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288 has made it out of Rio and is coming up on Doylestown. I intercept him at Long Crossing Road, where a Milwaukee Road-era WRRS crossing setup still remains.
Both the lead engine and the crossing set up are very old, but have upgrades to make them useable. 6306 is an SD60-3, rather than an SD60, so it has newer software and electrical equipment. The old WRRS setup still retains the original gate mast and base, however a WCH E-Bell and LED lights are in place of the mechanical bell and incandescent lights that once ruled the Milwaukee.
Here are some modifications to the 2023 UCS X-Wing Starfighter set 75355. The landing gear stand is the biggest addition, I've also made subtle changes to the nose of the ship and added an almost correctly scaled R2-D2. Free instructions and parts lists for all three mods are on Rebrickable.
rebrickable.com/mocs/MOC-149544/ron_mcphatty/ucs-x-wing-s...
The Landing Gear Stand provides an easy way to display the X-Wing on a coffee table. The ship doesn't need to be modified at all, just lifted off the set's original stand and slotted onto the positioning support. The gear are built into the stand itself!
As a seperate mod I've rebuilt the top surface of the nose section to give it a bit of a slope, hopefully improving the very flat looking nose. The side panels need some slight modifications to fill some gaps and I've made the nose grey, just out of personal perference.
The midi-scale R2-D2 is slightly too large but I think looks good next to the ship when landed! Huge thanks to Jan Woźnica for letting me use his very clever R2 design and make some adjustments, please check out his instagram (@john.carter.creations) and his awesome Tales of The Space Age Lego Ideas set!
When building larger creations I like to keep it fairly modular so I can remove panels and break it down into sections if needed to make modifications.
These four assembly’s cover the top section of the ship. They snap into place with just a few studs. Enough to keep them in place, but also easily removable.
Sometimes a modification is needed to the interior of the ship, which is a lot easier when a panel or two can be removed.
It wasn't long ago since Boeing restarted deliveries of the Boeing 787 Dreamliner after what has been a tumultuous 2020 and 2021 for the company after production and subsequent deliveries were halted for well-over a year; whilst those manufactured and in storage across the United States undergo necessary modifications with Charleston, Everett and Victorville are just a number of locations that are providing the necessary work to get the Boeing 787 re-certified for delivery.
American Airlines was the first airline to receive the Boeing 787 since deliveries restarted back in August 2022; at present, the carrier is in the process of taking delivery of the second batch of Boeing 787-8s. The order for 47 additional Boeing 787s back in 2018, at the time included 22 Boeing 787-8s and 25 Boeing 787-9s were part of a second-batch destined for American Airlines would enable the replacement of the Airbus A330 fleet (now all gone) and ageing Boeing 767-300ER fleet.
Deliveries commenced for this batch started in 2020, at the height of the COVID-19 pandemic, starting with the Boeing 787-8s which would feature the same interiors as the Boeing 787-9s, owing the original batch of 20 Boeing 787-8s delivered between 2015 to 2017 featured the much-maligned customisable Safran Cirrus Business Class seats, opting instead for the Collins Super Diamond Business Class seats.
For American Airlines, the carrier received only 4 of the Boeing 787-8s until deliveries were paused after quality control issues and production deficiencies. During COVID-19, orders were swapped around, with 5 Boeing 787-8s converted to Boeing 787-9s with 30 now on-order, meaning American Airlines will only receive 17 Boeing 787-8s, of which 8 more examples are due to arrive.
As for where the Boeing 787-8s are usually found, they are based from Chicago-O'Hare, Dallas-Fort Worth, Miami and Philadelphia.
Currently, American Airlines operates 51 Boeing 787s, which includes 29 Boeing 787-8s and 22 Boeing 787-9s. American Airlines have 8 Boeing 787-8s and 30 Boeing 787-9s on-order.
November Eight Seven One Alpha Yankee is one of 29 Boeing 787-8s operated by American Airlines, delivered new to the carrier on lease from BOC on 29th April 2020 and she is powered by 2 General Electric GEnx-1B engines.
Boeing 787-8 Dreamliner N871AY on short finals into Runway 28L at Dublin-Collinstown (DUB) on AA208 from Chicago-O'Hare (ORD), Illinois.
"Call a cab"
Phnom Penh (Cambodge)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Ex works 08836 shunts the yard at Gloucester, 18th September 1979.
