In recent years there has been a relentless and vociferous campaign by militant atheists intent on attacking and ridiculing religion. Numerous books have been written on the subject and, it seems, at every opportunity the secular establishment and media seeks out atheists or secular humanists to give what amounts to a jaundiced attack on religion.

For the most part, the opinions they express are the same old, worn out slogans we have heard over and over again, and can only be described as ideological propaganda.

 

We are all familiar with the atheist slogans such as: 'religion is irrational nonsense'.

Or that: 'believing in God is no different from believing in Santa or fairies.'

Or that: 'there is no evidence for God'.

Or that: 'religion is just a crutch for weak-minded people'

Or that: 'religion is outdated, superstitious nonsense',

Or that: 'religion is just for ignorant, unintelligent, backward people who know nothing about science'

Or that: belief in God is 'just a lazy way of filling gaps in knowledge'.

Or that: believing in God is 'like believing the Earth is flat'.

Or that: Christians 'believe in an old man in the sky with a beard'

Or that: Christians 'believe in a sky fairy'.

Or that: Christianity/the Bible was 'invented by ignorant, bronze age, goat herders'.

Or that: Belief in a God 'is just a delusion'.

Or that: Christians have 'an imaginary, invisable friend'.

Etc. etc.

As we will show later, such slogans are either ignorant nonsense, or devised as deliberate, ideological propaganda.

 

If you remember, several years ago, atheists, such as Richard Dawkins, decided to ramp up their anti-religious propaganda effort with slogans on buses. It originated in Britain, but spread to several other countries.

It was known as the Atheist Bus Campaign.

 

The Atheist Bus Campaign, set out to convince you that a loving creator God does not exist, that you have no prospect of eternal life and that all you can look forward to is eternal oblivion.

 

Atheists have no evidence to back up that assertion. In fact logic, natural law and the basic principles of the scientific method rule out their naturalistic alternative to a creator as impossible.

 

They invent all sort of bizarre scenarios to replace a supernatural first cause (God), they even try to present their fantastical, naturalistic replacements for God as 'scientific'. Please don't be taken in by it.

Their naturalistic replacements for God are illogical, they all violate natural laws and the basic principles of science.

 

Atheism is rightly referred to as the no-hope philosophy.

Their ultimate goal and pinnacle of their short life is - eternal oblivion.

And, quite perversely, they want to convince you that is all you can look forward to.

Please don't be dragged down with them into that depressing pit of hopelessness.

The Good News is that they are entirely wrong, and furthermore, it is not just an opinion. It can be satisfactorily demonstrated by logic, natural law, and the basic principle of the scientific method ......

 

Read on .... and you will understand, why atheists can never replace God, however much they try.

 

Their Atheist Bus Campaign is deceitful because atheists have no logical or scientific grounds for claiming "There's Probably No God", in fact, the evidence of applied logic and natural law, is completely the contrary. The atheist claim that there's probably no God is just an unsubstantiated opinion based only on their own ideological beliefs.

You may wonder why they inserted the word 'probably'? Obviously, they knew that if they were challenged to present evidence for the truth of their advertisement and had to defend it in court, they would be unable to do so. Science and logic can be used to prove they have no alternative to a supernatural first cause, and they know it.

 

For atheists to propose that believing there is no God, is somehow a reason to stop worrying and the recipe for an enjoyable life, is perverse in the extreme.

For most sane people it would be the opposite - a road to depression, hopelessness, and a feeling that this short existence is worthless. It will all end in oblivion, and you might as well never have lived.

 

Thankfully, atheists are demonstrably wrong, there is every reason for hope - as we will show - a loving Creator definitely does exist. Your life is not a few short, stressful and worthless years leading to eternal oblivion. You are a unique, valuable, person, specially created out of supreme love, every human life is of infinite value right from the moment of conception. Humans really are special and not just intelligent apes, or a mere collection of atoms, as atheists would have you believe You can live forever in eternal bliss - that is the gift of life the loving Creator of the universe offers you, and it is all offered for free.

 

Please don't be fooled ... people who think for themselves (the REAL freethinkers), are able to see right through the atheist hype and propaganda. Ignore the relentless bombardment of atheist propaganda, such as the atheist bus campaign. Seek out and learn the real truth and the truth will set you free.

 

Please read on and you will understand ......

Because there is a law of cause and effect, the universe can't and won't create itself from nothing.

 

Consider this ....

A creator God (or supernatural first cause) has been made redundant and the final gap (pertaining to the so-called God of the gaps) has now been filled ... who says so?

Atheists, along with the secularist pundits in the popular media.

Why do they say that?

Because they believe that the greatest brain in atheism - Stephen Hawking, has finally discovered the secret of the origin of the universe and a naturalistic replacement for God.

 

The atheist replacement for God is summed up in a single sentence written by Hawking:

"Because there is a law such as gravity, the universe can and will create itself from nothing"

That is it .... problem solved - apparently!

 

The secularists in the popular media loved it, as far as they were concerned the problem certainly was solved. Hawking had finally dealt the fatal blow to all religion, especially Christianity. No need to question it, if a revered scientist of his calibre, is so sure of how the universe came into being, it must be correct.

The new atheists loved it, they wasted no time in proclaiming the ultimate triumph of 'science' over religious mythology and superstition.

 

So just how credible is the atheist claim that God has been made redundant?

And just how 'scientific' is Hawking's replacement for God?

 

Shall we analyse it?

"Because there is a law of gravity ....

So,

1) If the law of gravity existed, how is that nothing?

AND -

2) Where did the law of gravity come from?

AND -

3) How can a law of gravity exist before that which gravity relates to ... i.e. matter?

 

"the universe can and will create itself from nothing"

 

4) How can something create itself, without pre-existing its own creation?

(A) could possibly create (B), but how could (A) create (A)? Of course it can't.

 

5) What about the 'nothing' that is not really nothing, as most people understand 'nothing', but a bizarre 'nothing' in which a law of gravity exists. A nothing which is actually a 'something' where a law of gravity is presumably some sort of eternally, existent entity?

AND -

6) Is Hawking implying that the self-creation of the universe is made possible by the pre-existence of the law of gravity?

Of course, natural laws are not creative agents, they simply describe basic properties and operation of material things. They can't create anything, or cause the creation of anything. Something which is a property of something, cannot create that which it is a property of.

 

So, even if we ignore the law of cause and effect which definitively rules out a natural, first cause of the universe, the atheist notion of the universe arising of its own volition from nothing is still impossible, and can be regarded as illogical and unscientific nonsense. Hawking's naturalistic replacement for God, presented in his single sentence, and so loved by the new, atheist cabal, is obviously just contradictory and confused nonsense.

 

The truth, which atheists don't want to hear, is that atheism is intellectually and scientifically indefensible. That is why they always duck out of explaining how the concept of an uncaused, inadequate, natural first cause is possible.

The best they ever come up with, is something like "we don't really know what laws existed at the start of the universe".

However, the atheist claim that - we don't really know... is completely spurious.

We certainly do know that the Law of Cause and Effect is universal, there is no way round it.

The only reason atheists don't want to accept it, is ideological.

 

And ... isn't it strange, that the only laws atheists dispute are precisely those that interfere with their beliefs. For example, atheists seem pretty sure that one law existed .... the law of gravity (even prior to that which gravity is a property of … matter).

Why are they so sure that the law of gravity existed?

Because their naturalistic substitute for God, summed up in the sentence by Stephen Hawking, apparently requires that the law of gravity existed before anything else …..

 

Here it is again ...

‘Because there is a law such as gravity, the universe can and will create itself from nothing’ Stephen Hawking.

 

So, atheists DO KNOW for sure that the law of gravity existed, but they don’t really know what other laws existed at the start of the universe. They especially doubt that the Law of Cause and Effect existed.

AMAZING!

 

Well, how about this for a refutation of Hawking’s replacement for God, also summed up in a single sentence?

 

Because there is a Law of Cause and Effect, the universe can’t and won’t create itself from nothing!

 

That is something Stephen Hawking conveniently forgot.

Apparently, he accepts that the law of gravity existed, because he thinks it suits his argument, but he ignores the existence of other laws that positively destroy his argument.

 

So, now you know the truth about the best substitute for God that atheists have ever come up with.

IMPRESSED? I think not!

 

Why is it ATHEISTS that try to dispute the universality of natural laws?

 

According to their claims, atheists are supposed to be the champions of science. Yet we find in practice that it is actually theists who end up defending natural laws and the scientific method against those atheists who try to refute any laws and scientific principles that interfere with their naturalistic beliefs.

Whatever happened to the alleged conflict between science and religion?

That is revealed as purely, atheist propaganda. There is obviously much more conflict between atheism and science.

 

Why is the law of cause and effect so important?

Because it tells us that all natural entities, events and processes are contingent.

They are all subject to preceding causes. It tells us that natural entities and events are not autonomous, they cannot operate independently of causes.

That is such an important principle, it is actually the basis of the scientific method. Science is about looking for adequate causes of ALL natural events. According to science, a natural event without a cause, is a scientific impossibility.

Once you suggest such a notion, you are abandoning science and you violate the basic principle of the scientific method.

 

What about the first cause of the universe and everything?

How does that fit in?

 

Well, the first cause was obviously a unique thing, not only unique, but radically different to all NATURAL entities and occurrences. The first cause HAD to be an autonomous entity, it HAD to be eternally self-existent, self-reliant, NON-CONTINGENT ... i.e. it was completely independent of causes and the limitations that causes impose.

The first cause, by virtue of being the very first, could not have had any preceding cause, and obviously didn't require any cause for its existence. When we talk about the first cause, we mean the very first cause, i.e. FIRST means FIRST, not second or third.

The first cause also had to be capable of creating everything that followed it. It is responsible for every subsequent cause and effect that is, or has ever been. That means that nothing, nor the sum total of everything that followed the first cause, can ever be greater, in any respect, than the first cause.

So the idea that the first cause could be a natural entity or event is just ludicrous.

 

We know that the first cause is radically different to any natural entity, it is NOT contingent and that is why it is called a SUPERNATURAL entity, the Supernatural, First Cause (or Creator God). All natural events and entities ARE contingent without exception, so the first cause simply CANNOT be a natural thing.

That is the verdict of science, logic and reason. Atheists dispute the verdict of science and insist that the first cause was a 'natural' event which was somehow able to defy natural laws that govern all natural events.

Consequently, atheism can be regarded as anti-science. Which means .... the real enemy of atheism is science, not religion. And the real enemy of science is atheism, not religion.

