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Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Bachem Ba 349 Natter (English: Colubrid, grass-snake) was a World War II German point-defence rocket-powered interceptor, which was to be used in a very similar way to a manned surface-to-air missile. In 1943, Luftwaffe air superiority was being challenged by the Allies over the Reich and radical innovations were required to overcome the crisis. Surface-to-air missiles appeared to be a promising approach to counter the Allied strategic bombing offensive; a variety of projects were started, but invariably problems with the guidance and homing systems prevented any of these from attaining operational status. Providing the missile with a pilot, who could operate a weapon during the brief terminal approach phase, offered a solution.
Submissions for a simple target defense interceptor were requested by the Luftwaffe in early 1944 under the umbrella of the Jägernotprogramm, literally "Emergency Fighter Program". The Natter was one of several design proposals, first conceived by Dr Erich Bachem in August 1944, after witnessing an American bombing raid on a major German city. He believed there ought to be a way to break up these large formations of bombers. His BP-20 ("Natter") was a development from a design he had worked on at Fieseler, the Fi 166 concept, but considerably more radical than the other submissions.
The Natter was designed to be built by unskilled labor with poor-quality tools and inexpensive material. Various stringent economies were imposed on an already frugal design. The Natter had no landing gear, which saved weight, expense, and construction time. It was built using glued and nailed wooden parts with an armor-plated bulkhead and bulletproof glass windshield at the front of the cockpit. The initial plan was to power the machine with a Walter HWK 109-509A-2 rocket engine; however, only the 109-509A-1, as used in the Me 163, was available. It had a sea level thrust variable between 100 kg (220 lb) at "idle" to 1,600 kg (3,500 lb) at full power, with the Natter's intended quartet of rear flank-mount Schmidding SG34 solid fuel rocket boosters used in its vertical launch to provide an additional 4,800 kg (10,600 lb) thrust for 10 seconds before they burned out and were jettisoned. The experimental prototypes slid up a 20 m (66 ft)-tall vertical steel launch tower for a maximum sliding length of 17 m (56 ft) in three guideways, one for each wing tip and one for the lower tip of the ventral tail fin. By the time the aircraft left the tower it was hoped that it would have achieved sufficient speed to allow its aerodynamic surfaces to provide stable flight.
Under operational conditions, once the Natter had left the launcher, it would be guided to the proximity of the Allied bombers by an autopilot with the possibility of an added beam guidance similar to that used in some V2 rocket launches. Only then would the pilot take control, aim and fire the armament, which was originally proposed to be a salvo of nineteen 55mm R4M rockets. Later, 28 R4Ms or a number of the larger, 73mm Henschel Hs 297 Föhn rockets were suggested, with either variety of unguided rocket fired from the Natter's nose-mounted cellular launch tubes. Alternatively, a pair of 30 mm (1.181 in) MK 108 cannon with 30 rpg were proposed, but the lack of resources did not allow this to be realized or even tested.
The Natter was intended to fly up and over the bombers, by which time its Walter engine would probably be out of propellant. Following its one-time attack with its rockets, the pilot would dive his Natter, now effectively a glider, to an altitude of around 3,000 m (9,800 ft), flatten out, release the nose of the aircraft and a small braking parachute from the rear fuselage. The fuselage would decelerate, and the pilot would be ejected forwards by his own momentum and land by means of a personal parachute.
In an early proposal in August 1944, the Natter design had a concrete nose; it was suggested that the machine might ram a bomber, but this proposal was subsequently withdrawn in later Project Natter outlines. Bachem stated clearly in the initial proposal that the Natter was not a suicide weapon, and much effort went into designing safety features for the pilot. The design had one decisive advantage over its competitors – it eliminated the necessity to control and land an unpowered gliding machine at an airbase, which, as the history of the Me 163 rocket aircraft had clearly demonstrated, made an aircraft extremely vulnerable to attack by Allied fighters and required a trained pilot – a resource the Luftwaffe was running out steadily.
