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Street Photography, Cambodia.
Nikon D50, Nikkor 17-55 2.8.
More greens for you vegetarians..;-)
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Jon&Crew.
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A 12" high stack of paper I plan to shred, old bank statements and things from before everything was online.
Local accession number: 11_03_000053
Title: The spiders and the flies
Statement of responsibility: Kendrick
Creator/Contributor: Kendrick, Charles, -1914 (Lithographer)
Genre: Cartoons (Commentary); Lithographs; Periodical illustrations; Prints
Publisher: Charles Hart, Lith., 36 Vesey St., N. Y.
Date issued: 1880-1889 (approximate)
Physical description: 1 print : lithograph, color ; 13 x 20 1/4 in.
Summary/Abstract: Caricatures of Jay Gould and William Henry Vanderbilt satirizing activities of the American Union Telegraph Company and the Western Union Telegraph Company.
General notes: Title from item.; Item from Chic magazine.
Subjects: Telegraph industry; Utility poles; Telegraph lines; Spiders; Flies; Gould, Jay, 1836-1892; Vanderbilt, William H. (William Henry), 1821-1885; Western Union Telegraph Company
Collection: Americana Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
Checking my bank statement - I still prefer to see a paper statement rather than going on-line and I still write paper cheques :)
From Monday Morning Press, stylish paper earrings and necklaces: www.allthingspaper.net/2021/04/stylishly-modern-paper-jew...
Visit Monday Morning Press: bit.ly/3YvTeVZ and you'll receive 20% off your purchase. Free U.S. shipping too. (affiliate link)
One of my students came in today dressed in something other than the usual jeans and t-shirt that most students wear, thought it was worth a photo. We didn't like her shoes so she traded with another students to wear these colorful Nikes that I've shown before.
The biggest challenge was ever getting the exposure right. her complexion and blond hair just wouldn't ever balance with the lighting I had. It was a good experience fo rme to try to fix it. I ran out of time to ever get it right, but I did learn a lot.
Strobe stuff- 2 SB-900's in umbrella diffusers fired TTL, -1.0 exposure settings, using Nikon's CLS!
Hello Flickr fans! Excited for my Los Angeles Landscape gallery show in December! Taking a break from finishing the HDR landscapes and finishing some goddesses for my 45surf surfline instead. :) The gallery artist statement will begin with something like:
"In every photograph you can see both where the photographer was standing and what they were thinking. So it is that this collection tells the story of my epic journey as no words ever could. And more importantly, I hope that it serves to guide and inspire you along a hero's journey of your own making, owning all the glorious rewards of the risks of your own taking." --Johnny Ranger McCoy
Back to the goddesses for the moment:
Canon 5D Mark II Photos of Pretty Brunette Swimsuit Bikini Model Goddess with Blue Eyes! 24-105mm F/4 USM Lens ! She was tall, thin, fit--very, very fit--with amazing rock-hard abs and a toned, tall body! Long, long legs--long as the day! A classic socal California Beach Babe!
The epic goddess was having fun getting wet in the water, with the waves rolling in and out as Poseidon reached out to grab the beautiful goddess! But he failed to drag her back into the sea! Kneeling and lying in the sand in a pink bikini.
Epic video of the epic goddess, shot as the same time as the stills as is Johnny Ranger McCoy's lone-cowboy trademark technique:
www.youtube.com/watch?v=Y6sKSuP-Jek
www.youtube.com/watch?v=zP_119wiMn4
www.youtube.com/watch?v=vvA0qd2Qcrs
www.youtube.com/watch?v=95DdieFgi7Q
www.youtube.com/watch?v=1o6PBHPYsuI
Join Johnny Ranger McCoy's Hero's Journey Mythology Goddesses facebook! www.facebook.com/45surfHerosJourneyMythology
Subscribe to Johnny's youtube for epic goddess videos! www.youtube.com/user/bikiniswimsuitmodels
Twitter: twitter.com/45surf
Follow me on facebook! facebook.com/elliot.mcgucken
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy & the HJM Goddesses! :)
Modelo: PhilippeLouboutin
Maquillaje & Styling: Jaçques Philippe Chloè Louboutin
Vestuario:VISAGE COUTURE
Fotografía y Post procesamiento: Alí Utopies / Yo
Asistente: Maria Jose Morandé
My Facebook | View On Black | Visage Couture ! @Twitter | Foursquare! | LinkedIn
Press L to see the photo on black background
on censorplore: Highest position: 154 on Friday, June 15, 2007
You've got to fight for your rights!
Grundgesetz für die Bundesrepublik Deutschland
I. Die Grundrechte (Art. 1 - 19)
Artikel 5
(1) Jeder hat das Recht, seine Meinung in Wort, Schrift und Bild frei zu äußern und zu verbreiten und sich aus allgemein zugänglichen Quellen ungehindert zu unterrichten. Die Pressefreiheit und die Freiheit der Berichterstattung durch Rundfunk und Film werden gewährleistet. Eine Zensur findet nicht statt.
(2) Diese Rechte finden ihre Schranken in den Vorschriften der allgemeinen Gesetze, den gesetzlichen Bestimmungen zum Schutze der Jugend und in dem Recht der persönlichen Ehre.