An idea which seems to be popular with atheists at present, is a continuously, reciprocating universe, one which ends by running out of energy potential and then rewinds itself in an never ending cycle ..... this is an attempt to evade the fact that an uncaused, natural, first cause is impossible. They claim that, in this way a first cause, is not necessary. And that matter/energy is some sort of eternally existent entity.

So is it a valid solution?

 

Firstly .....

Matter/energy cannot be eternally existent in a cycle with no beginning).

Why?

Because all natural things are contingent, they have to comply with the law of cause and effect, so they cannot exist independently of causes. The nearest you could get to eternally existent matter/energy would be a very, long chain of causes and effects, but a long chain is not eternally existent, it has to have a beginning at some point. At the beginning there would still have to be a non-contingent first cause. So a long chain of causes and effects simply pushes the first cause further back in time, it can't eliminate it.

Secondly ....

It is pretty obvious that the idea of the universe simply rewinding itself in a never ending cycle, which had no beginning, is complete, unscientific nonsense. How such a proposal can be presented as serious science, beggars belief.

It seems atheists will try anything to justify their naturalist ideology. They apparently have no compunction about completely disregarding natural laws.

The Second Law of Thermodynamics rules out such atheist, pie-in-the-sky, origins mythology.

There is no such thing as a free lunch, the idea of a rewinding universe is tantamount to applying the discredited notion of perpetual motion - on a grand scale, to the universe.

Contingent things don't just rewind of their own accord.

The Second Law (not to mention common sense) rules it out.

Where does the renewed power or renewed energy potential come from?

If you wind up a clock, it doesn't rewind itself after it has stopped.

The universe had a beginning and it will have an end. That is what science tells us, it cannot rewind itself.

Such ridiculous, atheist musings are just a desperate attempt to wriggle out of the inevitable conclusion of logic, and the Law of Cause and Effect which are the real enemies of atheist ideology.

Once again atheism is hoisted on its own petard by natural law and science, not by religion.

 

A variation of the cyclical universe is the argument proposed by some that the universe just is?

Presumably they mean that the universe is some sort of eternally-existent entity with no beginning - and therefore not in need of a cause? Once again an eternally self-existent universe is not possible for the same reason outlined above.

In addition ....

The Second Law of Thermodynamics tells us the universe certainly had a beginning and will have an end. The energy potential of the universe is decreasing from an original peak at the beginning of the universe. Even the most rabid atheists seem to accept that. Which is why most of them believe in a beginning event, such as a big bang explosion.

So the question is how did it (the universe) begin to exist, not whether it began to exist?

Which takes us back to the question of the nature of the very first cause.

It can only be one of two options,

an uncaused, natural first cause

OR

an uncaused, supernatural first cause.

An uncaused, NATURAL first cause is impossible.

Thus the only possible option is a supernatural first cause, i.e. God.

 

Atheists can’t refute the Law of Cause and Effect which is so devastating to their naturalist agenda, so they regularly invent bizarre scenarios which ignore natural laws, and hope people won’t notice. If anyone does they just brush it off with remarks like “we just don’t know ” what laws existed prior to the beginning of the universe.

Sorry, the atheist apologists may not know …. but all sensible people do know, we certainly know what is impossible ….

And we certainly know that you cannot blithely step outside the constraints of natural laws and scientific principles, as atheists do, and remain credible.

We know that natural laws describe the inherent properties of matter/energy. Which means wherever matter/energy exist, the inherent properties of matter/energy also exist - and so do the natural laws that describe those properties. if the universe began, as some propose, with a cosmic egg. or a previous universe, those things are still natural entities with natural properties, and as such would be subject to natural laws. So the idea that there were natural events leading up to the origin of the universe that were not subject to natural laws is ridiculous.

The atheist claim; that we just don't know, is not valid, and should be treated as the silliness it really is.

 

The existence of the law of cause and effect is essential to the scientific method, but fatal to the atheist ideology.

SO ....

Is the law of cause and effect really universal?

 

Causation is necessary for the existence of the universe, but ALSO for the existence of any natural entities or events that may have preceded the creation of the universe.

 

In other words, causation is necessary for all matter/energy and all natural entities and occurrences, whether within the universe or elsewhere.

ALL natural entities are contingent wherever they may be, whether in some sort of cosmic egg, a big bang, a previous universe or whatever.

Contingency is an inherent character of all natural entities, so it is impossible for any natural entity to be non-contingent.

 

Which means you simply CANNOT have a natural entity which is UNCAUSED, anywhere.

If, for example, matter/energy was not contingent at the start of the universe, or before the universe began, how and why would it be contingent now?

Why would nature have changed its basic character to an inferior one?

 

If matter/energy once had such awesome, autonomous power - if it was, at some time, self-sufficient, not reliant on causes for its operation and existence, and not restricted by the limitations causes impose, it would effectively mean it was once an infinite, necessary, self-existent entity, similar to God.

 

Now if matter once had the autonomous, non-contingent powers of a god, why would it change itself to a subordinate character and role, when it became part of the universe?

Why would it change to a role where it is limited by the strictures of natural laws. And where it cannot operate without a preceding, adequate cause?

 

To claim matter/energy was, at one time, not contingent, not subject to causes (which is what atheists have to claim) – is to actually imbue it with the autonomous power of a god.

That is why atheism is really just a revamped version of pagan naturalism.

By denying the basic, contingent character of matter/nature, atheism effectively deifies nature, and credits it with godlike powers, which science clearly tells us it doesn’t possess.

 

Thus, if anyone dismisses causality, they effectively deify matter/nature.

Which means they have chosen the first of the 2 following choices …

 

1. Atheism ... the unscientific, illogical belief in a natural, uncaused god (of matter or nature) which violates natural laws - which science recognises restrict its autonomy?

 

2. Theism ... the logical belief in an uncaused, supernatural God, which created matter and the laws that govern matter. And therefore does not violate any laws, is not contingent, and thus has completely unrestricted autonomy and infinite powers?

 

Which one would you choose?

 

Which one do scientists who respect natural laws and the scientific method choose?

The great, scientific luminaries and founders of modern science, such as Isaac Newton, Michael Faraday, Louis Pasteur etc., in fact, nearly all of the really great scientists and founders of modern science, had no doubts or problem understanding that choice, and they readily chose the second (theism), as the only logical option.

So, by choosing the second - a supernatural first cause – rather than meaning you are anti-science or anti-reason or some sort of uneducated, superstitious, religious nut (as atheists frequently claim) actually puts you in the greatest of scientific company.

 

To put it another way, who would you rather trust in science, such scientific giants as: Newton, Pasteur, Faraday, Von Braun, Copernicus, Kepler, Galileo, Mendel, Marconi, Kelvin, Babbage, Pascal, Herschel, Peacock etc. who believed in a supernatural, first cause?

OR,

the likes of: Richard Dawkins, Sam Harris, Christopher Hitchens, Lawrence Krauss, Stephen Hawking, Daniel Dennett etc. who believe in an uncaused, natural, first cause?

No contest!

 

We can see that atheists are anti-science, because they treat natural law and the whole principle of the scientific method with utter contempt, and all the while, they masquerade as the champions of science to the public.

 

The question of purpose ....

A further nail in the coffin of bogus, atheist science is the existence of order.

 

Atheists assume that the universe is purposeless, but they cannot explain the existence of order.

The development of order requires an organizational element.

To do useful work, or to counter the effects of entropy, energy needs to be directed or guided.

Raw energy alone actually tends to increase the effects of entropy, it doesn't increase order.

The organizational principle in living systems is provided by the informational element encoded in DNA.

Atheists have yet to explain how that first, genetic information arose of its own volition in the so-called Primordial Soup?

 

Natural laws pertinent to all natural entities, they guide the behaviour of energy and matter, but also serve to limit it, because natural laws are based only on the inherent properties of matter and energy.

So ... natural laws describe inherent properties of matter/energy, and natural processes operate only within the confines of natural laws which are based on their own properties. They can never exceed the parameters of those laws.

 

The much acclaimed, Dawkinsian principle that randomness can develop into order by means of a sieving process, such as shaken pebbles being sorted by falling through a hole of a particular size is erroneous, because it completely ignores the regulatory influence of natural laws on the outcome, which are not at all random.

If we can predict the outcome in advance, as we can with Dawkins' example, it cannot be called random. We CAN predict the outcome because we know that the pebbles will behave according to the regulatory influence of natural laws, such as the law of gravity. If there was no law of gravity, then Dawkins' pebbles, when shaken, would not fall through the hole, they would not be sorted, they would act completely unpredictably, possibly floating about in the air in all directions. In that case, the randomness would not result in any order. That is true randomness.

Dawkins' randomness, allegedly developing into order, is not random at all, the outcome is predictable and controlled by natural laws and the inherent properties of matter. He is starting with 2 organizational principles, natural laws and the inherent, ordered structure and properties of matter, and he calls that randomness!

Bogus science indeed!

This tells us that order is already there at the beginning of the universe, in the form of natural laws and the ordered composition and structure of matter .... it doesn't just develop from random events.

 

A major problem for atheists is to explain where natural laws came from?

In a purposeless universe there should be no regulatory principles at all.

Firstly, we would not expect anything to exist, we would expect eternal nothingness.

Secondly, even if we overlook that impossible hurdle, and assume by some amazing fluke and contrary to logic, something was able to create itself from nothing ….. we would expect the ‘something’ would have no ordered structure, and no laws based on that ordered structure. We would expect it to behave randomly and chaotically.

This is an absolutely fundamental question to which atheists have no answer. The basic properties of matter/energy, and the universe, scream …. ‘purpose’.

Atheists say the exact opposite.

Furthermore, if we consider the accepted, atheist belief; that matter is inherently predisposed to produce life and the genetic information for life, whenever environmental conditions are conducive (so-called abiogenesis), where does that predisposition for life come from? Once again, atheists are hoisted on their own petard, and the atheist idea of a random, purposeless, universe is left completely in tatters.

 

It is the atheist ideology that is anti-science, not necessarily individual scientists.

There may be sincere, atheist scientists who respect the scientific method and natural laws, but they are wedded to an ideology that - when push comes to shove, does not respect natural laws.

It is evident that whenever natural laws interfere with atheist naturalist beliefs, the beliefs take precedence over the rigorous, scientific method. It is then that natural laws are disregarded by atheists in favour of unscientific fantasies which are conducive to their ideology.

Of course, in much day-to-day practical science and technology, the question of violating laws doesn't even arise, and we cannot deny that in the course of such work, atheists will respect the scientific method of experiment and observation within the framework of the Law of Cause and Effect and other established laws of science.

