German Elke Sommer (1940) was a European sex symbol before conquering Hollywood in the early 1960s. With her trademark pouty lips, high cheekbones, and sky-high bouffant hair-dos, Sommer made 99 film and television appearances between 1959 and 2005. The gorgeous film star was also one of the most popular pin-up girls of the sixties and posed twice for Playboy magazine.
Elke Sommer was born Elke Schletz in 1940 in Berlin to a Lutheran Minister, Baron Peter von Schletz, and his wife, Renata, nee Topp. In 1942, the family was forced to evacuate to Niederndorf, a village near Erlangen, a small university town in the southern region of Germany. Her father's death in 1955, when she was only 14, interrupted her education at the local Gymnasium (high school). In 1957, she graduated from high school and moved to England. There she worked as an au-pair girl in Chigwell and Hampstead, two expensive residential areas of London. She entertained plans to become a diplomatic translator for the United Nations but instead decided to try modeling. After winning the title Miss Viareggio Turistica in 1958 while on vacation in Italy with her mother, she caught the attention of renowned film actor/director Vittorio De Sica and began performing on screen. Her debut film was in the Italian feature Uomini e nobiluomini/Men and Noblemen (Giorgio Bianchi, 1959), which starred De Sica. Elke changed her surname from 'Schletz' to 'Sommer' which was easier to pronounce for a non-German audience. A few more Italian pictures followed, including her first starring role in Femmine di lusso/Love, the Italian Way (Giorgio Bianchi, 1960) with Ugo Tognazzi and Walter Chiari. Within two years Elke made five films in Italy and also two in Germany, the adventure Das Totenschiff/Ship of the Dead (Georg Tressler, 1959) with Horst Buchholz, and the interesting Film Noir Am Tag, als der Regen kam/The Day It Rained (Gerd Oswald, 1959) starring Mario Adorf. She gradually upgraded her status to European sex symbol, and appeared in such films as the sexy De quoi tu te mêles Daniela!/Daniella by Night (Max Pécas, 1961) with Ivan Desny, Douce violence/Sweet Ecstasy (Max Pécas, 1962) opposite Pierre Brice, and the drama Das Mädchen und der Staatsanwalt/The Girl and the Prosecutor (Jürgen Goslar, 1962). Her first English-speaking picture was Don't Bother to Knock (Cyril Frankel, 1961) with Richard Todd and Nicole Maurey. Most of the publicity photographs for Don't Bother to Knock showed her in a bikini and revealed that although she was nothing like as buxom as Sophia Loren or Jayne Mansfield, Elke had a flat stomach and superb legs. Sommer moved to Hollywood in the early 1960s to try and tap into the foreign-born market. Her sexy innocence made a vivid impression in the all-star, war-themed drama The Victors (Carl Foreman, 1963) with Vince Edwards and Albert Finney. She received considerable publicity when it was reported that she filmed her scenes twice, with a sexier version made for the European market. Elke played a German girl who sexually gratifies her American boyfriend (George Hamilton) with the full knowledge of her parents because he brings chocolate to the family home. In 1964 she won the Golden Globe as Most Promising Female Newcomer for The Prize (Mark Robson, 1963), an espionage thriller with Paul Newman and Edward G. Robinson. In the classic, bumbling comedy A Shot in the Dark (Blake Edwards, 1964), the second entry in the hilarious Pink Panther series, she proved a shady and sexy foil to Peter Sellers's Inspector Clouseau. A scene with Sellers and Elke in a nudist camp received enormous publicity, and the film was a huge hit. Besides becoming one of the top film stars of the mid-1960s, Sommer also was one of the most popular pin-up girls of the time. She posed for two spreads in Playboy, in the September 1964 issue and in the December 1967 issue.