Wind tunnel testing on a wooden model, scaled to 40% of full size, was performed at the Deutsche Versuchsanstalt für Luftfahrt (DVL), the Institute for Aerodynamics at Berlin-Adlershof in September 1944 at speeds up to 504 km/h (313 mph). Results from these tests were reported in January 1945 to the Bachem-Werk. Further model tests were carried out at the Luftfahrtforschungsanstalt Hermann Göring (LFA) facility in Völkenrode-Braunschweig, at speeds close to Mach 1. In March the Bachem-Werk simply received a statement that satisfactory flying qualities should be expected with speeds up to 1,100 km/h (680 mph).
After a rather fast and troublesome development phase the Natter was rushed into production. The SS ordered 150 Natters, and the Luftwaffe ordered 50, and the first serial production aircraft, now designated Ba 349 A-1, reached operational status in April 1945 with the Erprobungskommando (EK) 349. An operational launch site under the code name Operation Krokus was being established in a small, wooded area called Hasenholz, south of the Stuttgart to Munich autobahn and to the east of Nabern unter Teck. Around the end of February and the beginning of March the Organisation Todt had been in action, constructing each set of the trios of concrete foundations (or "footings") for the stationary launch towers. These three launch pads and their towers were arranged at the corners of an equilateral triangle, 120 m per side. At the same time mobile launch rigs were developed, the so-called “Meillerwagen II”, which was based on repurposed Königstiger battle tank hulls that had their engine moved into a mid-chassis position behind the driver’s compartment and carried an erectable ramp on the rear section with a vacuum-powered launch sled. This device could, beyond the Natter, also be used to start the unmanned Fieseler Fi 103 “V1” cruise missile and the Messerschmitt E-4 “Enzian” anti-aircraft missile.
As EK 349 commenced small-scale combat operations with the Ba 349 A-1 in April 1945, the aircraft’s velocity and small size were something Allied fighter pilots were at a loss to counter. The Natter attacked singly or in pairs, often even faster than the intercepting escort fighters could dive. A typical tactic was to fly vertically upward through the bombers at 9,000 m (30,000 ft), climb to 10,700–12,000 m (35,100–39,400 ft), then dive through the formation again, firing as they went. Most of the flight to the Allied bombers was to be controlled by an autopilot. The primary role of the relatively untrained pilot was to aim the aircraft at its target bomber and fire its armament, a single salvo of unguided Henschel Hs 297 Föhn 73mm rocket shells. The pilot and the fuselage containing the rocket engine would then land using separate parachutes, while the nose section was disposable.
By August 1945, 91 aircraft had been delivered to EK 349 and the first operational unit, the JG 400, into which the test unit was soon integrated. But a persistent lack of fuel, staff and maintenance resources kept most of them grounded. It was clear that the original plan for a huge network of Ba 349 bases that protected important locations would never be realized. Up to that point, only six aircraft had been lost due to enemy action, though, but nineteen Ba 349 A-1s had been lost to other causes, mostly due to explosions of the highly volatile fuel in the start phase, but also because of material failures on the rocket engine and the wooden airframe. Plans to field an upgraded version of the Natter, with more armament options and a rocket engine with two chambers that would allow a longer operational time in the air, so that two or even three attack runs could be made before the small aircraft would have to land again, never materialized.
General characteristics:
Crew: 1
Length: 6 m (19 ft 8 in)
Wingspan: 4 m (13 ft 1 in)
Height: 2.25 m (7 ft 5 in) (without fins)
Wing area: 4.7 m² (51 sq ft)
Empty weight: 880 kg (1,940 lb), with fuel expended
Gross weight with boosters: 2,232 kg (4,921 lb)
Gross weight boosters jettisoned: 1,769 kg (3,900 lb)
Fuel capacity: 650 kg
Powerplant:
1× Walter HWK 109-509A-1 bi-fuel rocket engine, 15.7 kN maximum thrust
4× Schmidding SG 34 solid fuel booster rockets, 4.9 kN (1,100 lbf) thrust each
Performance:
Maximum speed: 1,000 km/h (620 mph, 540 kn) at 5,000 m (16,404 ft)
Cruise speed: 800 km/h (500 mph, 430 kn)
Range: 60 km (37 mi, 32 nmi) after climb at 3,000 m (9,843 ft)
55 km (34 mi)after climb at 6,000 m (19,685 ft)
42 km (26 mi)after climb at 9,000 m (29,528 ft)
40 km (25 mi)after climb at 10,000 m (32,808 ft)
Endurance: 4.36 minutes at 6,000 m (19,685 ft)
3.15 minutes at 9,000 m (29,528 ft)
Service ceiling: 12,000 m (39,000 ft)
Rate of climb: 190 m/s (37,000 ft/min)
Time to altitude: 62 seconds to 12 km (7.5 mi)
Armament:
24× 73 mm (2.874 in) Henschel Hs 297 Föhn 73mm rocket shells, or
33× 55 mm (2.165 in) R4M rocket shells
(Alternatively/proposed) 2× 30 mm (1.181 in) MK 108 cannon with 30 rpg
The kit and its assembly:
This small and simple what-if model was inspired by two things: first of all, there was no operational Ba 349 – there were glide tests and a single launch which ended in a catastrophe. So, what could a late-war service aircraft have looked like? The other factor was the idea to build a mobile launch platform for the tiny rocket fighter – in real life the tests were conducted with stationary rigs in Southern Germany, but a self-propelled device would certainly have improved the Natter’s operational value and survivability of its complex infrastructure. The latter, however, is worth its own post and description, so this here is only about the Natter’s model.