Bizarrely, It is a different matter entirely, when it comes to hypotheses about origins. It then becomes an 'anything goes' situation. The main criteria then seems to be that it doesn’t matter whether your hypothesis violates natural laws (all sorts of excuses can be made as to why natural laws need not apply), all that matters is that it is entirely naturalistic, and can be made to sound plausible to the public.

However, the same atheist scientists would not entertain anything in general, day-to-day science, that is not completely in accordance with the scientific method, they make an exception ONLY with anything to do with origins, whether it be the origin of the universe, or the origin of life, or the origin of species.

 

Atheism is not simply passive non-belief, you can only be a ‘genuine’ atheist if you proactively believe in the following illogical and unscientific propositions:

 

1. A natural, first cause of the universe that was ‘uncaused’.

 

2. A natural, first cause of the universe that was patently not adequate for the effect, (a cause which was able to produce an effect far greater than itself and superior to its own abilities).

 

3. That the universe created ITSELF from nothing.

 

4. That natural laws simply arose of their own accord, without any reason, purpose or cause.

 

5. That energy potential at the start of everything material was able to wind itself up from absolute zero, of its own accord, without any reason, purpose or cause.

 

6. That the effect of entropy (Second Law of Thermodynamics) was somehow suspended or didn’t operate to permit the development of order in the universe.

 

7. That life spontaneously generated itself, of its own volition, from sterile matter, contrary to: the Law of Biogenesis, the laws of probability, the Second Law of Thermodynamics, Information Theory and common sense.

 

8. That the complete human genome was created by means of a long chain of copying mistakes of the original, genetic information in the first living cell, (mutations of mutations of mutations, etc. etc.).

 

9. That the complex DNA code was produced by chemical processes.

 

10. That the very first, genetic information, encoded in the DNA of the first living cell, created itself by some unknown means.

 

11. That matter is somehow inherently predisposed to develop into living cells, whenever conditions are conducive to life. But such a predisposition for life just arose of its own accord, with no purpose and with no apparent cause.

 

12. That an ordered structure of atoms, guiding laws of physics, order in the cosmos, order in the living cell and complex information, are what we would expect to occur naturally in a purposeless universe.

 

The claim of atheists to be the champions of science and reason is clearly bogus.

They think they can get away with it by pretending to have no beliefs.

However, when seriously challenged to justify their dogmatic rejection of a Supernatural First Cause, they indirectly espouse the unscientific beliefs outlined above, in their futile attempts to refute the evidence for a supernatural first cause.

Of course, whenever possible, they avoid declaring those beliefs explicitly, but you don’t need to be very astute to realize that relying on those beliefs is the unavoidable conclusion of their arguments.

 

That is why atheism is intellectually bankrupt and is doomed to the dustbin of history. And that is why we are seeing such a rise in militant, evangelizing, atheist zealots, such as Richard Dawkins and the late Christopher Hitchens.

Their crusading, bravado masks their desperation that the public is so hard to convince. What Dawkins et al need to face is that they are in no position to attack what they consider are the bizarre beliefs of others, when their own beliefs (which they fail to publicly acknowledge) are much more bizarre.

 

What about Christianity and pagan gods?

 

Atheists frequently try to dismiss and ridicule the idea of a Creator by comparing it to the numerous, pagan gods that people have worshipped throughout history.

 

Do they have a good point?

 

Certainly not, this is just a red herring ….

Other gods, cannot be the first cause or Creator.

Idols of wood or stone, or the Sun, Moon, planets, Mother Nature, Mother Earth etc. are all material, contingent things, they cannot be the first cause.

They are rejected as false gods by the Bible and by logic and natural laws.

They are considered gods by people who worship things which are 'created' rather than the Creator, which the Bible condemns.

In fact, they are much more similar to the atheist belief in the powers of a naturalistic entity to create the universe, than they are to the one, Creator God of Christianity.

For example, the pagan belief in the creative powers of Ra (the Sun god) is similar to the atheist belief that raw energy from the Sun acting on sterile chemicals was able to create life.

 

So atheist mythology credits the Sun (Ra) with the godlike power of creating life on Earth. And thus, atheism is just a revamped version of paganism.

Just like paganism, atheism rejects worship of a Supernatural, First Cause, and rather chooses to worship created, natural entities, imbuing them with the same godlike powers, that theists attribute to the Creator.

There is nothing new under the Sun ... We can see that atheism is just the age old deception of ancient paganism, revisited.

 

The Creator is a Supernatural, First Cause, which is not a contingent entity, nothing like the pagan gods, but rather a self-existent, necessary entity. As the very first cause of everything in the universe, it cannot be contingent (it cannot rely on anything outside itself for its existence, i.e. it is self-existent) and therefore it cannot be a material entity.

The first cause is necessary because, not being contingent, it necessarily exists.

If anything exists that is not contingent, it has to have within itself everything necessary for its own existence. If it is also responsible for the existence of anything outside itself (which as the first cause of the universe, we know it is) it is also necessary for the existence of those things, and has to be entirely adequate for the purpose of bringing them into being and maintaining their continued existence. It is not subject to natural laws, which only apply to natural events and effects, because, as the first cause, it is the initiator and creator of everything material, including the laws which govern material events, and of time itself.

 

The atheist view of a natural first cause is not even rational, to propose that all the qualities I have mentioned above could apply to a material entity is clearly ridiculous. But apparently, atheism has no regard for natural laws or logic. Atheists get round it by simply dressing up their irrational beliefs to make them appear ‘scientific’.

This combined with rants and erroneous and derisory slogans about religious myths and superstition makes it all seem perfectly reasonable. Unfortunately, those with little knowledge, or who can’t be bothered to think for themselves are taken in by it.

 

Atheists repeatedly claim that they have refuted the law of cause and effect by asking : So what caused God then?

How true is that?

 

The ... what caused God? argument is a rather silly argument which atheists regularly trot out. All it demonstrates is that they don't understand basic logic.

 

The question to always ask them is; what part of FIRST don't you understand?

If something is the very FIRST, it means there is nothing that precedes it. First means first, not second or third.

That means that the first cause cannot be a contingent entity, because a contingent entity depends on something preceding it for its existence. In which case, if something precedes it, it couldn't be FIRST.

All natural entities, events and effects are contingent ... that is why the Law of Cause and Effect states that ... every NATURAL effect requires an adequate cause.

That means that the first cause cannot be a natural entity. An UNCAUSED, NATURAL event or entity is ruled out as not possible by the Law of Cause and Effect.

Therefore the very FIRST CAUSE of the universe, which we know cannot be caused, by virtue of it being FIRST (not second or third) CANNOT be a natural entity or event.

Thus we deduce that the first cause ... cannot be contingent, cannot be a natural entity, and cannot be subject to the Law of Cause and Effect.

So the first cause has to be non-material, i.e. supernatural.

The first cause also has to have the creative potential to create every other cause and effect that follows it.

In other words, the first cause cannot be inferior in any respect to the properties, powers or qualities of anything that exists...

The effect cannot be greater than the cause....

So we can thus deduce that the first cause is: UNCAUSED, SUPERNATURAL, self-existent, and capable of creating everything we see in the existing universe.

If there is life in the universe, the first cause must have the ability to create life,

If there is intelligence in the universe, the first cause must have the ability to create intelligence.

If there is information in the universe, the first cause must have the ability to create information.

If there is consciousness in the universe, the first cause must have the ability to create consciousness. And so on and on. If it exists, the first cause is responsible for it, and must have the ability to create it.

That is the Creator God … and His existence is supported by impeccable logic and adherence to the demands of natural law.

Atheists often say: you can’t fill gaps in knowledge with a supernatural first cause.

 

But we are not talking about filling gaps, we are talking about a fundamental issue ... the origin of everything in the material realm.

The first cause is not a gap, it is the beginning - and many of the greatest scientists in the history of science had no problem whatsoever with the logic that - a natural, first cause was impossible, and the only possible option was a supernatural creator.

Why do atheists have such a problem with it?

 

Atheists also seem to think that to explain the origin of the universe without a God, simply involves explaining what triggered it, as though its formation from that point on, just happens automatically.

This has been compared by some as similar to lighting the blue touch paper of a firework. They think that if they can propose such a naturalistic trigger, then God is made redundant.

That may sound plausible to some members of the public, who take such pronouncements at face value, and are somewhat in awe of anything that is claimed to be 'scientific'.

But it is obvious to anyone who thinks seriously about it, that a mere trigger is not necessarily an adequate cause.

A trigger presupposes that there is some sort of a mechanism/blueprint/plan already existing which is ready to spring into action if it is provided with an appropriate trigger. So a trigger is not a sole cause, or a first cause, it is merely one contributing cause.

Natural things do only what they are programmed to do, i.e. they obey natural laws and the demands of their own pre-ordered composition and structure. Lighting blue touch paper would do absolutely nothing, unless there is a carefully designed and manufactured firework already attached to it.

What about the idea proposed by some atheists that space must have always existed, and therefore the first cause was not the only eternally, uncaused self-existent power?

This implies that the first cause was limited by a self-existent rival (space,) which was also uncaused, and therefore the first cause could not be infinite and could not even be a proper first cause, because there was something it didn’t cause i.e. ‘space’.

There seems to be some confusion here about what ‘space’ actually is.

Space is part of the created universe, it is what lies between and around material objects in the cosmos, if there were no material objects in the cosmos, there would be no space. The confusion lies in the failure to distinguish between empty space and nothing. Nothing is the absence of everything, whereas space is a medium in which cosmic bodies exist. ‘Empty’ space is just the space between objects. So space is not an uncaused, eternally self-existent entity, it is dependent on material objects existing within it, for its own existence.

What about nothing? Is that an uncaused eternally self-existent thing? Firstly, it is not a thing, it is the absence of all things. So has nothing always existed? Well, yes it essentially would have always existed, but only if the first cause didn’t exist. If there is a first cause is that is eternally self-existent, then there is no such thing as absolute nothing, because nothing is the absence of everything. If a first cause exists (which it had to), then any proposed eternal ‘nothing’ has always contained something, and therefore can never have been ‘nothing’.

 

What about the idea that the first cause created everything material from nothing? Obviously, the ‘nothing’ that is meant here is … nothing material, i.e. the absence of any material entities.

The uncaused, first cause cannot be material, because all material things are contingent, so the first cause brought material things into being, when nothing material had previously existed. That is what is meant by creation from nothing.

Continued in next comment.

Since the COVID-19 global pandemic, it has been over a year since countries began implementing lockdown restrictions and airlines parking aircraft due to low demand.

For EasyJet, COVID-19 has had a massive impact on its flights, with Europe wide lockdowns hampering the amount of serviceable flights being able to operate. Within the UK, with only a very small portion of countries in the so called "Green List", airlines have had to be proactive as to where demand would likely be concentrated on, only for the government to change its mind.

