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Just Pinned to Playground Coloured Painting: #Design #Graphics...
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Tarmacadam Colours in East Studdal | Coloured Tarmacadam #Coloured #Asphalt #Surfaces #East #Studdal t.co/8xH1oPTWpq
I really like to use metal subject in my macro-tests. Their surface usually contains a lot of scratches and marks, so shows the sharpness very well. Metal has also very good capability of reflection, so it's perfect specimen to adjust light in tests. In this case I used keys as an example.
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Anti-Slip Pathway Paint in Guide Bridge #Anti-Slip #Pathway #Paint #Guide #Bridge
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Cycle Lane Line Markings in Upper Broughton #Cycle #Lane #Line #Markings #Upper #Broughton t.co/OflV29wZK8
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.
Surface deformations, part of a series that is still in progress.
On display for the Origami Chile exhibition last weekend at UDLA in Santiago.
Here's another shot from Friday. This is a member of the large pod of common dolphin we encountered on the morning trip. We had easily 150-200 of these guys surround the boat and stick with us on our journey back towards the headlands. Super engaged with the boat, lots of bow riding, playing in the wakes and plenty of porpoising. A very cool encounter!
Want to see more??? Check out my new page:
Quick-Look Hill-shaded Colour Relief Image of 2014 25cm LIDAR Composite Digital Surface Model (DSM).
Data supplied by Environment Agency under the Open Government License agreement. For details please go to: www.nationalarchives.gov.uk/doc/open-government-licence/v...
For full raster dataset go to: environment.data.gov.uk/ds/survey
via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/154861575846
Just Pinned to Cycle Lane Line Marking: Line Painting in South...
ID: 003496
This picture is (c) Copyright Frank Titze, all rights reserved.
It may NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
See more pictures on frank-titze.art.
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via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/151563896616
Anti-Slip Step Paint in Lydiard Millicent #Anti-Slip #Step #Paint #Lydiard #Millicent t.co/oJlWsUzlL7
38/52
I decided to repeat the water ballon explosion, but with laser barrier this time.
I also did a tutorial: elgaratge.com/low-cost-laser-barrier-photography/
Thanks for viewing!
From Wikipedia, the free encyclopedia
History
Japan
Name:Nagato
Namesake:Nagato Province
Builder:Kure Naval Arsenal
Laid down:28 August 1917
Launched:9 November 1919
Sponsored by:Admiral Katō Tomosaburō
Completed:15 November 1920
Commissioned:25 November 1920
Stricken:15 September 1945
Fate:Sunk as a target in Operation Crossroads, 29/30 July 1946
Status:Diveable wreck
General characteristics (as built)
Class and type:Nagato-class battleship
Displacement:32,720 t (32,200 long tons) (standard)
Length:215.8 m (708 ft)
Beam:29.02 m (95 ft 3 in)
Draft:9.08 m (29 ft 9 in)
Installed power:
21 × water-tube boilers
80,000 shp (60,000 kW)
Propulsion:4 shafts; 4 × steam turbines
Speed:26.5 knots (49.1 km/h; 30.5 mph)
Range:5,500 nmi (10,200 km; 6,300 mi) at 16 knots (30 km/h; 18 mph)
Complement:1,333
Armament:
4 × twin 41 cm (16 in) guns
20 × single 14 cm (5.5 in) guns
4 × single 76 mm (3 in) AA guns
8 × 533 mm (21.0 in) torpedo tubes
Armor:
Waterline belt: 100–305 mm (3.9–12.0 in)
Deck: 69 mm (2.7 in) + 75 mm (3 in)
Gun turrets: 190–356 mm (7.5–14.0 in)
Barbettes: 305 mm (12 in)
Conning tower: 369 mm (14.5 in)
General characteristics (1944)
Displacement:39,130 t (38,510 long tons) (standard)
Length:224.94 m (738 ft)
Beam:34.6 m (113 ft 6 in)
Draft:9.49 m (31 ft 2 in)
Installed power:
80,000 shp (60,000 kW)
10 × water-tube boilers
Speed:25 knots (46 km/h; 29 mph)
Range:8,650 nmi (16,020 km; 9,950 mi) at 16 knots (30 km/h; 18 mph)