The kit is the Brengun model of the Natter, and it’s quite nice for a short-run IP kit. The cockpit has decent detail, just the fin is IMHO a bit chunky, and it requires some PSR to make the fuselage parts blend together well. I just wonder if there had not been a less complicated and user-friendly mold solution for the rocket booster bottles, which consist of four parts each – two halves for the twin bottles, but also twin halves for the tiny nozzles! What a mess! :-/
The only thing I changed was the canopy, which was cut into two pieces to present the Ba 349 with an open cockpit on its wooden rack – unlike the Heller kit, which comes with a lower and more delicate rack, the Brengun offering lacks wheels so that it rather looks like a museum display and not a field tool of the Luftwaffe. I must have a Scheuch-Schlepper from an Academy Me 163 kit somewhere, maybe I can adapt that for the Natter?
Painting and markings:
The whiffier aspect of the model: an in-service camouflage for the Ba 349. I took inspiration from late Me 163s and gave the tiny aircraft a camouflage consisting of RLM 76 Lichtblau underneath (Modelmaster 2086) and on the flanks, with RLM 81 and 82 (Braunviolett, Humbrol 251, which is a very brownish interpretation of that tone, and Dunkelgrün, respectively, Modelmaster 2091) on the wings and the spine and sharply edged blotches on the flanks. For better visibility from underneath, as a support for Flak units, the wings and the lower fuselage behind the cockpit were painted black.
After basic painting the model received a light black ink washing and some panel-shading.
As a late-war aircraft the cockpit interior became (very) dark grey while the rocket booster bottles were painted in universal RLM 02.
As a service aircraft the Natter would IMHO carry standard Luftwaffe national and unit insignia (any model shows the Natter devoid of anything, except the test machines which had some photo calibration and orientation markings), and I adapted late-war markings with simplified white crosses in six positions, a serial number on the lower fin, a unit badge (suitably from a JG 400 Me 163) and white tactical code and squadron marking as a thin ring around the nose. Stencils were generously taken from the Brengun OOB sheet. All quite simple and straightforward, but it works and adds a purposeful look to the wee aircraft.
Soot stains were created with graphite around the rocket launcher in the nose and around the rocket nozzles in the tail area, and finally everything was sealed with matt acrylic varnish.
A quick build, but only part of a much bigger project, the respective mobile launch platform (based on a Jagdtiger and a Japanese aircraft steam catapult kit!). The late-war Luftwaffe colors and markings suit the Natter well, adding a very convincing touch to this desperate attempt to fight off incoming Allied bombers.
ABV Gallery's latest show, "SAVE THE DAY, KILL THE NIGHT", opened Friday and featured artwork inspired by superheroes and villains. Below is my piece for the show which will be on view until May 25th.