Either way, EasyJet has been a major Airbus customer since 2004 when the low-cost carrier took delivery of their first Airbus A319, which would form the backbone until being superseded by their ever growing Airbus A320 fleet which saw deliveries begin in 2009. EasyJet took delivery of their last Airbus A319 in 2011 which allowed for the withdrawal of their remaining Boeing 737 fleet.

With the ever increasing number of Airbus A320/A321neos entering service, the number of Airbus A319s that have been withdrawn now stands at 74, with the majority having found new homes with only a small number having been parted out for scrap.

Initially, from the beginning of 2020 would have saw United Airlines acquiring 20 Airbus A319s from EasyJet (which will differ in having CFM International CFM56 engines compared to United's fleet which have International Aero Engines V2500 series engines). The plan was to incorporate them into their fleet but that plan has since been scrapped owing to COVID-19 impacting domestic US air travel (which is slowly recovering) and instead they will used to provide spare parts to the airline's existing Airbus A319 fleet.

Currently, EasyJet operates 315 Airbus A320 family aircraft, which includes 98 Airbus A319s (57 currently in storage), 166 Airbus A320ceos (31 currently in storage), 37 Airbus A320neos (one in storage) and 14 Airbus A321neos. EasyJet have 92 Airbus A320neos and 16 Airbus A321neos on-order.

Echo Zulu India Whiskey was delivered new to EasyJet on 17th October 2005, later leased from Aircastle in 2016 and is powered by 2 CFM International CFM56-5B5/P engines.

Between March 2013 to January 2019, she carried Linate - Fiumicino colours before being repainted, later withdrawn on 23rd March 2020 and placed into storage at Lasham Airfield, Hampshire on 24th September 2020. She has since been acquired by United Airlines on 24th February 2021 as N3303U, one of 20 procured and is currently in storage at Goodyear Airfield, Arizona. United will now use the 20 EasyJet Airbus A319s for spare parts.

Airbus A319-111 G-EZIW on final approach into Runway 26L at London Gatwick (LGW) on U28662 from Alicante-Elche (ALC).

letter lies within the language of time and care.

IN THE WAITING ROOM....how does it feel?

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Henri Nouwen, in A Spirituality of Waiting, makes this point beautifully. He tells the story of being called to the bedside of a friend who had spent his life as a social activist, busily involved with caring for others. But now, this human dynamo was confined to a sickbed by the cancer ravaging his body. He confessed to Nouwen that he had no way to even think about his life. His entire self-identity had always been framed by doing, by actively working on behalf of others. How, he wanted to know, could he understand his present circumstances in a way that didn’t lead to despair?

 

Nouwen wisely answered this anguished question by pointing his friend to the last days of Jesus’ life — the period Christians often refer to as Christ’s Passion. Up until this point in His life, Jesus’ ministry had consisted largely of doing: healing, teaching, confronting, comforting, and actively modeling the God-life for all those He met. But when He was arrested by the Temple police, He was forced into a time of waiting. Nouwen wrote:

 

The central word in the story of Jesus’ arrest is one I never thought much about. It is “to be handed over.”... Some translations say that Jesus was “betrayed,” but the Greek says He was “handed over.” Judas handed Jesus over (see Mark 14:10). But the remarkable thing is that the same word is used not only for Judas but also for God. God did not spare Jesus, but handed Him over to benefit us all (see Romans 8:32)...

 

[I]mmediately after Jesus is handed over, He becomes the one to whom things are being done. He’s being arrested; He’s being led to the high priest; He’s being taken before Pilate; He’s being crowned with thorns; He’s being nailed on a cross. Things are being done to Him over which He has no control...

 

Jesus does not fulfill His vocation in action only but also in passion. He doesn’t just fulfill His vocation by doing the things the Father sent Him to do, but also by letting things be done to Him that the Father allows to be done to Him... In a way, His agony is not simply the agony of approaching death. It is also the agony of having to wait.1

 

In other words, even Jesus, God-in-the-flesh, had to endure waiting in order to fulfill His greatest purpose. In the same way, as we wait in faith upon God, we become more like Christ in His perfect obedience, His perfect sacrifice.

 

The apostle Paul underlined this truth when he said, in Philippians 3:10-11,

 

I want to know Christ — yes, to know the power of His resurrection and participation in His sufferings, becoming like Him in His death, and so, somehow, attaining to the resurrection from the dead.

 

Paul knew there was no shortcut to resurrection. If Christ had to pass through the gate of suffering in order to arrive at resurrection, then Paul wanted to walk the same path.

 

Waiting and Life

 

So life isn’t turning out exactly the way you thought, and you have laid it before God in prayer, over and over again. You’ve taken the steps you know to take and prepared yourself to the best of your ability — and it still isn’t happening.

 

Is it time to move on? Is failure inevitable? And if it is, how much longer should you keep prolonging the obvious?

 

My bias is that, most of the time, we give up too soon. I prefer to help people see all the possibilities God may be placing before them. I am always hesitant to place time limits on God. The important thing is to continue trusting the end result to God, even when the outcomes you want are not immediately apparent.

 

Remember that faithful waiting — attending — involves much more than passively sticking your hands up in the air until God rains blessings down into your palms. Faithful waiting involves actively seeking contentment, even amid less-than-optimal circumstances.

 

Can you listen for God’s guidance, even when things aren’t going your way? Can you proactively trust Him, even when you aren’t seeing the evidence of the victory you long for?

 

I encourage you to keep doing the next right thing, taking the steps you know to take, without getting frustrated because you aren’t yet where you want to be. Act on the belief that God has a plan and that He is bringing it to completion in your life. Commit to being ready for that completion to occur, even if you can’t see it coming.

 

God has done mighty things in your life, and He will continue to do them, if you trust Him.

 

In every life, there are times of great forward motion, and there are times of waiting. Just as Christ, after acting so vigorously for much of His ministry, had to endure the agonizing wait of the Passion, so we must recognize and conform ourselves to the holy rhythm of waiting on God’s timing. And who knows? It could be that you are only three days away from the resurrection.

 

Excerpted from What Keeps You Up at Night by Pete Wilson, copyright Thomas Nelson.

 

* * *

 

Your Turn

 

Think of a time in your life when you were “in the waiting room.” What have you learned since that experience? Maybe you're in the waiting room right now. I've been there many times. One season of waiting for the Lord to bring relief and healing lasted more than fifteen years. I thought I was going to die from waiting and I began to doubt that God even remembered me anymore. But, He did. He intervened and rescued me and I'll never be the same again. What about you? In your waiting room, are you believing that He is and will continue to do mighty things in your life? This won't last forever. Even if it feels like it right now. Come share your story with us on our blog. We want to hear from you. ~ Laurie McClure, Faith.Full

The Mounted Patrol Unit (MPU) was established in January of 2010 as an operational police unit. The officers receive a Basic Equitation riding course from the Toronto Police Service where they are educated on horsemanship, riding skills and roadwork.

 

The mandate of the MPU is to offer high visibility policing, crowd management and active crime prevention in the City of Hamilton. The MPU also works closely with the Police Services’ Action Team to respond to areas identified by hotspot analysis that require focused proactive patrol.

 

The priorities of the MPU are to heighten the Service’s ability to accomplish:

 

crime prevention

managing entertainment districts

conducting search and rescue

providing park and trail safety

The MPU consists of 5 horses, 4 full time officers and 4 spare officers in order to ensure year round coverage. The Unit deploys 8 shifts per week, covering; day, afternoon and night shifts.

 

The horses are all Percheron and Percheron-cross geldings which stand between 17'3 and 18'1 hands high (about 6 feet tall at their withers).

 

The horses names are all historically significant to the City of Hamilton:

 

Lincoln - In memory of The Honourable Lincoln Alexander, former Lieutenant Governor of Ontario

Griffin - After the Griffin House in Dundas, part of the Underground Railroad

RHLI - Royal Hamilton Light infantry, pronounced Riley. We support our troops!

MacNab - Sir Allan MacNab fought in the War of 1812 as a 14 year old boy, lived at Dundurn Castle and was former Premier of the Province of Canada

Argyll - Named after The Argyll and Sutherland Highlanders of Canada (Princess Louise’s), Argyll honours the close connection between the Hamilton Police Service and the local regiment.

 

*Hamilton Police Service

Vladimir Vladimirovich Putin born 7 October 1952) is a Russian politician and former intelligence officer who is the president of Russia, a position he has filled since 2012, and previously from 2000 until 2008. He was also the prime minister from 1999 to 2000, and again from 2008 to 2012.

 

Putin worked as a KGB foreign intelligence officer for 16 years, rising to the rank of lieutenant colonel (podpolkovnik), before resigning in 1991 to begin a political career in Saint Petersburg. He moved to Moscow in 1996 to join the administration of president Boris Yeltsin. He briefly served as director of the Federal Security Service (FSB) and secretary of the Security Council, before being appointed as prime minister in August 1999. After the resignation of Yeltsin, Putin became acting president and, less than four months later, was elected outright to his first term as president. He was reelected in 2004. As he was constitutionally limited to two consecutive terms as president at the time, Putin served as prime minister again from 2008 to 2012 under Dmitry Medvedev. He returned to the presidency in 2012 and was reelected in 2018. In April 2021, following a referendum, he signed into law constitutional amendments including one that would allow him to run for reelection twice more, potentially extending his presidency to 2036

 

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.

Autumn is the great time of shooting skippers too. I met two new species this morning. Indian Awlking is a beautiful and proactive one.

秋天也是拍弄蝶的好時機，今天在五指山拍到兩種弄蝶的首拍，這是其中一種的「大綠弄蝶」，漂亮又好動，翅面還有著美麗的金屬光澤～

 

~五指山, 新北市, 台灣

Mt. Wujhi, New Taipei City, Taiwan

- ISO 1600, F5.6, 1/640 sec, 100mm

- Canon 5D MarkIII with EF 100mm f/2.8 L Macro lens + Ring Flash Lights

- Shot @ 11.28am

Get Carter is a 1971 British gangster film, written and directed by Mike Hodges in his directorial debut and starring Michael Caine, Ian Hendry, John Osborne, Britt Ekland and Bryan Mosley. Based on Ted Lewis's 1970 novel Jack's Return Home, the film follows the eponymous Jack Carter (Caine), a London gangster who returns to his hometown in North East England to learn about his brother's supposedly accidental death. Suspecting foul play, and with vengeance on his mind, he investigates and interrogates, regaining a feel for the city and its hardened-criminal element.