(3) Kunst und Wissenschaft, Forschung und Lehre sind frei. Die Freiheit der Lehre entbindet nicht von der Treue zur Verfassung.
Basic Constitutional Law of the Federal Republic of Germany - my country
I. Basic Rights
Article 5
(1) Everbody has the right to tell and spread his opinion in spoken word, written word or picture freely and to gather information from free sources without any restraints.
Freedom of press and freedom of coverage by broadcast and movie are guaranteed. There is no censorship.
(2) These rights are only limited by regulations of general laws, the law for the protection of young people and in the right for personal honour.
(3) Art and science, research and teachings are free. The freedom of teaching does not absolve from the loyalty to the constitution.
Graffiti 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.
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.
with glasses - Copyright The Truth About Mortgage Feel free to use it on your site with citation to my blog.
Secretary of State Michael R. Pompeo visits Mount Bental and delivers joint press statements with Israeli Foreign Minister Gabi Ashkenazi, in Golan Heights on November 19, 2020. [State Department Photo by Ron Przysucha/ Public Domain]
Gorgeous Brazilian Swimsuit Bikini Model Goddess!
Beautiful swimsuit bikini model goddess with long, curly / wavy brown hair.
Canon 5D Mark II photos with 24-105mm USM L Lens
Here's some epic video of the supreme goddess from the shoot!
www.youtube.com/watch?v=i1iicSeHs3o
www.youtube.com/watch?v=5Q3rubTnKpc
www.youtube.com/watch?v=AWhZrqrYhiA
Enjoy in full HD! :)
"Beauty will save the world." --Dostoevsky
Hello Flickr fans! Excited for my Los Angeles Landscape gallery show in December! Taking a break from finishing the HDR landscapes and finishing some goddesses for my 45surf surfline instead. :) The gallery artist statement will begin with something like:
"In every photograph you can see both where the photographer was standing and what they were thinking. So it is that this collection tells the story of my epic journey as no words ever could. And more importantly, I hope that it serves to guide and inspire you along a hero's journey of your own making, owning all the glorious rewards of the risks of your own taking." --Johnny Ranger McCoy
Back to the goddesses for the moment:
Canon 5D Mark II Photos of Pretty Blonde Swimsuit Bikini Model Goddess! 24-105mm F/4 USM Lens ! She was tall, thin, fit--very, very fit--with amazing rock-hard abs and a toned, tall body! A classic socal California Beach Babe!
Join Johnny Ranger McCoy's Hero's Journey Mythology Goddesses facebook! www.facebook.com/45surfHerosJourneyMythology
Subscribe to Johnny's youtube for epic goddess videos! www.youtube.com/user/bikiniswimsuitmodels
Twitter: twitter.com/45surf
Follow me on facebook! facebook.com/elliot.mcgucken
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy & the HJM Goddesses! :)
Spotted on the iron fence of a local cemetery. Perhaps someone is making a statement?
Fujifilm XT-1 converted to 720nm IR.
Rolled up jeans, striped tights, HIGH heels, and bad lighting.
By next week, everyone will be wearing it!
Dunstanburgh Castle is a 14th-century fortification on the coast of Northumberland in northern England, between the villages of Craster and Embleton. The castle was built by Earl Thomas of Lancaster between 1313 and 1322, taking advantage of the site's natural defences and the existing earthworks of an Iron Age fort. Thomas was a leader of a baronial faction opposed to King Edward II, and probably intended Dunstanburgh to act as a secure refuge, should the political situation in southern England deteriorate. The castle also served as a statement of the earl's wealth and influence and would have invited comparisons with the neighbouring royal castle of Bamburgh. Thomas probably only visited his new castle once, before being captured at the Battle of Boroughbridge as he attempted to flee royal forces for the safety of Dunstanburgh. Thomas was executed, and the castle became the property of the Crown before passing into the Duchy of Lancaster.
Dunstanburgh's defences were expanded in the 1380s by John of Gaunt, the Duke of Lancaster, in the light of the threat from Scotland and the peasant uprisings of 1381. The castle was maintained in the 15th century by the Crown, and formed a strategic northern stronghold in the region during the Wars of the Roses, changing hands between the rival Lancastrian and Yorkist factions several times. The fortress never recovered from the sieges of these campaigns, and by the 16th century the Warden of the Scottish Marches described it as having fallen into "wonderfull great decaye". As the Scottish border became more stable, the military utility of the castle steadily diminished, and King James I finally sold the property off into private ownership in 1604. The Grey family owned it for several centuries; increasingly ruinous, it became a popular subject for artists, including Thomas Girtin and J. M. W. Turner, and formed the basis for a poem by Matthew Lewis in 1808.
The castle's ownership changed during the 19th and 20th centuries; by the 1920s its owner Sir Arthur Sutherland could no longer afford to maintain Dunstanburgh, and he placed it under the guardianship of the state in 1930. When the Second World War broke out in 1939, measures were taken to defend the Northumberland coastline from a potential German invasion. The castle was used as an observation post and the site was refortified with trenches, barbed wire, pill boxes and a minefield. In the 21st century, the castle is owned by the National Trust and run by English Heritage. The ruins are protected under UK law as a Grade I listed building and are part of a Site of Special Scientific Interest, forming an important natural environment for birds and amphibians.
