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A section of straight chassis rail has been welded into place, replacing the sloping rear section that suited its previous tractor unit role.
Mercedes-Benz Actros 2658
Removed: DirecTV Tivo, Xbox (with Linux installed), home theater amplifier.
Leaving: US PS2, Japan PS2, Xbox 360, Airport Express, tube HD TV Sony KV-30HS510, on-board power strip.
Now this cabinet can be rolled from room to room, including facing the backyard. Outdoor wireless internet and game controllers!
When the cabinet is docked in the media room, I can plug the optical inputs from the PS2 and the Xbox 360 into the home theater stereo, sitting nearby. Gotta repair/solder the input jack on my old subwoofer.
Like most Episcopal churches, St. Paul's probably started as a small, one room building. There were probably modifications through the years, and like many of the small churches that have had to expand, this one seems to have kept its architectural style intact.
Most of the episcopal churches I've seen have been done in either Tudor or classic styles as this one shows. In Ormond Beach, Florida, quite a ways north of St. Paul's, St. James Episcopal, a large, much more modern building, presents a less common architectural style for its congregation. In keeping with that bent towards our current cultural styles, St. James is also a bit more updated in its worship style, offering a very relaxed mass on Sunday evenings, which is informal, and draws those who still like the structure of a liturgical mass, but don't want the rigidity of a service that could've taken place in the 1800's.
Going back to St James to worship after not having been there for decades, I was pleasantly surprised at Father Harris' approach and teaching style, while still being able to recognize elements of the mass that I grew up with. It has made me curious as to just how much some of these churches HAVE changed, and if the Episcopal church has become more evangelistic and aware in nature since I was confirmed some 42 years ago. I would like to visit St. Paul's one day to see how it compares.
If you grew up in a more formal church, it can be comforting to return and find the structure still in place. However, there are things about liturgical churches that I have a beef with. Though I grew up going to the Episcopal church, and studied its catechism before confirmation, there was never an emphasis on a personal relationship with Jesus Christ. It was always an "I'm here and He's waaaay out there" kind of feeling worshiping there. We weren't taught that there was a conscious decision to be made; it was implied. While the structure was designed to bring someone up from infancy through being confirmed as a believer, it was too nebulous. Many of the people I knew who went to the churches I did were not what I would consider "born again", a term in scripture denoting the transformation that takes place when someone repents and turns their lives over to Jesus. There was still the more worldly mindset that weighed good against bad, and assumed if you had more good going for your character than evil, you would go to heaven, and if you really messed up, like committing murder, you would go to hell. This is not even remotely biblical, as the Apostle Paul, for whom this church was named, would define in his many epistles.
Paul was a Pharisee. A Pharisee was a Jewish leader, who knew the law backwards and forewards, and basically determined if the people were guilty of breaking it, and what should be done about it if they did! These were the guys who met in the middle of the night to unjustly try Jesus without a fair trial, and who pushed Pontius Pilate into having Him crucified.
Paul was a young man when Jesus walked the earth. After the crucifixion and resurrection, as he gained more prominence and became thoroughly educated in the law, he was so opposed to what the early Christians were preaching, thinking it was heresy, he took on the task of persecuting them, and having them tried and killed for their beliefs. Paul called himself the chief sinner, and a murderer. He spoke of how, after the Lord blinded him on the road to Damascus, and spoke to him, he surrendered his life to Christ and began to preach the gospel himself! Of all of the people in the New Testament, Paul was probably the most influencial, and despite his knowledge of Jewish law, was chosen by God to go out and preach to the gentiles, not the Jews. For 2000 years his words have been reaching across time and space, telling people that no matter WHAT they had done, they could still have a fresh start and be righteous before the Lord by faith in what Jesus did for them on the cross. Nothing they could do would ever earn it, and only the sacrifice of Christ could have saved them.
St. Paul was a zealous man, first for the law, which condemned man's sin, and then for the cause of Christ, who provided the answer for it. He suffered greatly, being beaten, stoned and left for dead, shipwrecked, snake-bit, and mocked. In the end, being a Roman citizen, he appealed to Caesar to be tried in Rome, where he was sentenced to death, and beheaded. He believed that for him to live was Christ, and to die would be gain. On that sliding scale we set up in our minds, I don't think he would ever have been able to convince himself that his good outweighed the evil he had done persecuting the church he ended up nurturing, because he knew he wasn't good...no one was. He knew it was all about what Jesus had done on that cross, and that accepting that and believing in it was all that could ever remove the weight of sin from the balance of his life. It wasn't about him; it was about Jesus, and he knew it.