"Problem Solver"
Greg Mike
Acrylic on Panel
24"x 24"
Sales information:
*SOLD
Gente volteiiii, fiquei muitooo tempo sumida neh, mais tive problemas com minha cutículas sabe, em alguns posts anterior eu havia comentado que podia tah com micose ou até msm alergia ao esmalte neh, mais naum foi nd disso eu simplismente lesionei a unha e consequentemente a cutícula, foi assim eu naum tirava a cutícula apenas afastava e msm assim lesionei pois eu empurrava a cuticula com muita força, o que acabou lesionando e msm lesionada eu msm assim pintava as unhas usava a acetona e td ai algumas cutículas inflaram e começaram a coçar :( muitoooo triste td isso neh, por isso passei td esse tempo fora daqui pq naum estava pintando as unhas estava dando um tempo sabe, foi uma tortura mais foi necessário kkkk, Mas eu voltei minhas cutículas jah estaum crescidinhas e tds saradas, mais de uma coisa estaou certa nunca mais mecho nelas, nem afastar eu vou jah joguei até o afastador fora, entaum jah sabe neh elas estaum horríveis kkkk me da aflição aquilo grande mais td bem minha saúde eh mais importante, soh uso hidratante o dia td e pinto kkkk.
O primeiro que pintei depois de td esse tempo foi o sereia que eh lindoooo neh, ai aproveitando que jah posso pintar comprei essas 3 belezuras ai, muitooo lindoosss neh toh amando essa vibe colorida e naum tem inverno certo kkkk. Onde comprei esse da nova linha da impala tinham tds mais trouxe soh o shock p/ ver o que acho dele sabe kkkk, passei tanto tempo sem pintar as unhas que fiquei controlada nas compras (odeio isso).
E esses veronas saum lindoosss foram os que mais me agradaram.
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Due to some upload-problems which I discovered too late you find picture 01 and 02 here or just via the set-menu, but not straight before this in the stream. Hope you don't bother.
Background
Zurich February 16th 2006
After saying good-bye to my love who had to go to work I took this picture because I love this blue light in the early morning – and normally I sleep at this time ;)
I always loved the "Blue Hours" in school, this light fascinated me, but I needed the Berlin author Judith Hermann and her book Nichts als Gespenster to give it a name.
Oh, by the way: I did no photoshopping to this picture.
This couple was having a hard time with this one after folks walked by with some kind of spaniel. Not sure why you bring a dog like this out to an event like Blues on the Mall. Not sure why you have one.
Participants in USAMMDA’s inaugural Leadership Develop-ment Cohort Program work on a class assignment during a breakout session in March at U.S. Department of Agriculture (USDA) offices in Frederick, Maryland, near Fort Detrick. Coach John Riordan’s philosophy is that you cannot just bypass a problem; it has to be addressed. Thus the cohort learns that regardless of who identifies a problem—a junior staffer or the chief of the organization—it needs to be resolved, and people at all levels can be leaders in the effort. (Photos by Erin Bolling, USAMMDA Public Affairs)
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.
Oh dear, one of our daughters takes after her Daddy and loves the sand, the other cries as soon as her feet touch it ... I feel holiday destinations could be a problem!
by Alfredo Fernandes
Alfi Art Production, Divar
41st Tiatr Competition A group of Kala Academy supported by TAG
13.10.2015
more here
joegoauk-tiatr.blogspot.in/2015/10/41st-tiatr-competition...
Alfredo Feranades (Alfi) and Jessica Pereira
Von Mises equivalent stress intensity plot for the Cook’s membrane problem (clamped trapezoid under transversal force at the free short side). A stress concentration can be observed at the superior part of the clamped side.
Wir vergammeln den Tag, weil das Zeitfenster für unser weißrussisches Visum erst ab morgen offen ist.
My problem is assholes.
The best choice is to beat the shit out of those assholes because otherwise I'm likely to turn into an asshole myself and become a cop when I grow up.
Problem solved.
Barcelona, Spain.
As part of Spoiled Milk's Barcelona meet-up, we asked 20 people what their last problem had been.
Slides: www.slideshare.net/spoiledmilk/the-last-problem-you-had-2...
Meet-up: www.spoiledmilk.dk/blog/?p=1057
The Problems of First Contact: First contact is one of the lasting tropes of SF. But once contact has happened, then what? Should an advanced race hide itself from us for fear of stunting our natural growth? Is it immoral to leave individuals in primitive poverty in the hope that they might one day develop their own culture? Can advanced peoples colonize a planet inhabited by primitives and live in peace with them? Are there any useful object lessons from science fiction? How about from our own history?
James C. Glass (M), Russell Ervin, Dr. Kent Welter