Dunstanburgh Castle was built in the centre of a designed medieval landscape, surrounded by three artificial lakes called meres covering a total of 4.25 hectares (10.5 acres). The curtain walls enclose 9.96 acres (4.03 ha), making it the largest castle in Northumberland. The most prominent part of the castle is the Great Gatehouse, a massive three-storey fortification, considered by historians Alastair Oswald and Jeremy Ashbee to be "one of the most imposing structures in any English castle". Multiple rectangular towers protect the walls, including the Lilburn Tower, which looks out towards Bamburgh Castle, and the Egyncleugh Tower, positioned above Queen Margaret's Cove. Three internal complexes of buildings, now ruined, supported the earl's household, the castle constable's household, and the running of the surrounding estates. A harbour was built to the southeast of the castle, of which only a stone quay survives.
The site of Dunstanburgh Castle in north-east Northumberland was probably first occupied in prehistoric times. A promontory fort with earthwork defences was built on the same location at the end of the Iron Age, possibly being occupied from the 3rd century BC into the Roman period. By the 14th century, the defences had been long abandoned, and the land was being used for arable crops. Dunstanburgh formed part of the barony of Embleton, a village that lies inland to the west, traditionally owned by the earls of Lancaster.
The origins and the earliest appearance of the name "Dunstanburgh" are uncertain. Versions of the name, "Dunstanesburghe" and "Donstanburgh" were in use by the time of the castle's construction, however, and Dunstanburgh may stem from a combination of the name of the local village of Dunstan, and the Old English word "burh", meaning fortress.
Dunstanburgh Castle was constructed by Thomas, the Earl of Lancaster, between 1313 and 1322. Thomas was an immensely powerful English baron, the second richest man in England after the King, with major land holdings across the kingdom. He had a turbulent relationship with his cousin, King Edward II, and had been a ringleader in the capture and killing of Edward's royal favourite, Piers Gaveston, in 1312.
It is uncertain exactly why Thomas decided to build Dunstanburgh. Although it was located on a strong defensive site, it was some distance from the local settlements and other strategic sites of value. Thomas held some lands in Northumberland, but they were insignificant in comparison to his other estates in the Midlands and Yorkshire, and until 1313 he had paid them little attention.
In the years following Gaveston's death, however, civil conflict in England rarely seemed far away, and it is currently believed that Thomas probably intended to create a secure retreat, a safe distance away from Edward's forces in the south. He also probably hoped to erect a prominent status symbol, illustrating his wealth and authority, and challenging that of the King. He may perhaps also have hoped to create a planned town alongside the castle, possibly intending to relocate the population of Embleton there.
Building work on the castle had commenced by May 1313, with labourers beginning to excavate the moat and starting to construct the castle buildings. Some of the outer walls may have been built by workers from Embleton as part of their feudal dues to Thomas. The operations were overseen by a mason, Master Elias, possibly Elias de Burton, who had been previously involved in the construction of Conwy Castle in North Wales. Iron, Newcastle coal and Scandinavian wood was brought in for use in the project. By the end of the year £184 had been spent, and work continued for several years. A licence to crenellate – a form of royal authorisation for a new castle – was issued by Edward II in 1316, and a castle constable was appointed in 1319, charged with defending both the castle and the surrounding manors of Embleton and Stamford.[19] By 1322 the castle was probably complete.
The resulting castle was huge, protected on one side by the sea cliffs, with a stone curtain wall, a massive gatehouse, and six towers around the outside. A harbour was built on the south side of the fortress, enabling access from the sea. Northumbria was a lawless region in this period, suffering from the activities of thieves and schavaldours, a type of border brigand, many of whom were members of Edward II's household, and the harbour may have represented a safer way to reach the castle than land routes.
Thomas of Lancaster made little use of his new castle; the only time he might have visited it was in 1319 when he was on his way north to join Edward's military campaign against Scotland. Civil war then broke out in 1321 between Edward and his enemies among the barons. After the initial royalist successes, Thomas fled the south of England for Dunstanburgh in 1322, but was intercepted en route by Sir Andrew Harclay, resulting in the Battle of Boroughbridge, in which Thomas was captured; he was later executed.
The castle passed into royal control, and Edward considered it a useful fortress for protection against the threat from Scotland. Initially it was managed by Robert de Emeldon, a merchant from Newcastle, and protected by a garrison of 40 men at arms and 40 light horsemen. Roger Maduit, a politically rehabilitated former member of Thomas's army, was appointed as constable, followed by Sir John de Lilburn, a Northumberland schavaldour in 1323, who was in turn replaced by Roger Heron.
Maduit and the castle's garrison took part in the Battle of Old Byland in North Yorkshire in 1322, and the garrison was subsequently increased to 130 men, predominantly light horsemen, and formed a key part of the northern defences against the Scots. By 1326, the castle was given back to Thomas's brother, Henry of Lancaster, with Lilburn returning as its constable, and continued to be of use in defence against the Scottish invasions over the next few decades.
Dunstanburgh Castle was acquired by John of Gaunt through his marriage to Henry of Lancaster's granddaughter, Blanche, in 1362. Gaunt was the 3rd son of King Edward III and, as the Duke of Lancaster, was one of the wealthiest men of his generation. He became the Lieutenant of the Scottish Marches and visited his castle in 1380.