Elke Sommer was the leading lady opposite hunky sixties stars like James Garner, Robert Vaughn, and Dean Martin in such Hollywood productions as the crime melodrama The Art of Love (Norman Jewison, 1965), The Money Trap (Burt Kennedy, 1965), The Oscar (Russell Rouse, 1966), The Venetian Affair (Jerry Thorpe, 1967), and the Matt Helm spy spoof The Wrecking Crew (Phil Karlson, 1969). The blonde and beautiful Sommer proved irresistible to American audiences whether adorned in lace or leather or donning lingerie or lederhosen. She continued to make films in Europe as well as in Hollywood. The Euro-Western Unter Geiern/Among Vultures (Alfred Vohrer, 1964) was based on one of the Winnetou novels by Karl May. Her co-stars were Stewart Granger as Old Surehand, Götz George, and Pierre Brice as Winnetou. In 1966, she returned to England to work on the Bulldog Drummond extravaganza Deadlier Than the Male (Ralph Thomas, 1968), a film that has minor cult status, mainly because Richard Johnson gives a superb James Bond-like performance, but also because Elke and Sylva Koscina were so eye-catching as two sexually-charged assassins. Always a diverting attraction in spy intrigue or breezy comedy, she was too often misused and setbacks began to occur when the quality of her films began to deteriorate. Examples are the tacky Hollywood entry, The Oscar (Russell Rouse, 1966) with Stephen Boyd, and the Bob Hope misfire, Boy, Did I Get a Wrong Number! (1966). Her title role in the tasteless Cold War comedy The Wicked Dreams of Paula Schultz (George Marshall, 1968) proved her undoing. Elke Sommer benefitted from speaking seven languages fluently and her career took her to scores of different countries over time. Her films during the 1970s included the British World War I action-drama Zeppelin (Étienne Périer, 1971) in which she co-starred with Michael York and Anton Diffring, and a remake of Agatha Christie's oft-filmed murder mystery Ten Little Indians called And Then There Were None (Peter Collinson, 1974) with Richard Attenborough and Oliver Reed. In 1972, she starred in two low-budget Italian horror films directed by Mario Bava, which have both become cult classics. Gli orrori del castello di Norimberga/Baron Blood (Mario Bava, 1972) with Joseph Cotten, turned out to be an international box office success, particularly in the U.S. Producer Alfredo Leone offered Bava a contract for another film Lisa e il diavolo/Lisa and the Devil (Mario Bava, 1973) with Telly Savalas, and granted Bava total artistic control on it. The latter film was later re-edited to a very different film called Casa dell'esorcismo/House of Exorcism, a rip-off of The Exorcist. In 1975, Elke went back to Italy to appear in additional scenes inserted by the producer, against the wishes of the director. In those scenes a demonic Elke swears obscenities at her exorcist, and in typical Linda Blair style spits out pea soup and actually vomits live frogs and insects. In England, she good-naturedly appeared in the ‘comedy’ films Percy (Ralph Thomas, 1971) and its equally cheeky sequel Percy's Progress (Ralph Thomas, 1974), which starred Hywel Bennett (later Leigh Lawson) as the first man to have a penis transplant. She also showed up in one of the later ‘Carry On’ farces entitled Carry on Behind (Gerald Thomas, 1975) as the Russian Professor Anna Vrooshka. In Germany she appeared in Edgar Reitz’s Die Reise nach Wien/The Trip To Vienna (1973) with Hannelore Elsner, and in Wolfgang Petersen’s thriller Einer von uns beiden/One or the Other (1974) opposite Klaus Schwarzkopf and Jürgen Prochnow.
From the mid-1970s, Elke Sommer worked more and more for TV. She appeared as a guest star in such popular series as The Six Million Dollar Man (1976), Fantasy Island (1981) and The Love Boat (1981, 1984). She played in the mini-series Inside the Third Reich (Marvin J. Chomsky, 1982), Jenny's War (Steve Gethers, 1985), Anastasia: The Mystery of Anna (Marvin J. Chomsky, 1986) and Peter the Great (Marvin J. Chomsky, Lawrence Schiller, 1986). Elke Sommer had a long-running feud with Zsa Zsa Gabor that began in 1984 when both appeared on Circus of the Stars and escalated into a multi-million dollar libel suit by 1993 when Gabor and her husband made disparaging remarks about Sommer to several German publications. The jury ruled in favour of Sommer, and Gabor and her husband were sentenced to pay $2 million. Sommer also made appearances as a cabaret singer and in time put out several albums. She found a creative outlet on stage too with such vehicles as Irma la Douce and Born Yesterday, eventually becoming a director. Sadly, while performing in Chicago, she lost twins in her sixth month of pregnancy. Since the 1990s, she has concentrated more on book writing and painting than on acting. Her artwork shows a strong influence from Marc Chagall. She even hosted a TV-series on painting. Nevertheless, on occasion, she tackles an acting role. Out of the blue, she was cast in a Fangoria magazine production, the horror picture Severed Ties (1992). In her native Germany, she played in the TV film Ewig rauschen die Gelder/Eternally rustling funds (Rene Heinersdorff, 2005) and the comedy Das Leben ist zu lang (Dani Levy, 2010) with Markus Hering and Meret Becker. Divorced from writer and journalist Joe Hyams, she has been married since 1993 to hotelier Wolf Walther. In a 2014 interview, Sommer described how she met him: "I was in New York City starring in Tamara and had to stay there for four months. So, I had to find an apartment but they were excruciatingly expensive, tiny, and loud. As I knew the managing director of the Essex House, I wanted to talk to him about renting a room but the hotel had a new managing director, a man by the name of Wolf Walther. So we met. For him, it was love at first sight. For me, it took a little longer, but not much longer. As you may know, Tamara is a play in which the audience follows the actor of their choice, and as you may also know, my husband is 6'5" and hard to miss. I saw him every night in the audience, following me. Every night. And that was the beginning of the greatest love story of my life, still unfolding and getting better by the day." Elke Sommer lives in Los Angeles, California. Last year, she gave her voice to the short animation film A Thousand Kisses (Richard Goldgewicht, 2017).