Complement:1,734
Sensors and
processing systems:
1 × Type 21 air search radar
2 × Type 13 early-warning radars
2 × Type 22 surface-search radars
Armament:
4 × twin 41 cm guns
18 × single 14 cm guns
4 × twin 127 mm (5 in) DP guns
98 × 25 mm (1 in) AA guns
Armor:
Deck: 69 mm (2.7 in) + 100 mm (3.9 in) + 38 mm (1.5 in)
Turrets: 280–460 mm (11.0–18.1 in)
Barbettes: 457 mm (18.0 in)
Aircraft carried:3 × floatplanes
Aviation facilities:1 × catapult
Nagato (長門), named for Nagato Province, was a super-dreadnought battleship built for the Imperial Japanese Navy (IJN). Completed in 1920 as the lead ship of her class, she carried supplies for the survivors of the Great Kantō earthquake in 1923. The ship was modernized in 1934–1936 with improvements to her armor and machinery and a rebuilt superstructure in the pagoda mast style. Nagato briefly participated in the Second Sino-Japanese War in 1937 and was the flagship of Admiral Isoroku Yamamoto during the attack on Pearl Harbor. She covered the withdrawal of the attacking ships and did not participate in the attack itself.
Other than participating in the Battle of Midway in June 1942, where she did not see combat, the ship spent most of the first two years of the Pacific War training in home waters. She was transferred to Truk in mid-1943, but did not see any combat until the Battle of the Philippine Sea in mid-1944 when she was attacked by American aircraft. Nagato did not fire her main armament against enemy vessels until the Battle of Leyte Gulf in October. She was lightly damaged during the battle and returned to Japan the following month. The IJN was running out of fuel by this time and decided not to fully repair her. Nagato was converted into a floating anti-aircraft platform and assigned to coastal defense duties. She was attacked in July 1945 as part of the American campaign to destroy the IJN's last remaining capital ships, but was only slightly damaged and went on to be the only Japanese battleship to have survived World War II. In mid-1946, the ship was a target for nuclear weapon tests during Operation Crossroads. She survived the first test with little damage, but was sunk by the second.
Description
Nagato had a length of 201.17 meters (660 ft) between perpendiculars and 215.8 meters (708 ft) overall. She had a beam of 29.02 meters (95 ft 3 in) and a draft of 9.08 meters (29 ft 9 in).[1] The ship displaced 32,720 metric tons (32,200 long tons) at standard load and 39,116 metric tons (38,498 long tons) at full load.[2] Her crew consisted of 1,333 officers and enlisted men as built and 1,368 in 1935.[3] The crew totaled around 1,734 men in 1944.[4]
In 1930,[5] Nagato's bow was remodeled to reduce the amount of spray produced when steaming into a head sea. This increased her overall length by 1.59 meters (5 ft 3 in) to 217.39 meters (713 ft 3 in). During her 1934–1936 reconstruction, the ship's stern was lengthened by 7.55 meters (24.8 ft) to improve her speed and her forward superstructure was rebuilt into a pagoda mast. She was given torpedo bulges to improve her underwater protection and to compensate for the weight of the additional armor and equipment. These changes increased her overall length to 224.94 m (738 ft), her beam to 34.6 m (113 ft 6 in) and her draft to 9.49 meters (31 ft 2 in). Her displacement increased over 7,000 metric tons (6,900 long tons) to 46,690 metric tons (45,950 long tons) at deep load. The ship's metacentric height at deep load was 2.35 meters (7 ft 9 in).[6] In November 1944, the tops of Nagato's mainmast and funnel were removed to improve the effective arcs of fire for her anti-aircraft guns.[7]
Propulsion