Dunstanburgh Castle was not a primary strategic target for Scottish attack, as it was positioned away from the main routes through the region, but it was kept well garrisoned during the Scottish wars. The surrounding manor of Embleton had nonetheless suffered from Scottish raids and Gaunt had concerns over the condition of the castle's defences, ordering the building of additional fortifications around the gatehouse. Part of the surrounding lands around the castle may have been brought into agricultural production at this time, either to feed a growing garrison or to protect the crops against Scottish attacks.
In 1381 the Peasants' Revolt broke out in England, during which Gaunt was targeted by the rebels as an especially hated member of the administration. He found himself stranded in the north of England in the early part of the revolt but considered Dunstanburgh insufficiently secure to function as a safe haven, and was forced to turn to Alnwick Castle instead, which refused to let him in, fearing that his presence would invite a rebel attack.
The experience encouraged Gaunt to further expand Dunstanburgh's defences over the next two years. A wide range of work was carried out under the direction of the constable, Thomas of Ilderton, and the mason Henry of Holme, including blocking up the entrance in the gatehouse to turn it into a keep. In 1384 a Scottish army attacked the castle but they lacked siege equipment and were unable to take the defences. Gaunt lost interest in the property after he gave up his role as the Lieutenant of the Marches. Dunstanburgh Castle remained part of the Duchy of Lancaster, but the Duchy was annexed to the Crown when Gaunt's son, Henry IV, took the throne of England in 1399.
The Scottish threat persisted, and in 1402 Dunstanburgh Castle's constable, probably accompanied by its garrison, took part in the Battle of Homildon Hill in north Northumberland. Henry VI inherited the throne in 1422 and during the next few decades, numerous repairs were undertaken to the property's buildings and outer defences, which had fallen into disrepair. The Wars of the Roses, a dynastic conflict between the rival houses of Lancaster and York, broke out in the middle of the 15th century. The castle was initially held by the Lancastrians, and the castle's constable, Sir Ralph Babthorpe, died at the Battle of St Albans in 1455, fighting for the Lancastrian Henry VI.
The castle formed part of a sequence of fortifications protecting the eastern route into Scotland, and in 1461 King Edward IV attempted to break the Lancastrian stranglehold on the region. Sir Ralph Percy, one of the joint constables, defended the castle until September 1461, when he surrendered it to the Yorkists. In 1462, Henry VI's wife, Margaret of Anjou, invaded England with a French army, landing at Bamburgh; Percy then switched sides and declared himself for the Lancastrians.
Another Yorkist army was dispatched north in November under the joint command of the earls of Warwick and Worcester, and Sir Ralph Grey. They besieged the castle, which surrendered that Christmas. Percy was left in charge of Dunstanburgh as part of Edward IV's attempts at reconciliation, but the next year he once again switched sides, returning the castle to the Lancastrians. Percy died at the Battle of Hedgeley Moor in 1464, and the Earl of Warwick reoccupied the castle that June following a short siege.
The castle was probably damaged during the wars, but, other than minor repairs in 1470, nothing was spent on repairs and it fell into disrepair. It was used as a base for piracy in 1470, and by the 1520s its roof was robbed for the lead for use at the castle at Wark-upon-Tweed, and further lead and timber were taken for the moot hall in Embleton. By 1538 it was described in a royal report to Henry VIII as "a very ruinous house and of small strength", and it was observed that only the gatehouse was still habitable. Some repairs were carried out to the walls by Sir William Ellerker, the King's receiver, but a 1543 survey showed it to still be in poor condition.
In 1550 the Warden of the Middle and Eastern Marches, Sir Robert Bowes, described Dunstanburgh as being "in wonderfull great decaye". A report in 1584 suggested that it would cost Queen Elizabeth I £1,000 to restore the castle, but argued that it was too far from the Scottish border to be worth repairing. Alice Craster, a wealthy widow, occupied the castle from 1594 to 1597, probably living in the gatehouse, where she carried out restoration work, and farming the surrounding estate. For much of the 16th century, local farmers bought the right to use the outer bailey of the castle to store their cattle in the event of Scottish raids, at the price of six pence a year.
In 1603, the unification of the Scottish and English crowns eliminated any residual need for Dunstanburgh Castle as a royal fortress. The following year, King James I sold the castle to Sir Thomas Windebank, Thomas Billott and William Blake, who in turn sold it onto Sir Ralph Grey, a nearby landowner, the following year. Ralph's son, William Lord Grey, was affirmed as the owner of the castle in 1625.
The Grey dynasty maintained their ownership of the castle, which passed into Lady Mary Grey's side of the family following a law case in 1704. The lands around the castle and the outer bailey were used for growing wheat, barley and oats, and the walls were robbed of their stone for other building work. A small settlement, called Nova Scotia or Novia Scotia, was built on the site of the castle's harbour, possibly by Scottish immigrants. Several engravings were published of the castle in the 18th century, including a somewhat inaccurate depiction by Samuel and Nathaniel Buck in 1720, and by Francis Grose and William Hutchinson in 1773 and 1776 respectively.