Sources: Gary Brumburgh (IMDb), Cult Sirens, Brian’s Drive-in Theater, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
EXPLORE: Dec 4/08 #183
glimpse: a fleeting view
___________________________________
A PASSING GLIMPSE (Robert Frost)
I often see flowers from a passing car
That are gone before I can tell what they are.
I want to get out of the train and go back
To see what they were beside the track.
I name all the flowers I am sure they weren't;
Not fireweed loving where woods have burnt--
Not bluebells gracing a tunnel mouth--
Not lupine living on sand and drouth.
Was something brushed across my mind
That no one on earth will ever find?
Heaven gives it glimpses only to those
Not in position to look too close.
No words needed when you speak the language of the herd. Witnessing a fleeting moment of raw, untamed interaction.
Explored..:D
21st February, International mother language day.
Central Shoheed Minar, University of Dhaka.
The poetical language of flowers, or, The pilgrimage of love /
London :Charles Griffin and Company,n.d. [1869]
Title in other languages:
Deutsch: Blume an einem Feld in Dalmsholte, Ommen, Niederlande
English: Flower at a field in Dalmsholte, Ommen, The Netherlands
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
We've recently adopted this English Language programme for school children, and are running demo lessons for local kids. This was the first. After the presentation activities, we took the kids off to a class for further teaching while the parents recieved more info.
We've recently adopted this English Language programme for school children, and are running demo lessons for local kids. This was the first. After the presentation activities, we took the kids off to a class for further teaching while the parents recieved more info.
Opschrift in vier talen op SO-motorwagen 10041 van de Belgische kusttramlijn. De Belgische kust werd en wordt druk bezocht door toeristen uit vele landen. Het wekt geen verwondering dat de opschriften op de kusttrams al vele jaren in diverse talen werden weergegeven. Meertalige opschriften op trams zijn geen uitzondering maar een viertalige aanduiding is wel heel bijzonder!
De pijl verwijst naar het achterbalkon van de tram. Direct na het instappen kwamen de passagiers langs de zittende conducteur die zijn zitplaats hoog boven de andere passagiers verheven achter het richting filmkastje had. Dat kastje vertoont hier de bestemming Wenduine.
Meer voorbeelden van tramtypografie vindt u in de set tramopschriften.
Omdat dit opschrift 2x tweetalig is, maakt deze afbeelding ook deel uit van het gelijknamige album.
Lees meer over tramopschriften op mijn website tramspul.
Bekijk mijn fotoalbum in de klassieke versie.
We've recently adopted this English Language programme for school children, and are running demo lessons for local kids. This was the first. After the presentation activities, we took the kids off to a class for further teaching while the parents recieved more info.
Dark Side Of The City ~ Paris ~ MjYj
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Please don't use this image on websites, blogs or other
media without my explicit permission.
MjYj© All rights reserved
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City Hall ~ Paris ~ MjYj
Please don't use this image on websites, blogs or other
media without my explicit permission.
MjYj© P8303814 All rights reserved
Thanks everyone, thanks for all the votes,comments,
visits, support, critics, invites, awards, etc ..
Title in other languages:
English: View onto Bonn-Lengsdorf, Germany from the way up to Kreuzberg hill
Nederlands: Zicht op Bonn-Lengsdorf (Duitsland) vanaf de weg op de Kreuzberg heuvel
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
Louvre ~ Paris ~ MjYj
GettyImages | Tumblr | Flickriver | Twitter | Facebook | Ipernity | DeviantArt | Windows Live | 500pix | StumbleUpon | Myspace | Wordpress | Fluidr | SkyRock | Digg | Youtube | Google Buzz | Dailymotion | Artlimited | BlogSpot
Please don't use this image on websites, blogs or other
media without my explicit permission.