Nagato was equipped with four Gihon geared steam turbines, each of which drove one propeller shaft. The turbines were designed to produce a total of 80,000 shaft horsepower (60,000 kW), using steam provided by 21 Kampon water-tube boilers; 15 of these were oil-fired while the remaining half-dozen consumed a mixture of coal and oil. The ship could carry 1,600 long tons (1,600 t) of coal and 3,400 long tons (3,500 t) of fuel oil,[2] giving her a range of 5,500 nautical miles (10,200 km; 6,300 mi) at a speed of 16 knots (30 km/h; 18 mph). The ship exceeded her designed speed of 26.5 knots (49.1 km/h; 30.5 mph) during her sea trials, reaching 26.7 knots (49.4 km/h; 30.7 mph) at 85,500 shp (63,800 kW).[3]
Funnel smoke would often choke and blind crewmen on the bridge and in the fire-control systems so a "fingernail"-shaped deflector was installed on the fore funnel in 1922 to direct the exhaust away from them. It was less than effective and the fore funnel was rebuilt in a serpentine shape in an unsuccessful effort during a refit in 1924.[3] That funnel was eliminated during the ship's 1930s reconstruction when all of her boilers were replaced by ten oil-fired Kampon boilers, which had a working pressure of 22 kg/cm2 (2,157 kPa; 313 psi) and temperature of 300 °C (572 °F).[8] In addition her turbines were replaced by lighter, more modern, units.[9] When Nagato conducted her post-reconstruction trials, she reached a speed of 24.98 knots (46.26 km/h; 28.75 mph) with 82,300 shp (61,400 kW).[10] Additional fuel oil was stored in the bottoms of the newly added torpedo bulges, which increased her capacity to 5,560 long tons (5,650 t) and thus her range to 8,560 nmi (15,850 km; 9,850 mi) at 16 knots.[2]
Armament
Nagato's eight 45-caliber 41-centimeter (16 inch) guns were mounted in two pairs of twin-gun, superfiring turrets fore and aft. Numbered one through four from front to rear, the hydraulically powered turrets gave the guns an elevation range of −2 to +35 degrees. The rate of fire for the guns was around two rounds per minute. The turrets aboard the Nagato-class ships were replaced in the mid-1930s with the turrets stored from the unfinished Tosa-class battleships. While in storage the turrets had been modified to increase their range of elevation to –3 to +43 degrees,[11] which increased the gun's maximum range from 30,200 to 37,900 meters (33,000 to 41,400 yd).[12]
The ship's secondary armament of twenty 50-caliber 14-centimeter guns was mounted in casemates on the upper sides of the hull and in the superstructure. The manually operated guns had a maximum range of 20,500 metres (22,400 yd) and fired at a rate of six to 10 rounds per minute.[13] Anti-aircraft defense was provided by four 40-caliber 3rd Year Type three-inch[Note 1] AA guns in single mounts. The 3-inch (76 mm) high-angle guns had a maximum elevation of +75 degrees, and had a rate of fire of 13 to 20 rounds per minute.[14] The ship was also fitted with eight 53.3-centimeter (21.0 in) torpedo tubes, four on each broadside, two above water and two submerged.[15]
Around 1926, the four above-water torpedo tubes were removed and the ship received three additional 76 mm AA guns that were situated around the base of the foremast.[16] They were replaced by eight 40-caliber 12.7-centimeter Type 89 dual-purpose (DP) guns in 1932,[7] fitted on both sides of the fore and aft superstructures in four twin-gun mounts.[17] When firing at surface targets, the guns had a range of 14,700 meters (16,100 yd); they had a maximum ceiling of 9,440 meters (30,970 ft) at their maximum elevation of +90 degrees. Their maximum rate of fire was 14 rounds a minute, but their sustained rate of fire was around eight rounds per minute.[18] Two twin-gun mounts for license-built Vickers two-pounder light AA guns were also added to the ship that same year.[7][Note 2] These guns had a maximum elevation of +80 degrees which gave them a ceiling of 4,000 meters (13,000 ft).[20] They had a maximum rate of fire of 200 rounds per minute.[21]