Mary's descendants, the Earls of Tankerville, owned the property until the heavily indebted Charles Bennet, the 6th earl, sold it for £155,000 in 1869 to the trustees of the estate of the late Samuel Eyres. There had been some attempts at restoration in the early 19th century, and the passageway through the gatehouse was modified and reopened in 1885. The historian Cadwallader Bates undertook fieldwork at the castle in the 1880s, publishing a comprehensive work in 1891, and a professional architectural plan of the ruins was produced in 1893. Nonetheless, a representative of the estate expressed his concern to the Society of Antiquaries of Newcastle upon Tyne about the condition of the castle in 1898, noting the poor repair of much of the stonework and the importance of the ongoing preservation work that the estate was undertaking.
Dunstanburgh's ruins became a popular subject for artists from the end of the 18th century onwards. Thomas Girtin toured the region and painted the castle, his picture dominated by what art historian Souren Melikian describes as "the forces of nature unleashed", with "wild waves" and dark clouds swirling around the ruins. J. M. W. Turner was influenced by Girtin, and when he first painted the castle in 1797 he similarly focused on the wind and the waves around the ancient ruins, taking some artistic licence with the view of the castle to reinforce its sense of isolated and former grandeur. Turner drew on his visit to produce further works in oils, watercolours, etchings, and sketches, through until the 1830s, making the castle one of the most common subjects in his corpus of work.
A similarly wild view was painted by Thomas Allom showing a ship in a heavy sea offshore, the wreck of which is taken up by Letitia Elizabeth Landon in her poetical illustration to an engraving of that work Wikisource-logo.svg Dunstanburgh Castle. published in Fisher's Drawing Room Scrap Book, 1839.
A golf course was constructed alongside the castle in 1900, and the estate was later sold to Sir Arthur Sutherland, a wealthy shipowner, in 1919. Sutherland opened an additional course at the castle in 1922, designed by the Scottish golfer, James Braid. The costs of maintaining the property became too much for him and, after undertaking eight years of clearance work in the 1920s, he placed the castle into the guardianship of the state in 1930, with the Commissioners of Works taking control of the property. Archaeological investigations were carried out as part of the clearance work by H. Honeyman in 1929, exposing more of the main gatehouse, and further work was carried out under Robert Bosanquet in the 1930s. Aerial photography was carried out by Walter de Aitchison for the Ordnance Survey.
Shortly after the outbreak of the Second World War, concerns grew in the British government about the threat of German invasion along the east coast of England. The bays just to the north of Dunstanburgh Castle were vulnerable targets for an enemy amphibious landing, and efforts were made to fortify the castle and the surrounding area in 1940, as part of a wider line of defences erected by Sir Edmund Ironside.
The castle itself was occupied by a unit of the Royal Armoured Corps, who served as observers; the soldiers appear to have relied on the stone walls for protection rather than trenches, and, unusually, no additional firing points were cut out of the stonework, as typically happened elsewhere. The surrounding beaches were defended with lines of barbed wire, slit trenches and square weapons pits, reinforced by concrete pillboxes to the north and south of the castle, at least partially laid down by the 1st Battalion Essex Regiment.
A 20-foot (6 m) wide ditch was dug at the north end of the moat to prevent tanks from breaking through and following the track south past the castle, and a 545-foot by 151-foot (166 m by 46 m) wide anti-personnel minefield was laid to the south-west to prevent infantry soldiers from circumventing the castle's defences and advancing down into Craster. After the end of the war, the barbed wire was cleared away from the beaches by local Italian prisoners of war, although the two pillboxes, the remnants of the anti-tank ditch and some of the trenches and weapons pits remain.
In 1961, Arthur's son, Sir Ivan Sutherland, passed the estate to the National Trust. Archaeological surveys were carried out in 1985, 1986 and 1989 by Durham University, and between 2003 and 2006 researchers from English Heritage carried a major archaeological investigation of 35 hectares (86 acres) of land around the castle.
In the 21st century, the castle remains owned by the National Trust and is managed by English Heritage. The site is a Scheduled Ancient Monument and the ruins are protected under UK law as a Grade I listed building. It lies within the Northumberland Coast Area of Outstanding Natural Beauty, and is part of a Site of Special Scientific Interest, with parts of the site comprising a Special Protection Area for the conservation of wild birds. The National Trust has encouraged the land around the outside of the castle to remain waterlogged to enable the conservation of amphibians and bird species, and the inside of the castle is protected from grazing animals to encourage nesting birds.
As you come out of the subway (don't they have beautiful blue tiles?) you're confronted by this building. Built with the same effect in mind as the bank in Mary Poppins when the kid goes to deposit his tuppence?
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Abandoned Abused Street Dogs.
Mamas all happy after Rocky crashed into her
then gave his Mom a big kiss .... ;-)
Thank You.
Jon&Crew.
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"CHOOSE LIFE was Katharine Hamnett's first slogan campaign in 1983, inspired by the central tenet of Buddhism. To choose life is to do no harm – to live a good, meaningful life and change the world for the better. Life is only to be found on this planet, and is under threat. Save it."
katharinehamnett.com/gbp/choose-life-white-khl-t#:~:text=....
It has been reproduced here 3 decade's later (with exclamation mark) in the form of a large decal by Dave M and is fixed to timber board screening on Wargrave Road. ☮ ❤
Thames Valley Police press statement - Police, fire and ambulance services remain at the scene of a large fire in Reading.