 

Producer Michael Klinger optioned Lewis's novel shortly after its publication and made a deal with the ailing Metro-Goldwyn-Mayer (MGM) to finance and release the film, making Get Carter the last project to be approved by the studio's Borehamwood division before its closure. The production went from novel to finished film in ten months, with principal photography taking place from July to September 1970 in and around Newcastle upon Tyne, Gateshead and County Durham. Hodges, Klinger and Caine intended to create a more realistic portrayal of violence and criminal behaviour than had previously been seen in British films: Caine, who also served as an uncredited co-producer, incorporated aspects of criminal acquaintances into his characterisation of Carter, while Hodges conducted research into the criminal underworld of Newcastle (in particular the one-armed bandit murder). Cinematographer Wolfgang Suschitzky worked with Hodges to give scenes a naturalistic feel, drawing heavily on their backgrounds in documentary films.

 

Turning a respectable profit upon its initial UK release, Get Carter initially attracted mixed reviews. Critics begrudgingly appreciated the film's technical achievements and Caine's performance while criticizing the complex plot, violence and amorality, in particular Carter's apparent lack of remorse for his actions. American critics were generally more enthusiastic, but the film languished on the drive-in circuit, while MGM focused its resources on producing Hit Man, a blaxploitation-themed remake of the film.

 

Get Carter eventually garnered a cult following, and further endorsements from directors such as Quentin Tarantino and Guy Ritchie led to the film being critically re-evaluated, with its depiction of class structure and life in 1970s Britain and Roy Budd's minimalist jazz score receiving considerable praise. In 1999, Get Carter was ranked 16th on the BFI Top 100 British films of the 20th century; five years later, a survey of British film critics in Total Film magazine chose it as the greatest British film of all time. A poorly received second remake under the same title was released in 2000, with Sylvester Stallone portraying Jack Carter and Caine in a supporting role.

 

Sir Michael Caine CBE (born Maurice Joseph Micklewhite; 14 March 1933) is an English retired actor. Known for his distinctive Cockney accent, he has appeared in more than 160 films over a career spanning eight decades and is considered a British film icon. He has received numerous awards including two Academy Awards, a BAFTA Award, three Golden Globe Awards, and a Screen Actors Guild Award. As of 2017, the films in which Caine has appeared have grossed over $7.8 billion worldwide. Caine is one of only five male actors to be nominated for an Academy Award for acting in five different decades. In 2000, he received a BAFTA Fellowship and was knighted by Queen Elizabeth II.

 

Often playing a Cockney, Caine made his breakthrough in the 1960s with starring roles in British films such as Zulu (1964), The Ipcress File (1965), The Italian Job (1969), and Battle of Britain (1969). During this time he established a distinctive visual style wearing thick horn-rimmed glasses combined with sharp suits and a laconic vocal delivery; he was recognised as a style icon of the 1960s. He solidified his stardom with roles in Get Carter (1971), The Last Valley (1971), The Man Who Would Be King (1975), The Eagle Has Landed (1976), and A Bridge Too Far (1977).

 

Caine received two Academy Awards for Best Supporting Actor for his roles as Elliot in Woody Allen's comedy Hannah and Her Sisters (1986), and as Dr. Wilbur Larch in Lasse Hallström's drama The Cider House Rules (1999). His other Oscar-nominated films include Alfie (1966), Sleuth (1972), Educating Rita (1983), and The Quiet American (2002). Other notable performances include in the films California Suite (1978), Dressed to Kill (1980), Mona Lisa (1986), Little Voice (1998), Quills (2000), Children of Men (2006), Harry Brown (2009), and Youth (2015).

 

Caine is also known for his performance as Ebenezer Scrooge in The Muppet Christmas Carol (1992), and for his comedic roles in Dirty Rotten Scoundrels (1988), Miss Congeniality (2000), Austin Powers in Goldmember (2002), and Secondhand Lions (2003). Caine portrayed Alfred Pennyworth in Christopher Nolan's Batman trilogy (2005–2012). He has also had roles in five other Nolan films: The Prestige (2006), Inception (2010), Interstellar (2014), Dunkirk (2017), and Tenet (2020). He announced his retirement from acting in October 2023, with his final film being The Great Escaper, which came out in the same month.

 

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.

Zabou (b. unknown) street art in London. From the www.zabou.me website: Zabou (b. unknown). From the www.zabou.me website: Originally from France, Zabou moved to and started painting London in 2012. She has since then been on a self-appointed mission to paint as much of the capital as possible. With a seemingly endless supply of fresh designs to work with, Zabou is very much one of London’s most proactive artists. Her works are striking, humorous and thought-provoking, set to elicit a range of emotions upon viewing, depending on the message each mural conveys. Working with a combination of stencil and freehand techniques, she likes to question society and to poke fun at conformists. First and foremost, however, is the fact that each of Zabou’s subjects is drawn from her personal experiences, taking what she sees around her and projecting it to a new audience. Beyond this, and what is fundamental about Zabou’s work, is her innate ability to integrate the location and surroundings with her artworks: not just wishing to paint on the street, she makes them part of the street. The pieces harmonize with their surroundings and in turn, create something which allows its audience to engage with the work as an installation. This is the very essence of street art and something few artists master, but certainly one of Zabou’s greatest talents. Her witty and thoughtful designs have given her a much sought after reputation, leading her to travel the world to spread her artistic message of love, fun or rebellion. She has painted in England, France, Italy, Portugal, Cyprus, Sweden, Spain, Germany, Netherlands, Israel, Dubai and the U.S.A. Beyond her travels, Zabou’s accomplishments include speaking events such as the prestigious TEDx conferences, seeing her artwork published in books as well as being exhibited multiple times at the famous Saatchi Gallery in London. Zabou is an artist whose techniques and boldness are constantly evolving. She is certainly not set to be stopping on her journey anytime soon. Fortunately, she has too much left to say to the world.

Activists block entrance to the Rensselaer County jail to protest the policy by county officials reporting and turning over undocumented immigrants to Immigration and Custom Enforcement (ICE) agents for detainment and likely deportation.

 

Argyll & MacNab

King S & James S.

Hamilton, Ontario Canada

 

The Mounted Patrol Unit (MPU) was established in January of 2010 as an operational police unit. The officers receive a Basic Equitation riding course from the Toronto Police Service where they are educated on horsemanship, riding skills and roadwork.

 

The mandate of the MPU is to offer high visibility policing, crowd management and active crime prevention in the City of Hamilton. The MPU also works closely with the Police Services’ Action Team to respond to areas identified by hotspot analysis that require focused proactive patrol.

 

The priorities of the MPU are to heighten the Service’s ability to accomplish:

 

crime prevention

managing entertainment districts

conducting search and rescue

providing park and trail safety

The MPU consists of 5 horses, 4 full time officers and 4 spare officers in order to ensure year round coverage. The Unit deploys 8 shifts per week, covering; day, afternoon and night shifts.

 

The horses are all Percheron and Percheron-cross geldings which stand between 17'3 and 18'1 hands high (about 6 feet tall at their withers).

 

The horses names are all historically significant to the City of Hamilton:

 

Lincoln - In memory of The Honourable Lincoln Alexander, former Lieutenant Governor of Ontario

Griffin - After the Griffin House in Dundas, part of the Underground Railroad

RHLI - Royal Hamilton Light infantry, pronounced Riley. We support our troops!

MacNab - Sir Allan MacNab fought in the War of 1812 as a 14 year old boy, lived at Dundurn Castle and was former Premier of the Province of Canada

Argyll - Named after The Argyll and Sutherland Highlanders of Canada (Princess Louise’s), Argyll honours the close connection between the Hamilton Police Service and the local regiment.

 

*Hamilton Police Service

Yesterday afternoon was a lof of fun for the annual lighting of Pigeon point lighthouse.

I haven't even bothered to begin working with the lighthouse shots. There are plenty of those being uploaded to flickr every minute.

This shot was taken right behind the lighthouse looking south as the pastel tones were lighting up the sky. Unfortunately, we were asked to move from this spot due to unstable cliffs.

Still kicking myself for not being more proactive like my buddy Josh Cripps who took total advantage of the beautiful light during sunset. Maybe next year ; )

I told myself this year would be different. I would be more proactive with my photography and redesign my own path. Is that even possible? Are we so entrenched on gear to have missed the most important aspect of what photography is all about. I think so. Lots of thinking to do but in the mean time I’ll dedicate this picture to my newly “inspired eye.”

…Came across this in the Victoria Gardens in Truro when we were there in May. Well done Cornwall for being proactive with mental health issues!!!

 

www.invictustrust.co.uk/invictus-vase-hope/

 

For the interested I’m growing my Shutterstock catalogue daily here, now sold 17 images :- www.shutterstock.com/g/Alan+Foster?rid=223484589&utm_...

©Alan Foster.

©Alan Foster. All rights reserved. Do not use without permission.

Every year in so many ways Second Life citizens as Community share so many wonderful opportunities to support brilliant Charitable Organisations out there making significant positive impacts in people's lives. I've had the privilege more times than I can recount via my Avatar Eliza Wierwight and my business PATRON to support so many over the years.

 

Now I digress momentarily, an -almost- elephants tale. By Eliza.

 

Recently, my son and I debated watching a movie together. Due to the hours I spend working in front of a screen about the last thing I really want to do for recreation is sit in front of another one, though to be fair I love what I do and there are recreational aspects about working in Second Life, still just so many hours in a day though yes.

 

As we've just relocated far across Australia and my son is missing his usual social circle I agreed to watch something with him (puhlease not Home Alone one more time) providing we could both find something we'd equally enjoy. He was more than content with the prospect, so we cruised something to download and settled on "How I Became an Elephant". He really likes Elephants, I like documentaries, win/win.

 

What I was unaware of when I sat next to my son that day was that I was about to get a sincere education dispelling all the romantic myths I had in my head about experiences with Elephants over my lifetime. I discovered a group of incredible people and the plight of abused elephants that so got under my skin I was unable to chalk it up to merely 'interesting and informative' then move on with my life. If you've seen this documentary already then perhaps what I'm sharing has already resonated to you. If you haven't may I please recommend it.

 

How I Became an Elephant Documentary Introduction

 

[Huge respect to Juliette West - I never initiated something so profound at her tender age, incredible young woman. and Rattle the Cage Productions]

 

A few days straggled past, life is always busy but I just couldn't get these Elephants out of my head. Having coffee at day break, waiting for the caffeine to shake hands with my brain cells, reading emails and I find myself in Google looking for a more direct source information regarding the Elephant Sanctuary I'd viewed earlier in the week.