Locomotive History
08836 is a Derby built class 08, dating from November 1960 and was originally D4004. It was allocated initially to Tyseley MPD but was almost immediately transferred to Old Oak Common. It remained at Old Oak Common throughout the 1960’s before transferring to Plymouth Laira. During the 1970’s it was allocated to Laira, Bristol and Worcester before transfer to Gloucester around 1979. It would remain at Gloucester for the next ten years before transfer to Cardiff. It is currently (December 2013) owned by First Great Western and after a spell at Bristol St Phillips Marsh can be found at Old Oak Common. Although 08836 has clearly been repainted and appears to have had a classified repair (during which it has had two of the original four headcode lights removed, a modification which had just commenced) I can find no record of it in paying a visit to a BREL works during this period. Was it repainted/overhauled at a depot?
This was more of an exercise rather than an updated version because I still prefer the old one. It's not obvious, but there are some significant changes for this version, among them:
-larger head (perhaps to large?)
-longer tail
-longer arms (yes!)
-obviously a spiky sail achieved by adding two more pleats
-and the biggest difference is this one uses a 10 x 10 grid rather than a 9 x 9 one!
Designed by Shuki Kato
14" square Tant paper
~4 hours to fold
These are my three latest mods before the modding began. Total break-down.
The RPK was the hardest one, seeing as I drilled a few pieces (stock, handle), although it was a great adventure. :P
Oh, and that M4-type mod's red dot is not backwards. I took it straight off of a vector, hince it's whatever side it was before. Don't hate.
Thanks for viewing and all of the positive feedback! My last currently done mod will be up shortly.
Minor modifications to the head as you can see.
Designed by: myself
Folded from: one 30 inch square of tracing paper painted with acrylic spray paint.
Time spent folding: ~25 hours
size: 13" wingspan; 7" tall
This started out as a relatively simple build of an NCS Y-Wing, then the spaceport grew piecemeal around it.
The name I’ve given to the spaceport, “Abugida”, refers to a type of near-alphabetic writing system in which the vowels are integral to the consonant symbols and different vowels (or no vowel at all) are written using modifications of the basic symbol. Languages that use abugidas include Hindi and Ge’ez. Yeah, I’m something of a language nerd.
Anyway, it seemed appropriate for a not-quite Rebel Alphabet Fleet ship and its spaceport. The ship itself is of course the LL433 Ypsilon.
Almost one month of work and around 5400 bricks later the iconic spaceship of Mando stands on my building table and I have to admit... this thing is huge and very impressive.
Basically it is modification of richboyjhaes's version because I really like his design. It was important for me to change some things to get an "own" version of that ship. I have changed the following things:
- cockpit design
- the colour of the stripes (tan instead of yellow)
- the front gun design
- the top of the ship is less study
At this point i want to thank @richboyjhae for his building instructions, great piece of an creation and the instructions are very well done.
After finishing the ship I have to create the planet surface of Tython. This will be a lot of fun building an authentic vegetation with battle scenes between the bounty hunter Boba Fett, Fennec, Mando and a lot of stormtroopers.
I'm really looking forward for the New Mando figs which are included im the new summer wave of official LEGO Star Wars sets.
Hopefully you like my razor crest version, please let me know in the comments below. Stay tuned for the next updates and building steps.
Greetings Kevin
Here is a SHOWCASE video of the spaceship on my YouTube channel:
This is a modification of the 1966 GT40 from 75881. I actually really like the design LEGO came up with for this car a lot, so I didn't want to change any of its design features. I did drop it 2 plates lower to the ground, though, since the GT40 is a legendarily low car. I also deleted the visible studs. It still seats a minifig! They just have to recline a little more than usual.
DEBORAH
Custom Pullip Head by Sheryl Designs to Amy
MODIFICATIONS:
Complette MakeUp - Original Eyechip Design - ®2007-2012 Sheryl Designs Eyemech Modification
NASA PHOTO KSC-69PC-238
VIA J.L. Pickering. REMASTERED by Dan Beaumont.
NASA INFO: The Apollo 11 rocket towers over the Kennedy Space Center’s crawlerway during the May 20, 1969 rollout from the Vehicle Assembly Building to Launch Pad 39A. The Saturn V launched astronauts Neil Armstrong, Michael Collins and Buzz Aldrin on the first lunar landing mission two months later.
By Bob Granath,
NASA's Kennedy Space Center, Fla.
Construction of the Vehicle Assembly Building, or VAB, at NASA's Kennedy Space Center in Florida began a half-century ago this summer. After serving through the Apollo and Space Shuttle Programs, the mammoth structure now is undergoing renovations to accommodate future launch vehicles and to continue as a major part of America's efforts to explore space for another 50 years.