Officers were called at 2.56am today following a number of reports about the incident at a property in Rowe Court off Grovelands Road. Sadly, one person has died as a result of this incident. A number of other people remain unaccounted for. A 31-year-old man from Reading has been arrested on suspicion of arson and murder, and is in custody. We are working with our colleagues on a search and rescue operation and will exhaust all our efforts to find signs of life. We expect this phase of the operation to continue today and into the evening and perhaps beyond. Three people have been taken to hospital, and these all have non-life-threatening injuries. An additional eight people were treated by the ambulance service at the scene.
A number of other people have been evacuated and are being cared for by the local authority and partners.
RBFRS Press statements - At 2:51am on Wednesday, 15 December, we received reports of a fire at a block of flats in Grovelands Road, Reading.
Royal Berkshire Fire and Rescue Service crews from Caversham Road, Wokingham Road, Theale, Whitley Wood, Wokingham, Bracknell, Ascot, Crowthorne, Slough, two pumps from Newbury and the Aerial Ladder Platform and Incident Command Unit were sent to the scene, together with seven officers and crews from Oxfordshire County Council Fire and Rescue Service.
Upon arrival, firefighters found a fire within a four-storey block of flats, affecting all levels. Sadly, one person is believed to have died, and there are a number of others who are as yet unaccounted for.
Blue hour after sunset
Blaue Stunde nach Sonnenuntergang
The London Eye, or the Millennium Wheel, is a cantilevered observation wheel on the South Bank of the River Thames in London. It is Europe's tallest cantilevered observation wheel, and the most popular paid tourist attraction in the United Kingdom with over three million visitors annually. It has made many appearances in popular culture.
The structure is 135 metres (443 ft) tall and the wheel has a diameter of 120 metres (394 ft). When it opened to the public in 2000 it was the world's tallest Ferris wheel. Its height was surpassed by the 140 metres (459 ft) Sun of Moscow in 2022, the 160 metres (525 ft) Star of Nanchang in 2006, the 165 metres (541 ft) Singapore Flyer in 2008, the 167 metres (548 ft) High Roller (Las Vegas) in 2014, and the 250 metres (820 ft) Ain Dubai in 2021. Supported by an A-frame on one side only, unlike these taller examples, the Eye is described by its operators as "the world's tallest cantilevered observation wheel". The Eye offered the highest public viewing point in London until it was superseded by the 245-metre-high (804 ft) observation deck on the 72nd floor of The Shard in early 2013.
The London Eye adjoins the western end of Jubilee Gardens (previously the site of the former Dome of Discovery), on the South Bank of the River Thames between Westminster Bridge and Hungerford Bridge beside County Hall, in the London Borough of Lambeth. The nearest tube station is Waterloo.
History
Design and construction
The London Eye was designed by the husband-and-wife team of Julia Barfield and David Marks of Marks Barfield Architects.
Mace was responsible for construction management, with Hollandia as the main steelwork contractor and Tilbury Douglas as the civil contractor. Consulting engineers Tony Gee & Partners designed the foundation works while Beckett Rankine designed the marine works.
Nathaniel Lichfield and Partners assisted The Tussauds Group in obtaining planning and listed building consent to alter the wall on the South Bank of the Thames. They also examined and reported on the implications of a Section 106 agreement attached to the original contract, and also prepared planning and listed building consent applications for the permanent retention of the attraction, which involved the co-ordination of an Environmental Statement and the production of a planning supporting statement detailing the reasons for its retention.
The rim of the Eye is supported by tensioned steel cables and resembles a huge spoked bicycle wheel. The lighting was re-done with LED lighting from Color Kinetics in December 2006 to allow digital control of the lights as opposed to the manual replacement of gels over fluorescent tubes.
The wheel was constructed in sections which were floated up the Thames on barges and assembled lying flat on piled platforms in the river. Once the wheel was complete it was lifted into an upright position by a strand jack system made by Enerpac. It was first raised at 2 degrees per hour until it reached 65 degrees, then left in that position for a week while engineers prepared for the second phase of the lift. The project was European with major components coming from six countries: the steel was supplied from the UK and fabricated in The Netherlands by the Dutch company Hollandia, the cables came from Italy, the bearings came from Germany (FAG/Schaeffler Group), the spindle and hub were cast in the Czech Republic, the capsules were made by Poma in France (and the glass for these came from Italy), and the electrical components from the UK.
Opening
The London Eye was formally opened by the Prime Minister Tony Blair on 31 December 1999, but did not open to the paying public until 9 March 2000 because of a capsule clutch problem.
The London Eye was originally intended as a temporary attraction, with a five-year lease. In December 2001, operators submitted an application to Lambeth Council to give the London Eye permanent status, and the application was granted in July 2002.
On 5 June 2008 it was announced that 30 million people had ridden the London Eye since it opened.
Passenger capsules
The wheel's 32 sealed and air-conditioned ovoidal passenger capsules, designed and supplied by Poma, are attached to the external circumference of the wheel and rotated by electric motors. The capsules are numbered from 1 to 33, excluding number 13 for superstitious reasons. Each of the 10-tonne (11-short-ton) capsules represents one of the London Boroughs,[25] and holds up to 25 people, who are free to walk around inside the capsule, though seating is provided. The wheel rotates at 26 cm (10 in) per second (about 0.9 km/h or 0.6 mph) so that one revolution takes about 30 minutes, giving a theoretical capacity of 1,600 passengers per hour. It does not usually stop to take on passengers; the rotation rate is slow enough to allow passengers to walk on and off the moving capsules at ground level. It is stopped to allow disabled or elderly passengers time to embark and disembark safely.