 

I settled on "Save the Elephant Organisation/Foundation" having cross referenced facts I had retained. My son wakes up, blunders out to our family room still half asleep, an incredible sunrise has developed into an exquisite day, I'm still cruising the SEF website store. So I greet my son and ask him "hey darling, good morning, want to buy lunch for some elephants today ?" He smiles (probably thinks here she goes again, he likes my eccentricities though bless him), a little Paypal interaction on both our behalf's and it was a done deal. We had a brilliant day after that, it felt so grass roots proactive, I felt good. I usually feel good, this was a different kind of good, this was satisfying. I didn't part with a kings ransom to do this and after all it's just a a single meal for each of the two elephants we committed to, but as I said, it felt good, it felt honest, it felt practical.

 

I am not going to wax lyrical about the people involved in this Organisation, they already have my hugest respect. While I sit fairly comfortable in my new home they are out there putting everything on the line to save and rehabilitate these incredible creatures. If you do nothing else after reading this then I implore you to at least take the 5 mins and 22 seconds to acquaint yourself with Sangduen "Lek" Chailert. This woman and her work is nothing short of a masterpiece.

 

Lek the Elephant Lady - Biography for presentation to US Congress

 

To continue, I came across a significant life challenge recently (don’t we all), one of those kinds where you have to decide whether to engage in a toxic situation and feed into the insanity or have the wisdom to gracefully as possible move forward. I decided on the wise approach but it left me with this intense emotive energy that genuinely required direction. Why not direct the adrenaline of something negative which I had at best the only control over to remove myself from and turn it into a genuine positive, then the Elephant’s plight returned to me……

 

Sat back, mused a few ideas then emailed Save The Elephant Organisation with the proposal that I would like to engage the Second Life Community via my Business to sponsor all 35 Elephants at the Elephant Nature Park (and perhaps Surin as well down the line). now I've never directly wrangled a new Charitable Organisation from the ground up in Second LIfe & it took a few weeks of emails going back and forth explaining my passion & respect for their endeavours, my goals and the real stretch which is having people feel comfortable that this would all take place in the context of the 'gaming Industry'. Okay Second Life is special, we already know this, it's not atypical 'gaming' but there has to be a tangible point of reference in these matters. It was also important to me that they understood that my actions on their behalf would combine two main factors, that I'd be a good Ambassador for their work as well as provide an accountable and completely transparent progression of funds raised.

 

Still with me ? Officially as of today, and with much pride, I have an official contract to act on behalf of SEF in Second Life and I couldn't feel more privileged to have earned their trust in this matter. In the next 24 hours I'll be releasing at PATRON the cutest Holiday Festive Topiary in the form of a baby Elephant (the design was pre-approved by SEF). When YOU buy it 100% proceeds will be going to "SaveElephantFoundation Resident" (driven by me for now) and as each Elephant is sponsored in totality I'll be making announcements via my Group and Subscribers.

 

If there is any question to whether I put my money where my mouth is, my son and I are sponsoring outright the first of the 35 her name is Mae Bua Loy.

 

b. ~1965) Her name means 'Floating Lotus' and she was rescued from the Surin province in 2008. Mae Bua Loy’s first job was in illegal logging. Her back right leg was broken during this time, and since she was unable to do heavy labor, she was used for street-begging. Sadly, she was used in a ‘breeding program’, and at one point was kept chained continuously for 3 months and forcibly mounted 29 times. She didn’t become pregnant, so her owner decided to get rid of her. At the park, she's found a best friend in Mae Boon Ma.

 

Okay so that just leaves 34.......

 

[Edited to add] The fundraising creation has now been released on the PATRON SIM. I'll use Flickr and any other opportunity to get the word out on the Grid. I'd appreciate you favourite this image, talk to your friends, get the word out there. Gift these Elephants when they are released, anything to assist in making this goal. If you're a blogger then please blog it,if we as a Community can pull together and get this viral in Second Life we can make an immediate and positive difference. Take a little pressure off those in the front lines caring for these magnificent creatures.

 

AND if you're like me and can't wait, then log in search "SaveElephantFoundation Resident" and just donate outright. No amount is too small, no amount is too large as a Community I have complete faith that we can do this. No need to even visit my SIM if you would just prefer to donate outright.

 

ขอบคุณ

 

Eliza

 

www.saveelephant.org/

 

"Save Elephant Foundation is a Thai non–profit organization dedicated to providing care and assistance to Thailand’s captive elephant population through a multifaceted approach involving local community outreach, rescue and rehabilitation programs, and educational ecotourism operations."

 

PS. It's late, I'm tired, it's be a very long day. I ranted a bit because it's important to me for people to understand how this came about. I'm very bad at proof reading my own txt as Kamalin Bailey-Whitefalcon and Nigel Riel will attest to. You have the gist, I'll deal with revising this eventually. Sleepy time ......

maybe it's a little more important than i think to be proactive about the weekend... it just goes against my personality to make plans. it was one of those days that felt like we were all in our own bubbles... with each other, but not really.

The future of public transportation looks bleak here in Linton, Indiana.

To proactively develop synergistic relationships with key suppliers and leverage our core competencies to enable us to maximise the return on investment for shareholders.

The building at 19 West Flagler Street in downtown Miami is the historic Biscayne Building, a 14-story office tower constructed in 1925. Throughout its history, it has served multiple notable tenants and is now part of developer Moishe Mana's extensive revitalization project for the area.

 

Early history

Construction: The Biscayne Building was built in 1925, during Miami's land boom.

 

Original tenant: The tower was originally home to the Bank of Biscayne.

 

FBI offices: At one point in its history, the top three floors of the tower were leased by the FBI.

 

Long-term ownership: Records indicate that the building was owned by Biscayne Building Inc., managed by Dante Fiorini, since at least the early 1980s.

 

Recent history and current status

Moishe Mana acquisition: In August 2016, developer Moishe Mana purchased the Biscayne Building for $24.5 million. The acquisition was part of his larger strategy to buy up historic properties along Flagler Street.

 

Mana's vision: Mana has since acquired a "critical mass" of buildings in the downtown area, with plans to redevelop his portfolio into a mix of retail, office, and residential projects.

Ongoing investment: As a key property within Mana's assemblage, the Biscayne Building and the surrounding area are poised for significant redevelopment as part of a master plan to "return that past vibrancy to the urban core".

AI responses may include mistakes. Learn more

 

This building is a family owned and operated commercial office building located in the heart of downtown Miami. What distinguishes this office business from others is the pride and detail in which the business is run.

 

The building is a single asset property and receives our full attention every day unlike other properties of a larger portfolio. The management team is located on site, in Suite 310 on the property. The team at the Biscayne Building has an impeccable reputation for excellence. The average tenant occupancy exceeds 17+ year.

 

The building is the first historic landmark to achieve the coveted Energy Star in the Central Business District of Miami in 2008. They are very proactive in maintaining and making improvements to the building keeping a high standard of excellence with upgrades in common areas, improved restrooms that are ADA compliant on every floor, adding technology to the elevators, alarm systems, sprinkler systems, HVAC units as well as back systems in place to ensure you are never without air conditioning.

 

Credit for the data above is given to the following websites:

www.miamidade.gov/Apps/PA/PropertySearch/#/

biscaynebuilding.com.mytempweb.com/

www.google.com/search?q=19+w+flagler+st+history+of+buildi...

floridastories.stqry.app/story/6366

www.google.com/search?q=19+w+flagler+st+history+of+buildi...

www.google.com/search?q=19+w+flagler+street+architect&...

 

© All Rights Reserved - you may not use this image in any form without my prior permission.

 

My Site: www.PhotoExtremist.com/

033

FORTUNE Brainstorm Health 2019

April 3rd, 2019

San Diego, CA

 

12:15 PM

GOING UPSTREAM: CHANGING BEHAVIOR FOR HEALTHIER LIVES

Treating diseases as they arise is one thing, but preventing health issues by changing one’s behavior is another. From life-changing sleep, to digital treatments and therapies, to daily care rituals including oral and sleep hygiene–upstream strategies are focused on being proactive rather than reactive, modifying our behaviors in order to improve our health. How are companies using connected technology platforms and highly accurate data in sleep, healthcare, and consumer products to help us move upstream? Hear from experts revolutionizing health care by adding meaningful value and helping us live healthier lives effortlessly.

 

Kathy Fish, Chief Research, Development and Innovation Officer, P&G

Shelly Ibach, President and CEO, Sleep Number

Dr. Deborah Kilpatrick, Chief Executive Officer, Evidation Health

Moderator: Arianna Huffington, Thrive Global

 

Photograph by Stuart Isett for Fortune

The National Sea Rescue Institute (NSRI) is a charity that has over 1000 unpaid volunteers who respond 24/7/365 to save lives on South African waters. We also teach children in disadvantaged communities about basic water safety through our proactive educational initiative the WaterWise Academy.

Ask any dispatcher about hearing when a train on their territory has gone into the hole. The first question asked to the crew is "How is the air looking? Is it coming back up?"

 

When that answer is no, the conductor is off for a walk. In the meantime, the DS is making contingency plans for moving traffic. If the territory is single track, then nothing moves until the train in question is ready to roll.

 

Today, the freight train we were following has went into emergency. Luckily for us, we were just far enough behind him when I heard the emergency radio transmission.

 

Guessing that he may have a problem, I immediately began braking the train in order to stop prior to passing the next control point. This allows the dispatcher to cross us over and get around the stopped train. Needless to say, the DS was grateful for our proactive action as our train is loaded with UPS and Fedex.

 

It wasn't long after stopping that a signal popped up allowing us to cross over and use Main One to Archbold. We also received the customary instructions to pass the train in trouble at restricted speed.

 

As we were passing this monster freight train, I could see a gap approaching meaning the train was in two pieces. This is NEVER a good thing and can indicate one of three possibilities, 2 of which are not good.

 

The least of all problems is a pull apart, where for some unknown reason a knuckle on one car opens. This is easily rectified by just making the coupling again. In 26 years behind the throttle, this has happened to me just once.

 

Another cause for a train to be in two pieces is a knuckle failure. This generally occurs when the position of slack in a train is abruptly changed. Sometimes this could be the result of bad decisions by the engineer at the control stand. At other times, it could be a mechanical defect in the knuckle itself. Replacing a knuckle can be a chore and take time.

 

The absolute worst scenario for a train to be in two pieces is the dreaded drawbar. When a drawbar fails, the one and only option is to set the car out and allow it to be repaired in place at a future time. But when the drawbar fails on the end of the car in the direction of the train's movement, it's a whole new problem.

 

When this happens, the block truck has to be called. This crew does all sorts of heavy repairs. The truck is outfitted with everything necessary to complete the repair including a crane. If it is after normal work hours or the weekend, the block truck crew has to be called in. This can take time as you can imagine.