As a child, the liturgy of the Episcopal churches I attended spoke of those things, and the gospel was read weekly. The same prayers were prayed over and over, (something Jesus warned against as being the wrong way to talk to God,) but despite the fact that I had a relatively high I.Q., and understood King James English, the words reached my mind, but not my understanding. Understanding has to do with the heart, not just intellect. It wasn't until two years after I was confirmed that someone sat down with me and explained how simple it was to come to Christ, and that it was individual and personal. Looking back, I feel pretty dumb not having grasped it by what I HAD been taught in church, but when I realize that most of the people I knew hadn't really grasped it, either, I knew that it wan't because of my ability to think. It was because of my inability to take what I'd learned and apply it. That came with personally asking Jesus to come into my heart and change me.
When I see churches like St. Paul's, I remember that though I didn't come to Christ there, the seeds which drew me to the Lord were planted there. The word of God was preached, and that word has the power of God to transform lives. When I look at a little steeple like this one, or see those pretty, stained glass windows, I thank God for setting me on the path to Him, and for all the things He did to redeem me and get me to want Him. it boggles my mind sometimes. God is so good....
Those of you who follow my stream know that things have been difficult for me for some time. I've been working as a floater with Mattress1One, and they finally gave me a store to manage. After working there for a few days, I realized that it would be hard to make the money I needed to be able to pay my back property tax by the December deadline I'd be given, since I'd be driving about 100 miles a day, and the store was in a slow location. Mattress sales have been good lately, though, and as a floater, working between several stores, I've been able to hit commission often, and finally started getting a little money together.
Presidents Day, I received a call from my boss saying he needed me in Port Orange because the manager had gone home very sick, and her sister was handling the store alone and was getting slammed. As soon as a floater arrived, I left to rescue the other lady, and when I got there, found out that it was really slow! Her sister went in the hospital the next day, so I was scheduled to work in Port Orange after that, because they don't have many people who can cover this area, or cover a very busy store. At first I was upset, since it looks like they've taken yet another store from me, but the sales have been really good, and I realized hitting commission a few times in a row could raise that tax money for me! The store I'd been given was not only very far from home, but very slow, to boot.
Last night when I got home, I checked my mail. There was a letter from the county saying my home could be auctioned as early as APRIL 1! (I was told DECEMBER!) Initially, I freaked out, but I sat down on my computer and looked at my finances and realized that I should have all the money needed for the 2009 tax next week....as long as nothing else creates financial issues, and I don't have to spend hundreds of dollars in gas! So, pray that for the rest of the day and on Saturday and Sunday, when I'm back in the store that would have been mine, I get some big sales to ensure I can make it. God has been blessing me, and I need those blessings to continue so I can save my home! I see His hand in this, and know that He's made things come together just as they have done. God is good, start to finish....
Apparently a CL77 battery was installed on the bike, which isn't a very big deal, just slightly taller than usual. Which means that the original (much thicker) piece of rubber insulation that's here keeps the bracket from clamping down and holding the battery in place. I took an old piece of tire tube, cut it to spec and glued it on with RTV sealant.
Problem solved.
A low-grade photo, I know, but about the best I could manage about two months ago, with the sun lower and behind the houses. It looks as though a number of modifications have taken place over the years. Most noticeable is that the owners on the left have added a garage ...or is it a "car port"... at the end and brought the ground floor rooms out to the building line. The other two houses retain their original garages and recessed entrances. It must be conceded that the garages, to judge by the size of the doors, look rather a waste of space. I would guess that the rooms left of the front doors in the other two houses are downstairs lavatories. The supply of light would be inadequate for full-size rooms.
At the rear the roof springs from what must be the ceiling level of the bedrooms. At the front it is carried down to their floor level. The skylights, left and middle, suggest loft conversions since the houses were built. Note that the skylights are of different patterns and there is none on the right. I wonder if it was intended that the cut-out bits in the roof were to be used as balconies. There are no railings on the right, which house seems to be the least altered, and those on the other two do not match. I can't quite make it out, but on Google Maps it looks as though the "cut-outs" are duplicated at the rear, but with the positions staggered ...that is to say that where there is a cut-out in front there is none at the back, and vice versa. Most odd.
The bubble level fitted to the now external, polar scope. Aligned the reticle on the horizontal mode and then adjusted level to the same position. Actually helps during setup leveling the mount in the horizontal plane.