In 2009 the first stage of a £12.5 million capsule upgrade began. Each capsule was taken down and floated down the river to Tilbury Docks in Essex.
On 2 June 2013 a passenger capsule was named the Coronation Capsule to mark the 60th anniversary of the coronation of Queen Elizabeth II.
In March 2020, the London Eye celebrated its 20th birthday by turning several of its pods into experiences themed around London. The experiences included a pub in a capsule, a west end theatre pod and a garden party with flower arrangements to represent the eight London Royal parks.
Ownership and branding
Marks Barfield (the lead architects), The Tussauds Group, and British Airways were the original owners of the London Eye. Tussauds bought out British Airways' stake in 2005 and then Marks Barfield's stake in 2006 to become sole owner.
In May 2007, the Blackstone Group purchased The Tussauds Group which was then the owner of the Eye; Tussauds was merged with Blackstone's Merlin Entertainments and disappeared as an entity. British Airways continued its brand association, but from the beginning of 2008 the name British Airways was dropped from the logo.
On 12 August 2009, the London Eye saw another rebrand, this time being called "The Merlin Entertainments London Eye". A refurbished ticket hall and 4D cinema experience were designed by architect Kay Elliott working with project designer Craig Sciba, and Simex-Iwerks as the 4D theatre hardware specialists. The film was written and directed by Julian Napier and produced by Phil Streather.
In January 2011, a lighting-up ceremony marked the start of a three-year deal between EDF Energy and Merlin Entertainments.
Coca-Cola began to sponsor the London Eye from January 2015. On the day the sponsorship was announced the London Eye was lit in red.
In February 2020, lastminute.com replaced Coca-Cola as the sponsor.[50] Grammy Award-winning singer Meghan Trainor performed at the launch party on a boat overlooking the London Eye.
In March 2020, the wheel was illuminated blue every Thursday at 8pm in support of the National Health Service as part of the ‘Clap for our Carers’ campaign created during the COVID-19 pandemic.
Financial difficulties
On 20 May 2005, there were reports of a leaked letter showing that the South Bank Centre (SBC)—owners of part of the land on which the struts of the Eye are located—had served a notice to quit on the attraction along with a demand for an increase in rent from £64,000 per year to £2.5 million, which the operators rejected as unaffordable.
On 25 May 2005, London mayor Ken Livingstone vowed that the landmark would remain in London. He also pledged that if the dispute was not resolved he would use his powers to ask the London Development Agency to issue a compulsory purchase order. The land in question is a small part of the Jubilee Gardens, which was given to the SBC for £1 when the Greater London Council was broken up.
The South Bank Centre and the British Airways London Eye agreed on a 25-year lease on 8 February 2006 after a judicial review over the rent dispute. The lease agreement meant that the South Bank Centre, a publicly funded charity, would receive at least £500,000 a year from the attraction, the status of which is secured for the foreseeable future. Tussauds also announced the acquisition of the entire one-third interests of British Airways and Marks Barfield in the Eye as well as the outstanding debt to BA. These agreements gave Tussauds 100% ownership and resolved the debt from the Eye's construction loan from British Airways, which stood at more than £150 million by mid-2005 and had been charging an interest rate of 25% per annum.
Critical reception
Sir Richard Rogers, winner of the 2007 Pritzker Architecture Prize, wrote of the London Eye in a book about the project:
The Eye has done for London what the Eiffel Tower did for Paris, which is to give it a symbol and to let people climb above the city and look back down on it. Not just specialists or rich people, but everybody. That's the beauty of it: it is public and accessible, and it is in a great position at the heart of London.
Big City Review wrote that:
If you're an amateur or professional photographer, the London Eye delivers the chance to get breathtaking photos of the city of London. The ride moves so slow which enables one to have ample opportunity to shoot photos and video from all angles. When your done shooting your photos, the ride's slow speed lets you just sit back and take in the incredible views of London. From the time your carriage reaches the highest point your breath will have been take away. That is why the London Eye is worth visiting.
Transport links
The nearest London Underground station is Waterloo, although Charing Cross, Embankment, and Westminster are also within easy walking distance.
Connection with National Rail services is made at London Waterloo station and London Waterloo East station.
London River Services operated by Thames Clippers and City Cruises stop at the London Eye Pier.
(Wikipedia)
Das London Eye (englisch „Auge von London“), auch bekannt unter der Bezeichnung Millennium Wheel, ist mit einer Höhe von 135 Metern seit 2022 das zweithöchste Riesenrad Europas. Es steht im Zentrum von London am Südufer der Themse im London Borough of Lambeth nahe der Westminster Bridge und gilt als eines der Wahrzeichen der britischen Hauptstadt.