Construction began with driving the first steel pilings on Aug. 2, 1963. It was part of NASA's massive effort to send astronauts to the moon for the Apollo Program. Altogether, 4,225 pilings were driven down 164 feet to bedrock with a foundation consisting of 30,000 cubic yards of concrete. Construction of the VAB required 98,590 tons of steel.
When completed in 1965, the VAB was one of the largest buildings in the world with 129,428,000 cubic feet of interior volume. The structure covers eight acres, is 525 feet tall and 518 feet wide.
To accommodate moving, processing and stacking rocket stages, 71 cranes and hoists, including two 250-ton bridge cranes were installed. On the east and west sides are four high bay doors, each designed to open 456 feet in height allowing rollout of the Apollo/Saturn V moon rockets mounted atop launch umbilical towers.The VAB was constructed 3.5 miles from Launch Pad 39A and 4.2 miles from Launch Pad 39B. A pair of crawler-transporters, among the largest machines ever built to move on land, carried the assembled rockets to the pads.
After the conclusion of Apollo in the 1970s, the building was refurbished to accommodate the space shuttle. Inside the VAB, the shuttle solid rocket boosters were stacked atop a mobile launcher platform. The external fuel tank was attached between the two boosters and the shuttle mounted to the tank. Following three decades of flight, the shuttle was retired in 2011.
Modifications of the VAB are underway to support the Space Launch System (SLS) and Orion spacecraft, which also will result in the ability to process multiple launch vehicle types. SLS will be the agency’s advanced heavy-lift launch vehicle providing a new capability for human exploration beyond Earth orbit. However, NASA also is partnering with private industry on launch vehicle and spacecraft development options for taking astronauts to low-Earth orbit and the International Space Station.
Last year shuttle-era work platforms were removed from the VAB's High Bay 3 as a project of Ground Systems Development and Operations, or GSDO, to accommodate the SLS heavy-lift rocket.
According to Jose Lopez, the VAB senior project manager in the Vehicle Integration and Launch Support Branch of GSDO, the changes are part of a centerwide modernization and refurbishment initiative in preparation for the next generation of human spaceflight.
Lopez noted that some of the utilities and systems scheduled for replacement at the VAB have been used since the facility was originally built. This initial work is required to support any launch vehicle operated from Launch Complex 39 and will allow NASA to begin modernizing the facilities while vehicle-specific requirements are being developed.
Plans for 2014 include awarding the construction contract for new access platforms, including structures and systems required for the SLS.
Some of the current work has included removal of over 150 miles of obsolete Apollo- and shuttle-era cabling. This will make room for installation of more efficient, state-of-the-art command, communication, control and power systems needed to perform testing and verification prior to the SLS and other rockets being rolled out to the launch pad.
As plans move ahead to outfit the VAB with the new infrastructure, code upgrades and safety improvements, the building will continue in its role as a central hub for the Florida spaceport well into the future.
So, here's another modification of the Green Grocer (#10185).
Actually the plan was to dismantle the Green Grocer to make some space for other MOCs, but instead I ended up rebuilding it for the second time.
Now I really like it, I guess.
Added another floor, rebuilt the roof and stairs again and added some more furnishings.
Credits for the kitchen and the sunbed: Sarah Beyer
What started out as a modification by Third-Dot Arms for the old M-4 Carbine, quickly transformed into a weapon of its own. This is the M-5A1 Assault Rifle, one of Third-Dot's top selling products. It was purpose built to be as cost effective as possible, without sacrificing any capability. Because of this, the M-5 lacks the large amount of electronics seen on most weapons today, making do with only a tiny timing chip to prevent jamming. That's important for the M5 as it uses a "reversed bolt" to allow for its small bullpup design. It's also built largely from Plastic Composite, which is cheaper then other materials on the market today. Despite these cutbacks, the M-5A1 is still a highly capable, and accurate rifle. It's bullpup design and lightweight body allows it to be maneuvered easily in close quarters, yet its long internal barrel allows it to engage targets accurately at long range. No wonder the Central Defense Contractors, the largest PMC in the US, field the M-5 as their main combat rifle.
This was a fun build. It's nice to be PMGing again. Expect more soon now that I've climbed out of this rut I was in.
P.S.: For anyone how would like to point out that "this would never work" because there's "no room for a bolt" please look up the TKB-022 AR and leave me alone... Thank you :D
P.S.P.S. I've been having issues with PMG not wanting to save JPG images... I had to printscreen and cut out this pick. If anyone is having the same issue or knows how to fix it, let me know.