MjYj© All rights reserved
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.
800 Days Daily DuoLingo Fabulous Fun French Language Learning Lessons - IMRAN™
Finally, a lot later, but a tiny bit closer to another life goal. 800 days streak of learning French. How and why did that take so long?
Bedsides my late mother’s Urdu language, my late father’s Punjabi, and English learned as a student in Pakistan, I’ve always hungered to learn more languages. As a pre-teen, I was making some progress learning very basic German from Teach Yourself books in the mid 1970s. I won’t mention here BASIC, Pascal, FORTRAN, C, or C++ type programming languages I had also learned!
But then real tough Cambridge school certificate, then Cambridge A’ levels, and later professional electronics engineering degree studies left no time that was taken up being a student political leader in the 1980s. An engineering classmate from Lahore, Amir, did learn French at the Alliance Français and got me hooked on French movies around 1983.
In 1987 (West Germany) became the first country I visited, and fell in love with, followed by France. So, despite my love for Germany and the German people, French became my language learning goal.
Then 30 years of life, and history, flew by. I bought all the books, tapes, CDs, DVDs, and even apps, as the technology of language learning evolved. I even got the DuoLingo app when it first came out. But time remained the constraint.
Until the pandemic. When everyone was asking others what Netflix series to binge-watch, I took advantage of the time to get and spend time walking with my two German Shepherd Dogs, took off 32 pounds of weight I had put in 32 years living in USA, started work on my second music album, and more.
But what I am so happy I was able to pull off into a consistent habit was doing at least 10-minutes or more of French learning every day. Every day, at least once, before midnight.
By the grace of God I just hit 800 days of consecutive learning days, and my 75th week streak in the highest Diamond League of DuoLingo’s gamification system (which really incentivizes the competitive spirit in me).
Can I have a real conversation with my French neighbor, CFO of a major FinTech, Julien? … Pas vraiment, mais peut-être un peu…. But, my life’s journey to be a Learn It All continues. Je vous parlerai (en anglais, français, Urdu/hindi, Punjabi) bientôt!
© 2022 IMRAN™
#IMRAN #autobiography #languages #learning #French #English #prose #Urdu #Punjabi #Lahore #DuoLingo #TeachYourself #LearnItAll #learnandgrow #learningjourney #learnerforlife #languagelearning
I thought a beer had finally been named after me, but closer inpsection proved otherwise. (See the one on the right)
A "cold snap" has descended on Brisbane, but the Sunday morning here is cloudless so sunny, and as soon as the ice melts it will be a lovely day.
Imagine these copper coils as my neck perhaps.
Grolsch Brewery is a Dutch brewery founded in 1615.
Starts With G Challenge
Containers Theme - Contains Beer
Dead - A Celebration Of Mortality
Artist: Alina and Jeff Bliumis
Title: Language Barrier
Materials: resin, foam, fabric, acrylic, ink, steel, human hair
Saatchi Gallery
London, England, UK
Berbers, or Amazighs (Berber language: Imaziɣen, ⵉⵎⴰⵣⵉⵖⵏ, ⵎⵣⵗⵏ; singular: Amaziɣ, ⴰⵎⴰⵣⵉⵖ, ⵎⵣⵗ) are an ethnic group of several nations indigenous mostly to North Africa and in some northern parts of Western Africa.
Berbers constitute the populations of Morocco, Algeria, Tunisia, Libya, Mauritania, northern Mali, northern Niger, and a small part of western Egypt.
Berber nations are distributed over an area stretching from the Atlantic Ocean to the Siwa Oasis in Egypt and from the Mediterranean Sea to the Niger River in West Africa. Historically, Berber nations spoke the Berber language, which is a branch of the Afroasiatic language family.
There are about 32 million Berbers in North Africa who still speak the Berber language.[3] The number of ethnic Berbers (including non-Berber speakers) is far greater than the speakers of the Berber language, as a large part of the Berbers have lost their ancestral language and switched to other languages over the course of many decades or centuries.
The majority of North Africa's population west of Egypt is believed to be Berber in ethnic origin, although due to Arabization and Islamization some ethnic Berbers identify as Arabized Berbers.[30][31]
Most Berber people who speak Berber today live in Morocco, Algeria, Libya, Tunisia, northern Mali, and northern Niger.[4] Smaller Berber-speaking populations are also found in Mauritania, Burkina Faso and Egypt's Siwa town.