Baubeginn des Riesenrades war 1998. Am 10. Oktober 1999 wurde die Konstruktion aufgerichtet. Die Eröffnung für Besucher verzögerte sich wegen technischer Probleme bis zum 9. März 2000. Das London Eye sollte ursprünglich nur etwa fünf Jahre betrieben werden; angesichts des großen Erfolges wurde dies verworfen. Bis zum 10. September 2022 war es das höchste Riesenrad Europas, bis in Moskau das 140 m hohe Riesenrad Sonne von Moskau eröffnet wurde.
Merkmale
Das London Eye besitzt 32 bodentief verglaste und klimatisierte Gondeln, in denen jeweils 25 bis 28 Personen Platz finden.[5] Die Gondeln sind horizontal verlängerte Rotationsellipsoide. Sie sind von je zwei fest im Riesenrad montierten Kreisringen umgeben und in ihnen um ihre horizontale Achse drehbar gelagert (s. unten stehendes erstes und zweites Bild). Wegen ihres tiefen Schwerpunktes drehen sie sich darin so, dass der Gondelboden immer waagerecht bleibt.
Die Gondeln befinden sich außerhalb des Rades, was eine fast uneingeschränkte Panorama-Aussicht ermöglicht. Ihre Umfangsgeschwindigkeit ist 0,26 m/s (knapp 1 km/h). Ein Umlauf dauert fast ½ Stunde.[6] Durch die geringe Geschwindigkeit wird der Fahrgastwechsel während der Fahrt möglich, so dass das Rad nur anhält, um u. a. Rollstuhlfahrern den Einstieg zu ermöglichen. Der Antrieb des Radkranzes erfolgt an beiden Seiten durch insgesamt 16 Reibräder (siehe ein Reibrad in unten stehendem dritten Bild): 8 pro Seite, zu je 2 Gruppen à 4 Stück zusammengefasst.
Bei guter Fernsicht kann man vom Riesenrad aus bis zu 40 km weit sehen, unter anderem bis zum etwas außerhalb Londons gelegenen Schloss Windsor.
Planung und Bau
Das Riesenrad wurde von den Architekten David Marks und Julia Barfield entworfen. Tragwerksplaner war John Roberts, der auch später mit Marks Barfield beim British Airways i360 Aussichtsturm in Brighton zusammenarbeitete. Marks und Barfield hatten versucht, nach dem Erfolg des London Eye die Idee an weitere Städte zu verkaufen; sie erwies sich aber als zu teuer, weshalb sie als kostengünstigere Alternative den Aussichtsturm i360 entwarfen. Für das London Eye war ursprünglich Arup als Ingenieursfirma eingebunden. Diese stieg jedoch aus, als das Unternehmen Mitsubishi, mit dem sie verbunden war, sich zurückzog. Das Design der Gondeln stammt von Nick Bailey; das niederländische Stahlbau-Unternehmen Hollandia baute sie. Die Drehachse und die einseitige, schräge Stütze aus Rohren und Spannelementen wurden von der tschechischen Maschinenbaufirma Škoda geliefert. FAG Kugelfischer entwickelte und baute in Schweinfurt das riesige Pendelrollenlager an der Nabe. Die Kapseln und das Stabilisations-System stammen von der französischen Firma Sigma. Der Antrieb wurde von Bosch Rexroth geliefert. Am 10. September 1999 versuchte das niederländische Spezialunternehmen Smit-Tak mit einem der größten Schwimmkräne der Welt, das liegend zusammengebaute Rad des London Eye aufzurichten, doch der Versuch schlug fehl. Erst einen Monat später konnte das Rad zunächst um 60 Grad aufgerichtet werden. Es dauerte eine weitere Woche, um es in seine endgültige Position zu heben.
Betreiber
Die Merlin Entertainments Group besitzt und betreibt das Riesenrad. Sponsor seit Februar 2020 ist die Online-Reisesuchmaschine lastminute.com.[10] Zuvor waren von 2011 bis Ende 2014 EDF Energy und von 2015 bis Ende Januar 2020 Coca-Cola die Sponsoren. Bei der Eröffnung 2000 gehörte es noch der Tussauds Group, British Airways und der Architektenfamilie Marks Barfield gemeinsam. Tussaud kaufte 2006 die Anteile der anderen Eigentümer und wurde 2007 dann selbst von Merlin übernommen.
Einordnung
Das London Eye ist das sechstgrößte Riesenrad der Welt. Bis zum 4. Januar 2006 war es das höchste Riesenrad der Welt, wurde aber dann durch das 160 Meter hohe Riesenrad „Stern von Nanchang“ in Nanchang, China, abgelöst, das wiederum mit der Eröffnung des Singapore Flyer am 1. März 2008 als damals größtes Riesenrad der Welt ersetzt wurde (siehe auch Dubai Wheel). In der Zeit zwischen 2014 und 2021 war der High Roller in Las Vegas das größte Riesenrad, welches im Oktober 2021 vom 260 Meter hohen Ain Dubai abgelöst wurde.
Bis zum 10. September 2022 war es außerdem das größte Riesenrad Europas, wurde aber durch das 140 Meter hohe Riesenrad „Sonne von Moskau“ in Moskau, Russland abgelöst.
Zur Kolonialausstellung Empire of India Exhibition stand von 1895 bis 1907 im Earls Court Exhibition Centre das Great Wheel, das mit 94 Meter bis zum Bau des Riesenrades in Paris im Jahr 1900 das höchste Riesenrad der Welt war.
(Wikipedia)
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