A photo of my birthday gift to myself.
I tore everything off, going for lean and mean, and modified the front standard for SWING
A follower and friend edited the pictures for me.
Watch his account: www.flickr.com/photos/189882455@N02
Nope, I'm not tearing down my Volvo NL12 unit. I did cut the chassis some time ago but just to give it another look. The chassis was still raised with Technic beam and I want to get rid of the Technic look of it. The axles will be renewed as well and will be much better detailed. No, this model is still a stayer. Have no reason to say goodbye to it yet!
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.
This aircraft was built in 1948 and taken on charge in August of that year by the US Navy. She served at a number of Naval Air Stations before undergoing modification to F8F-2P standard in 1952. Following further Navy service she was finally struck off charge in January 1957. It then passed through two sets of private ownership in the US, the first between 1957 and 1972, and the second until 1981. It was under this second private ownership that she underwent a full overhaul and flew once again in 1975. It was in 1981 that the Bearcat joined what was to become The Fighter Collection and has gone on to be the longest serving member of the fleet.
Pictures taken with a Kolarivision Thin Filter modified Canon RP, Konica hexanon 90mm F2.8 rangefinder lens, wide open.
I adore the rendition of this lens, both with film in my Leica M3 and Zeiss ZI cameras and now with proper digital body.
The thin filter modification has little to no effect for this lens, due to long focal. It will perform well on every modern mirrorless even without sensor filler modification. An absolutely sweet bokeh transition.
This is one of my favorite portrait lenses ever, and I've tested many.
Only the Leica 90mm F2 is better, but for a price and added weight...
A lens with character, sharp but with stunning bokeh transition.
This sample was Cla'd by Kanto Camera in Japan and registered to Leica flange distance standard.
I will enjoy this lens/camera combo...
atelier ying, nyc.
Yes, it is Gundam.
Is it a mall, commune, collective, a set of otaku art studios or a communal nest, places of refuge for the imagination?
Gundam models are architectural models of fantasy machines. These aren't toys. As models they already are machines just as buildings are machines. As models they provide study into the functions of machines in fantasy worlds.
With an nyc rooftop viewfinder,
the architecture details are different compared to Asia. With features as unique fire escapes and grunge charm; this proposal lends Gundam a new local flavor contrast.
The set of four open otaku studios (viewed from the back of the camera) allows the photographer to envision spaces for his passions. The architectural model doubles also as a camera. Why a camera? Why not a blender or a pencil box? Because the camera and the architectural model both provide views to study the design and its siting (imagine this for a Gundam). Both types of machines allow us to view the world from an enclosed space colored by local surroundings and personal spaces; this has been a stereotype of the relationship of the otaku with the world which was a defining perspective. Of course it has changed for the better. Yet both are niche worlds and forms of modern identity.
Design, text and drawing are copyright 2013 by David Lo.
I thank all those who have helped me both physically and spiritually.
Large Breast
Hip & Knee Joints final modification
Pattern: Modification of Lovisa Armwarmers by Sarah Pope
www.bluegarter.org/category/mittens-gloves/lovisa-armwarm...
Yarn: Drops Karisma
Needles: 3.25 mm
Source: en.wikipedia.org/wiki/Rome
Rome is the capital city and a special comune of Italy (named Comune di Roma Capitale). Rome also serves as the capital of the Lazio region. With 2,872,800 residents in 1,285 km2 (496.1 sq mi), it is also the country's most populated comune. It is the fourth most populous city in the European Union by population within city limits. It is the centre of the Metropolitan City of Rome, which has a population of 4,355,725 residents, thus making it the most populous metropolitan city in Italy. Rome is located in the central-western portion of the Italian Peninsula, within Lazio (Latium), along the shores of the Tiber. The Vatican City (the smallest country in the world) is an independent country inside the city boundaries of Rome, the only existing example of a country within a city: for this reason Rome has been often defined as capital of two states.
Rome's history spans 28 centuries. While Roman mythology dates the founding of Rome at around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The city's early population originated from a mix of Latins, Etruscans, and Sabines. Eventually, the city successively became the capital of the Roman Kingdom, the Roman Republic and the Roman Empire, and is regarded by some as the first ever metropolis. It was first called The Eternal City (Latin: Urbs Aeterna; Italian: La Città Eterna) by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the "Caput Mundi" (Capital of the World). After the fall of the Western Empire, which marked the beginning of the Middle Ages, Rome slowly fell under the political control of the Papacy, and in the 8th century it became the capital of the Papal States, which lasted until 1870. Beginning with the Renaissance, almost all the popes since Nicholas V (1447–1455) pursued over four hundred years a coherent architectural and urban programme aimed at making the city the artistic and cultural centre of the world. In this way, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, creating masterpieces throughout the city. In 1871, Rome became the capital of the Kingdom of Italy, which, in 1946, became the Italian Republic.