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.
At Lego shows in 2024, my Castle class would occasionally derail when there was a kink in the track, particularly when entering corners.
I put this down to the chassis setup I'd chosen, based on Carl Greatrix's previous Castle model, whereby the rear bogie wheels were fixed to the main chassis. In some cases, it seemed these wheels were getting raised off the track by the driving wheels behind.
I've now re-worked the chassis to have a more conventional pivoted bogie. There is still only 1 set of flanged drivers, to allow the bogie to not crash sideways into the cylinders. However now the bogie is on a single pivot, positioned above the rear bogie wheels.
This should help to 'steer' the loco into corners, and the little shoulder on the pin piece also helps to keep the weight on the bogie wheels.
It's always a delicate and not entirely reliable balancing act to use what this tool was before I added the cross-member that's resting on the vise covers. Bottle boss heads weren't always held square, housing stop alignment could shift and sometimes the stop would slide radially. The relatively heavy cross bar is a simple approach that anchors fixture alignment adequately and rectifies those sorts of problems. I'm very happy with it.
I have been working on a new project for my boy Marcus,
He is getting his demon wings, which are part of his background story.
This is only just the basic frame form of the wings. I will be sculpting them with apoxie soon when I find some more time for it.
It has pneumatic suspension and motorized/remotely controlled driving and steering. It has a working steering wheel and remotely controlled original functions (doors, rear spoiler and hood - choice of a function is done manually with gearbox lever, like in the original).
It has additional two L motors for driving and M motor for steering, two IR receivers (one of them V2). Original battery box has been replaced with 8878 rechargeable battery box which is smaller so I could hide it behind panels at the rear for more realistic appearance.
Original suspension (6.5 L hard springs) has been changed with 6.5 L soft spring + small pneumatic cylinder, for all wheels. It has large pneumatic pump at the back and pneumatic switch at the cabin for controlling riding height.
VIDEO: youtu.be/yEoht6n7Ndo
I hope you like it…
Lens mod: glue or fix a piece of black card or stiff paper with small hole for aperture on front and reverse of lens. Make sure it doesn't foul focusing mechanism.
For more information see my blog at cameramods.blogspot.com/2011/09/easy-swirly-mod-with-extr...
Based on the amazing Micro-Model designed by master builder Mariann Asanuma for Brickjournal
Ignoring the elegant lines of Mariann's model, I made a few tweaks to the design, extending the roof and adding a chimney. I also gave a bigger hat to the snowman, 'cause I'm a rebel like that.
This is a pinhole camera, which I made out of a cheap 35mm Vivitar point-and-shoot camera, which you can easily find at your local thrift store/bargain basement for less than a couple of dollars.
Basically all I did with this camera is remove the lens and shutter mechanism (Which was fairly easy, because there was not very much to the mechanism). Then I took a small piece of tinfoil (with a pinhole, of course) and placed it right about where the lens was originally. The removal of both the lens and shutter assembly compromised the cameras “light-tightness”, so a liberal amount of electrical tape was used to help seal the camera, and make it light-tight again. I also used a thin strip of black construction paper with a small square cut in the center to act as a shutter.
The first time I ran a roll of film through it, it confused the poor guys at the photo lab. They did not know what to make of it, some of the pictures where over/under exposed, quite blurry, and there where uneven gaps between the frames on the negative. I have recently made a few adjustments, and everything seems to be working great
With this camera, I have found that on a nice bright sunny day, with 200 ISO film, a 1-2 second exposure is all you really need. I should get around to uploading some of those pictures soon!
Looks nice with the monochrome green, although YouTube plays in color.
If you're running Cyanogenmod 7, try out the RenderFX Widget on the home screen. Works for Green, Red and some other colors.
For anyone who buys the InCase Origami cover/stand for the Apple BT keyboard and their iPad, they may find the preset screen angle a little steep in some situations. A three-inch strip of velcro, which stores away neatly in the cover when closed, is a home mod that offers a very wide range of angles. Brian Byrne/Kilcullen Diary.
O/S locker and doors over compressor, nowhere to put anything on a PVS motor as when in use by PVS the space is required for slave wheels/tyres.
I've wanted to build this since the Fire Brigade set came out. Before I finally got round to starting earlier this year I Googled to see if any one else had posted their version and found www.brickshelf.com/cgi-bin/gallery.cgi?f=406569 via www.classic-town.net/?paged=55 which is simply fantastic. I have borrowed heavily but tried to do my own thing in several areas.