 

This morning is not turning out to be a good one for this crew or the dispatcher. The train is two pieces due to a drawbar. The drawbar occurred on the worst end possible. And yes, it is Saturday. Track two is shut down and the DS now has a single track portion of railroad toralling 25 miles which could last for hours.

 

I planned on stopping at the gap to drop off a knuckle to the other train's conductor. This would have been a great help to him. When we saw the drawbar missing, our hearts sank. Lucky for all of us, the portion of the train in emergency was able safely pass over the drawbar without derailing. The conductor in the picture is walking up after locating the drawbar underneath his train.

 

With nothing more to offer the freight train's conductor, we wished him luck and headed east. As an aside, I logged into the computer later that night to check on the train's progress and how things played out. It wasn't good.

 

The train was still in the same spot where passed it 9 hours earlier. The original crew was on duty for 14 hours and the recrew was maybe looking at a recrew.

 

Oh, the Dreaded Drawbar!

   

“The most seductive thing about art is the personality of the artist himself. - Paul Cezanne”

 

Self Described Type “A” personalities: The theory describes a Type A individual as ambitious, rigidly organized, highly status conscious, can be sensitive, care for other people, are truthful, impatient, always try to help others, take on more than they can handle, want other people to get to the point, proactive, and obsessed with time management. People with Type A personalities are often high-achieving "workaholics" who multi-task, push themselves with deadlines, and hate both delays and ambivalence.

 

Macro Monday project – 09/16/13

“Typography”

Day 2 of 365.

Shot 1 of 100x. Theme: Resolution.

 

'Cause my bright is too slight to hold back all my dark.

Unfortunately I've struggled with depression for a good chunk of my life, which is only made worse by the short days and long dark nights in the winter months. With the contrast of dark skies and the lit up tree branches I feel this shot reflects the battle raging inside of myself and this year I'm determined to win. Part of my resolution to become a better version of myself this year is to be proactive in beating this melancholy.

 

These winters are long, dark and at times very bleak. It was difficult today as when I leave for my 8 hour shift in the mornings it's still three hours until sunrise and by the time I get home the sun has already set. However, determined not to be thwarted by the lack of daylight, I headed straight out with my camera to find something interesting to photograph and ended up with a shot that I'm very proud of. Next week is my last one at work for this winter and I'm getting myself in the mindset of powering through that without losing my stride.

 

The best part of the whole deal is that I didn't crawl into my bed the moment I came home. That's one way to stay proactive.

Read the full report

www.web-strategist.com/blog/2010/11/10/report-the-two-car...

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.

Black bear sow and one of her cubs hunting for grubs in Yosemite National Park.

It looks like the cub might have just finished nursing judging by the "Got Milk" look he's sporting...though it's possible that's white fur.

I don't know for sure, but the sow's ear tag might suggest she's been a problem bear, which really means she's had the misfortune of discovering problem people who left their food out, and she's been smart and brave enough to take advantage. Insanely calorie dense manufactured people food is an irresistible jackpot for a large animal that has to spend almost every waking hour hunting for largely small low calorie berries, nuts, grubs, etc to survive.

Unfortunately, if that is the case, the experience can soon lead such an intelligent and quick learning animal to even more proactive people food acquisition behavior in general, which can be dangerous with a 300 pound animal with long sharp claws that is several times as strong and fast as a human. Though the park service goes to extreme lengths to try and avoid doing so these days, they don't have much choice but to kill a bear if it learns by our mistakes to pursue people food aggressively.

 

Update: Yosemite bear tags are not indicative that the bear has necessarily been a problem, just that it has been tagged for monitoring. The tag color, while indicating year of tagging in some other locales, is apparently random in YOS per one official source.

This accident resulted from the driver texting, while driving. Here's what happened . . .

 

I'd just finished a wonderful time at the park enjoying the sun, trekking the trails, and of course, snapping images. It's been unseasonably hot these past few days, exceeding 100 degrees F. Brush and forests are dry; fire hazards high.

 

As I was driving the road home the car (BMW) in the opposite lane gradually veered into my lane. Fortunately, both of us were driving under the speed limit. I had ample time to slow down, and watched as the oncoming driver in the Beemer went into the ditch on my side of the road.

 

Immediately, smoke and flames erupted from under the car. The dry brush was ready fuel for a fire. In seconds, the brush erupted in flame with contact of car's hot underside.

 

I hastily parked, got out, and ran to the wrecked car. The driver, fortunately, was getting himself out. He was alone. Young guy, perhaps late teens, early twenties.

 

I hustled him away from the car to the other side of the road. It was safe distance for what we speculated would be an exploding car. He was okay, and that's what matters most. Shook, but okay. This car was his dad's.

 

Neighbors nearby proactively contacted the fire and police departments. They arrived within five minutes of the accident. Kudos to the police and fire departments for their quick response.

 

What happened is what's happening across this country -- the driver was "texting" on his smart phone while driving. Not sure that's a good example of multitasking. He diverted eyes and attention from the road and driving, to his texting gadget. His choice landed he and daddy's expensive car in the ditch. On fire. It was pure luck no one was injured.

 

The only reason I'm posting something like this is I've noticed "texting" morph from a casual trend, into a plague. Here in the states, death rates from texting and distracted driving exceeds the drunk driving fatalities.

 

At least once daily, I'm stuck behind someone sitting at a green traffic signal while the driver texts. It's commonplace.

 

Recently, the Oregon passed legislation to impose very expensive citations if a driver is caught texting. The fines are around $1,000.00.

 

It's a plague, addiction, and selfish bullshit. It implies that answering a text is more important than others' lives. I'll be the first to admit, texting is fun, and there is a valid communication utility with it. But NOT while driving.

 

When I go to a restaurant, it's now common seeing couples seated without looking at, or speaking to one another throughout dinner. In place of a nice chat or conversation, both are obsessed with their individual phones. Both have their faces plastered to a phone, texting or surfing the web. I don't get it. What's the point of having a nice dinner out with a friend, or spouse if you are going to spend the time glued to a damn phone.

 

It's metastasized into gyms and fitness centers, too. Every day I go for a little workout, there's typically one or more occasions I have to politely ask someone to move off a bench press, or other station because they are texting . . . as others are waiting to get in.

 

My hope is the message spreads. Is this crap limited to the U.S.? I've sent this same image to the local news outlets with hopes someone sees the outcome of a driver so obsessed with, and addicted to their phone, they willingly put themselves, and others (me) at risk of injury or death. It is an addiction, and there seems to be a compulsive sick need to be glued to these phones.

 

The driver was a young man, and he apparently borrowed dad's sporty BMW. The car was totaled. I took one look at the kid and figured he learned his lesson. Dad didn't know, yet. Can you imagine calling home to inform parents you just trashed their car because you were busy texting? Uh-oh, I think someone was in some deep do-do when he got home.

I recently visited with a friend the central exhibition of the 3rd edition of the Contemporary Native Art Biennial. This event title this year Culture shift, une revolution culturelle, is organized by Art-Mur, one of Montreal’s leading contemporary art galleries. It is held in 4 different venues around town. Art-Mur is designated as the Central Pavilion.

 

As we walked in, we were met by a proactive young man, something a bit unusual in Montreal’s galleries. His name is Emmanuel. He gave us a general introduction to the content of the exhibition and we discussed a bit about the paradigms of Contemporary Native Arts. Having seen contemporary art exhibitions in a number of countries I tend to think that international currents and institutionalized curatorial practices often tend to wash out regional realities unless the artist are from a dominant culture like the USA or China.

 

I was hoping that this exhibition would challenge my perceptions.

 

While discussing with Emmanuel, I learned that he was following a management program and that after reading about Art-Mur he had contacted the gallerists directly volunteering to do an internship with them. As you can see, they accepted. His academic path includes some museology and cultural animation. Born in Colombia from parents with artistic professions, he has been living in Montréal for over a decade.

 

He told us he wishes to become an art merchant. This is a pretty bold statement in a city where a good part of the visual artists survives through public subsidies. I hadn’t planned to do a portrait but at that point, I thought Emmanuel would be an interesting subject. Fortunately, I had my camera. I told Emmanuel about my 100 strangers project and resumed my visit of the exhibition.

 

The art presented was overall interesting – it did challenge the idea one could have about Native Art. Some of it was akin to a discussion about how Natives could develop – or retrieve - their identity by their visual art practice. After completing the visit, I asked Emmanuel if he was willing to be photographed in front of one of the pieces I preferred: Nadia Myre’s “A casual reconstruction”. This artist is from the Kitigan Zibi Anishinabeg nation but was educated largely outside her traditional culture. Last year, as part of an art event, she organized a supper with artists from other native communities. They discussed the notions of language and Identity. The conversation was recorded and excerpts of it could be heard for our benefit.

 

To Emmanuel’s left, you can see a piece by artists Lance Belanger, Kitty Mykka titled Oars.

 

I would like to thank the Art-Mur for accepting that I post this portrait and wish Emmanuel success with his future projects.

You may learn more about the gallery and the Contemporary Native Art Biennial at:

artmur.com/en/

 

Je me suis récemment rendu avec une amie visiter l'exposition centrale de la 3e édition de la Biennale d'art contemporain autochtone. Cet événement intitulé cette année « Culture shift, une révolution culturelle » est organisé par Art-Mur, l'une des principales galeries d'art contemporain de Montréal. Il se tient dans quatre institutions de la ville. Art-Mur est désigné comme le Pavillon Central.

 

Lorsque nous sommes entrés, nous avons été accueillis par un jeune homme proactif, chose un peu inhabituelle dans les galeries de Montréal. Son nom est Emmanuel. Il nous a donné une introduction générale au contenu de l'exposition et nous avons discuté un peu sur les paradigmes des arts autochtones contemporains. Après avoir vu des expositions d'art actuel dans un certain nombre de pays, je tends à penser que les courants internationaux et les pratiques de conservation institutionnalisées ont souvent tendance à gommer les réalités régionales, à moins que les artistes ne soient d'une culture dominante, comme celle des États-Unis ou de la Chine.

 

J'espérais que cette exposition infirmerait un peu mes perceptions.

 

En discutant avec Emmanuel, j'appris qu'il suivait un programme de gestion et qu’après avoir lu un article sur Art-Mur il avait contacté les galeristes directement en leur offrant de faire un stage avec eux. Comme vous pouvez le voir, ils ont accepté. Son parcours académique comprend des éléments en muséologie et en animation culturelle. Né en Colombie de parents avec des professions artistiques, il vit à Montréal depuis plus d'une décennie.