Rome has the status of a global city. In 2016, Rome ranked as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site. The famous Vatican Museums are among the world's most visited museums while the Colosseum was the most popular tourist attraction in world with 7.4 million visitors in 2018. Host city for the 1960 Summer Olympics, Rome is the seat of several specialized agencies of the United Nations, such as the Food and Agriculture Organization (FAO), the World Food Programme (WFP) and the International Fund for Agricultural Development (IFAD). The city also hosts the Secretariat of the Parliamentary Assembly of the Union for the Mediterranean (UfM) as well as the headquarters of many international business companies such as Eni, Enel, TIM, Leonardo S.p.A., and national and international banks such as Unicredit and BNL. Its business district, called EUR, is the base of many companies involved in the oil industry, the pharmaceutical industry, and financial services. Rome is also an important fashion and design centre thanks to renowned international brands centered in the city. Rome's Cinecittà Studios have been the set of many Academy Award–winning movies.
Source: en.wikipedia.org/wiki/Colosseum
The Colosseum or Coliseum, also known as the Flavian Amphitheatre (Latin: Amphitheatrum Flavium; Italian: Anfiteatro Flavio or Colosseo), is an oval amphitheatre in the centre of the city of Rome, Italy. Built of travertine, tuff, and brick-faced concrete, it is the largest amphitheatre ever built. The Colosseum is situated just east of the Roman Forum. Construction began under the emperor Vespasian in AD 72 and was completed in AD 80 under his successor and heir, Titus. Further modifications were made during the reign of Domitian (81–96). These three emperors are known as the Flavian dynasty, and the amphitheatre was named in Latin for its association with their family name (Flavius).
The Colosseum could hold, it is estimated, between 50,000 and 80,000 spectators, having an average audience of some 65,000; it was used for gladiatorial contests and public spectacles such as mock sea battles (for only a short time as the hypogeum was soon filled in with mechanisms to support the other activities), animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although partially ruined because of damage caused by earthquakes and stone-robbers, the Colosseum is still an iconic symbol of Imperial Rome and is listed as one of the New7Wonders of the World. It is one of Rome's most popular tourist attractions and also has links to the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.]
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
I did a slight modification to Falcon as I didn't quite like the original new Falcon which appeared in 76104. So I combined with 76050's Falcon wings and did some tweaking on the mechanical pack. Personally I prefer this Falcon version better and it's up to us to decide what kind of Falcon design you prefer? Either the original two versions or simply customise your own? You decide.
Edo Competition’s engine modifications:
■ A bump in displacement from 6.0 to 6.3 liters,
■ new camshafts,
■ new titanium valve spring retainers
■ connecting rods,
■ modified cylinder heads,
■ new high performance exhaust headers,
■ high flow catalytic converters,
■ mufflers and air filters:
The standard hydraulic tappets are replaced with newly developed solid tappets, enabling the 12 cylinder engine to rev to an incredible 9,600 rpm.
Additionally the intake system of the V12 was modified,
■ a new high performance clutch - available with „strada“ or „pista“ friction pads –
■ a more powerful oil pump were installed.
The power output is increased by 180 to 840 horsepower.
Without mufflers more than 860 horsepower is possible. The maximum torque of 780 Nm (575 ft-lb) is available at 5,800 rpm.
Specifications
Engine V12 cylinder 6.3 ltr.
Power est. 840 hp
Max. torque est. 780 Nm / 5.800/min
Performance
Top speed > 390 km/h
0 – 100 km/h (0 – 62 mph) est. 3.2s
0 – 200 km/h (0 – 124 mph) est. 9.0s
0 – 300 km/h (0 – 186 mph) est. 19.0s
A 12M air suspension Asiad from Vasai neatly modified by divisional workshop. It was on its way to Swargate
Slight modification of an earlier photo to pick out the shapes better. Based on an idea from the week before. View large for full effect.
Last night I had some airbrushing to do for another doll, so I thought it would be quite easy to work on Marcus as well.
His face is still shiny. The paint isn't wet anymore, but it has a gloss of its own.
He needs a face-up next.
And I am going to work on his teeth and see if I can smoothen them some more.