Still a bit to do, mostly on the interior, but I'm pretty pleased so far. I have put in some life lights including the lamp post but I need to reorganise these now that the building is closer to completion.
You'll get your photos then Jon :-)
A Virago 535 base modification - white tubes with hanging bars. Quite a catchy looking bike with a relocated tank under the seat, parked under the shades.
I was with the local bike magazine photographer at the show, they spotted me and quickly surround me. I guess nobody else shoots with the Pentax 67 in Kuala Lumpur.
A busy Saturday afternoon in the capital, Kuala Lumpur.
PENTAX 67, Pentax SMC 105mm F2.4, Kodak Ektar 100, Wide Open
[There are 27 detailed images in this set] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
This is the Penn-Wyatt House (sometimes called the Hoffman House) on Millionaire’s Row in Danville, Virginia, originally built by James Gabriel Penn in 1876; it underwent various modifications, 1887-1903. Penn was a tobacco commission merchant. He died in 1907, but his widow ultimately couldn’t afford to maintain the house. in 1934 it was sold at public auction to Landon R. Wyatt and then sold again in 1977 to Dr. Allan A Hoffman. In 2012 it was owned by “the bank” and was for sale—the purchase price I was told was $250,000. Much work on the exterior and interior had been done, presumably more than the 2012 selling price. I don’t know its current status. It’s an eclectic Victorian structure with the monumentality of the Second Empire and the detailing of the Italianate style. It is brick, covered with scored stucco; it has a mansard roof tower and multi-gable roofs. There are at least 25 rooms with many stained glass windows, displaying a wide range of styles used for domestic architecture (as opposed to ecclesiastical and commercial). The following images show some of the domestic stained-glass in this home—thee domestic use of stained-glass is always dealt with separately from the structure in these photos.
www.flickr.com/photos/universalpops/8113669953
www.flickr.com/photos/universalpops/8113670257
www.flickr.com/photos/universalpops/8113669675
www.flickr.com/photos/universalpops/8113678152
www.flickr.com/photos/universalpops/8113669487
Three main divisions articulate the front façade, all separated by a system of quoining. Aesthetically it offers up a raised contrasts with the smooth stucco surfaces. To the left is a 2-story bay window with a parapeted roof with wrought-iron cresting and a tripartite rounded-arch window in the heavily bracketed attic gable. 1/1 hung sash windows are used throughout this bay projection. Also characteristic of windows throughout the home (except for the back portion) are the rounded-arch hood molds. The entrance tower is centrally positioned and separated from the sections to both right and left by prominent use of quoins. The entry is a double door with leaded glass in a geometric abstract design, a leaded glass transom and long single pane sidelights, each with an understated recessed panel at the base. The second level of the tower displays a pair of leaded stained-glass windows with a single round arch hood mold. The third story has a set of 1/1 hung sash windows with the ever-present hood molds. Above that is a single small circular window with hood mold. The tower roof is bell-cast mansard and is capped with cresting. The third division of the front façade is accentuated by the quoining. The door from the porch to the interior in this section is a large Colonial Revival entry with a large fanlight with sunburst design and a rounded-arch hood mold over all. The sidelights are less elaborate than the primary entrance but are unusually wide leaded glass. The second-story in this façade-division has a pair of 1/1 hung sash windows with a single round-arch hood mold. The 3rd level, with the major exception of no bay roof is similar to the gable are on the left. The roof of the house is slate and consists of shingles of different colors and shapes. The wraparound porch is supported by wooden Ionic columns on a stone plinth railing, the stone balusters being carved. The pedimented entrance has low-relief carving in the tympanum. The pediment itself is bracketed but not with the dominant design used throughout much of the building; a row of dentils below the pedimented roof brackets is a nice ornamental detail. The porch itself has a couple of tile patterns—one just at the front entry and the other at a porch entrance to the right side. In front of this porch section is a two-tiered circular detached porch with red shingles on the conical roof and with a wrought-iron finial. The house is impressive; the angularity of gables is counterbalanced by the circular detached porch and the rounded roof line of the porch roof; the upper level is fascinating with the dark-striped brackets and the large quantity of cresting on the roof. And all parts seem to cohesively form an aesthetic whole. Now that I’ve worked up a description, there are architectural elements I unfortunately overlooked when I photographed the structure in September 2011. The Penn-Wyatt House is within the boundary of the Danville Historic District, but it was listed individually on the Nation Register of Historic Places September 7, 1979 ID number 79003317
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