 

Il nous a dit qu'il veut devenir un marchand d'art. Ceci est une déclaration assez ambitieuse dans une ville où une bonne partie des artistes visuels survit grâce à des subventions publiques. Je n’avais pas prévu de faire un portrait, mais à ce moment-là, je me suis dit qu’Emmanuel serait un sujet intéressant. Heureusement, j'avais mon appareil photo. Je lui ai donc présenté sommairement mon projet de réaliser 100 portraits d’inconnus avant de poursuivre ma visite de l'exposition.

 

Les œuvres présentées étaient dans l'ensemble intéressantes - elles contestaient les idées reçues qu'on pourrait avoir au sujet de l'art autochtone. Certaines d'entre elles proposaient des éléments de discussion sur la façon dont les autochtones pourraient développer - ou retrouver- leur identité par leur pratique des arts visuels. Après avoir terminé la visite, j’ai demandai à Emmanuel s'il était prêt à être photographié devant l'une des pièces que j’ai préféré, l’installation de Nadia Myre «A casual reconstruction ". Cette artiste est de la nation Kitigan Zibi Anishinabeg, mais a été éduquée en grande partie en dehors de sa culture traditionnelle. L'an dernier, dans le cadre d'un événement d'art, elle a organisé un souper avec des artistes d'autres communautés autochtones. Ils y ont discuté ensemble des notions de langue et d'identité. La conversation a été enregistrée et des extraits oraux étaient diffusés pour notre bénéfice.

À la gauche d'Emmanuel, vous pouvez voir une pièce par des artistes Lance Belanger, Kitty Mykka intitulé « Oars ».

 

Je tiens à remercier Art-Mur d’avoir accepté que je vous présente ce portrait fait dans les murs de la galerie et souhaite le succès à Emmanuel dans ses futurs projets.

Vous pouvez en apprendre davantage sur la galerie et la Biennale d'art contemporain autochtone à: artmur.com/

 

This photo is part of my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page www.flickr.com/groups/100strangers/

 

033

FORTUNE Brainstorm Health 2019

April 3rd, 2019

San Diego, CA

 

12:15 PM

GOING UPSTREAM: CHANGING BEHAVIOR FOR HEALTHIER LIVES

Treating diseases as they arise is one thing, but preventing health issues by changing one’s behavior is another. From life-changing sleep, to digital treatments and therapies, to daily care rituals including oral and sleep hygiene–upstream strategies are focused on being proactive rather than reactive, modifying our behaviors in order to improve our health. How are companies using connected technology platforms and highly accurate data in sleep, healthcare, and consumer products to help us move upstream? Hear from experts revolutionizing health care by adding meaningful value and helping us live healthier lives effortlessly.

 

Kathy Fish, Chief Research, Development and Innovation Officer, P&G

Shelly Ibach, President and CEO, Sleep Number

Dr. Deborah Kilpatrick, Chief Executive Officer, Evidation Health

Moderator: Arianna Huffington, Thrive Global

 

Photograph by Stuart Isett for Fortune

I called 911 for help. The fire/medic & ambulance service arrived very quickly. I hope she got the help she needed. We have to do better before these things happen so we don't have to react to them, proactive versus reactive.

I went for a two-hour hike today... I guess that's a proactive way to procrastinate, at least. It was about forty degrees and humid, and I could see my breath, and it was beautiful. The forest here looks primeval and I feel like I should be seeing dinosaurs. It's wonderful.

 

It's hard for me to find patterns (that seem worth recording, at least) in the woods, but sometimes I feel like I find something.

The Culburra and District Soldiers’ War Memorial Hall was built in 1976.

For many years it was the centre of a lively proactive community. During the last few years it has been used regularly by the Culburra Old Time Dance Group. In December 2016 this dance group folded due to lack of numbers, and the entire Hall Committee resigned.

 

In February 2017 a large district meeting resulted in a new committee being elected, and, as in many small communities, the Hall Committee, Progress Association and the Tennis Club have all amalgamated.

 

This new committee has decided to open the toilets and parking area to the travelling public, in an effort to raise enough funds to cover the insurance, water, power and toilet consumables.

 

*Dewson Siding opened 30 August 1911. Station name changed to Culburra 5 April 1915. Railway Station closed and demolished 3 March 1993.

 

Culburra was a thriving self supporting township with a community-owned weighbridge, sheep and cattle yards and a railway siding from which thousands of tons of handpicked stumps were hand loaded and trucked away. These were a direct by-product of the land clearing and development of the district which continued well into the 1980s, making Culburra the highly diversified and productive farming area that it is today.

 

Originally the siding (which was un-named) was used as a mail drop for the surrounding district of Culburra, this being the postal address for the area.

In 1910 Rosetta Roberts requested that the siding be called “Dewson” after her father who rode through this area with Tolmer on the Gold Escort. Rosetta was known to ride her cow into the siding to collect the mail from the train. She would then lead it back home (Old Coonalpyn Homestead) delivering the mail along the way and arrive in time to milk the cow.

 

In 1915 the siding was changed to Culburra Railway Station and by then had 2 platforms, one for goods and one for passengers. There were also 2 spur lines, one of which was alongside the stock loading ramps.

Dewson Reserve across the road was dedicated in 1972.

 

*The “Blossoming” Desert-Fringe of the Scrub.

There are several new settlers at Culburra. and it was easy to see that they will put their land to a test without any delay. Every man has rolled some scrub and most of them were only waiting for an opportunity to get a good burn. Messrs Tregonning Bros, whose boundary abuts the siding, are proving energetic settlers, and they will soon have some hundreds of acres in readiness for the disc plough. Incidentally, it may be mentioned that a kitchen garden, established less than 12 months ago, has grown first-class vegetables of most kinds and strawberries have almost run riot.

A limited area was under crop in the district last year, and as much of it was put in in a hurry the estimated average of from 7 to 8 bushels was encouraging. As to what these settlers may expect from their sandy soils when cleared of mallee and undergrowth experience at White Forest, Mr E Aitchison's property, on the opposite side of the railway will indicate. The land is more or less light sandy loam, somewhat cold in places, over clay, and in some cases limestone. [Ref: Chronicle (Adelaide SA) 18-3-1911]

 

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.

Burning sunrise in #JoshuaTreeNationalPark, while walking through the desert in August 2024. This is my new Medium Format gear from Fujifilm which I haven’t had time to become more acquainted with because life just keeps taking me away from my art. I’m proactively trying to change that focus back to what really matters. Happy New Year from the Desert Southwest. Captured using the Mamiya 80mm F1.9 with @kipon_sh #BavEyes Mamiya 645 to GFX focal reducer and capturing the landscape wide open.

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#fujifilmgfx #gfx50Sii

To get this kind of bird's-eye view in the days before the advent of camera-equipped drones, one had to have a tall tower handy. Fortunately, the citizenry of medieval Pisa had proactively built one for me. I truly appreciate that kind of strategic foresight, even if their structure leaned a bit too much for comfort.

 

This photo faces west. There's the Cathedral's graceful parabolic dome, its roof and clerestory. Just beyond stands the great Baptistery. When first I saw it I assumed, as probably many visitors do, that a roofing-restoration project was in progress. But in fact the piebald pattern of red terra-cotta tiles on the west side and gray lead tiles on the east is a permanent one.

 

As far as the masonry goes, much of the white-to-light-gray ashlar on both buildings is Monte Pisano Marble, with some Carrara (Apuan) Marble also present. The darker gray striping is apparently the Val di Lima Limestone, originally black but now faded. For these stones' geologic ages and source regions, refer to Part 3 of this set.

 

Beyond the Baptistry stretches the northern portion of the Arno River floodplain, flat as a chessboard.

 

To see the other photos and descriptions in this series, visit my Architectural Geology of Pisa album.

Humans now can see,

A new beast on the scene,

Proactive with their trolleys,

Satisfied with their result.

 

Reminiscent of Christmas shopping,

No sign of queues stopping,

With the abundance of empty shelves,

Before even 12 o'clock.

 

We have survival of the fittest taking place,

As we forget how selfish we really are.

 

-The world from an outsider

“You have to risk going too far to discover just how far you can really go.” - T.S. Eliot

 

Risk is, by nature, scary. It's uncertain and unpredictable. You're heading off into uncharted territory. You may lose your life savings or lose face. You risk criticism and humiliation, or having to pick up the pieces and start all over again. You're giving up what you know for what might be. The rewards can be great, but so can the cost.

 

So, why would anybody want to take a risk?

Risk gives you an opportunity to open up to your talents, interests, abilities and dreams. Risk teaches you to set clear goals and follow through. Risk allows you to feel powerful and proactive, making things happen rather than waiting for them to happen to you. Risk opens you up to new ideas, skills, opportunities and experiences. Risk allows you to grow and discover new things about yourself and the world, to develop your strengths and talents. Risk allows you to conquer your fears.

 

Stocks ; Model by dazzle_stock | Cliff by polinife_stock | Clouds by freaky665

 

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Devianart

Formspring

Purple-stained Laelia

Orchidaceae (Orchid family)

Native to Brazil (States of Rio Grande do Sul, Santa Catarina and São Paulo)

Oʻahu, Hawaii, USA (Cultivated)

 

The flowers are fragrant.

 

Flowers

www.flickr.com/photos/dweickhoff/9186336879/in/photostream/

 

**NOTE**

While I enjoy orchids, as an environmentally conscious orchid grower in Hawaiʻi, I am proactive when it comes to removing and properly destroying any and all seed pods from the plants so as not to encourage their spreading into our fragile native Hawaiian forests.

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.

we no longer live in or accept being a proactive society, we rather have a reactive society which is guided by emotions and slower progress than a proactive society that can move faster.

 

Today was very wet. I don't think it stopped raining all day, so I stayed indoors in my warmest outfit, playing Fallout New Vegas all day. I have rekindled my love for it and have been playing it for 8+ hours straight recently. Oh god, why. I can't wait to start my job so I have something proactive to do.

The Laboratory : Spatial Practices,

Canterbury School of Architecture. 2009

Post studio practice/social processuality

 

russellmoreton.com

  

Art and Its Institutions

Current Conflicts, Critique and Collaborations

Nina Montmann. 2006

 

Making : Essentialising of site and community through artistic presentation and production.

russellmoreton.blogspot.co.uk/

 

Tim Ingold

  

MAKING 2013

Anthropology, Archaeology, Art and Architecture.

  

Practical Geometry

The Architect and The Carpenter

The Cathedral and The Laboratory

Templates and Geometry

The Return to Alchemy

 

Cyanotype image from pinhole camera with sound intervention/device within the apparatus of the camera, performative material gathered from the Canterbury School of Architecture.

 

UCA Spatial Practices MA under Oren Lieberman.

 

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