When the ship was reconstructed in 1934–1936, the remaining torpedo tubes and the two forward 14 cm (5-1/2 inch) guns were removed from the hull. The remaining 14 cm guns had their elevation increased to +35 degrees which increased their range to 20,000 meters (22,000 yd). An unknown number of license-built Hotchkiss M1929 machine gun 13.2 mm (0.52 in) in twin mounts were added. The maximum range of these guns was 6,500 meters (7,100 yd),[22] but the effective range against aircraft was 700–1,500 meters (770–1,640 yd). The cyclic rate was adjustable between 425 and 475 rounds per minute, but the need to change 30-round magazines reduced the effective rate to 250 rounds per minute.[23]
The unsatisfactory two-pounders were replaced in 1939 by twenty license-built Type 96 Hotchkiss Type 96 25 mm (0.98 in) light AA guns in a mixture of twin-gun and single mounts.[7] This was the standard Japanese light AA gun during World War II, but it suffered from severe design shortcomings that rendered it a largely ineffective weapon. According to historian Mark Stille, the twin and triple mounts "lacked sufficient speed in train or elevation; the gun sights were unable to handle fast targets; the gun exhibited excessive vibration; the magazine was too small, and, finally, the gun produced excessive muzzle blast".[24] These 25 mm guns had an effective range of 1,500–3,000 meters (1,600–3,300 yd), and an effective ceiling of 5,500 meters (18,000 ft) at an elevation of 85 degrees. The maximum effective rate of fire was only between 110 and 120 rounds per minute because of the frequent need to change the fifteen-round magazines.[21] Additional Type 96 guns were installed during the war; on 10 July 1944, the ship was reported to have 98 guns on board. An additional 30 guns were added during a refit in Yokosuka in November. Two more twin 12.7 cm (5 inch) gun mounts were added at the same time abreast the funnel[25] and her 14 cm guns were removed as she was by then a floating anti-aircraft battery.[7]
Armor
The ship's waterline armor belt was 305 mm (12 in) thick and tapered to a thickness of 100 mm (3.9 in) at its bottom edge; above it was a strake of 229 mm (9.0 in) armor. The main deck armor was 69 mm (2.7 in) while the lower deck was 75 mm (3 in) thick.[26] The turrets were protected with an armor thickness of 305 mm on the face, 230–190 mm (9.1–7.5 in) on the sides, and 152–127 mm (6.0–5.0 in) on the roof.[12] The barbettes of the turrets were protected by armor 305 mm thick, while the casemates of the 140 mm (1.6 in) guns were protected by 25 mm (0.98 in) armor plates. The sides of the conning tower were 369 mm (14.5 in) thick.[2]
The new 41 cm turrets installed during Nagato's reconstruction were more heavily armored than the original ones. Face armor was increased to 460 mm (18.1 in), the sides to 280 mm (11.0 in), and the roof to 250–230 mm (9.8–9.1 in).[27] The armor over the machinery and magazines was increased by 38 mm on the upper deck and 25 mm (0.98 in) on the upper armored deck.[9] These additions increased the weight of the ship's armor to 13,032 metric tons (12,826 long tons),[10] 32.6 percent of her displacement.[9] In early 1941, as a preparation for war,[7] Nagato's barbette armor was reinforced with 100 mm (3.9 in) armor plates above the main deck and 215 mm (8.5 in) plates below it.[28]
Fire control and sensors
When completed in 1920, the ship was fitted with a 10-meter (32 ft 10 in) rangefinder in the forward superstructure; six-meter (19 ft 8 in) and three-meter (9 ft 10 in) anti-aircraft rangefinders were added in May 1921 and 1923, respectively. The rangefinders in the second and third turrets were replaced by 10-meter units in 1932–1933.[29]
Nagato was initially fitted with a Type 13 fire-control system derived from Vickers equipment received during World War I, but this was replaced by an improved Type 14 system around 1925. It controlled the main and secondary guns; no provision was made for anti-aircraft fire until the Type 31 fire-control director was introduced in 1932. A modified Type 14 fire-control system was tested aboard the ship in 1935 and later approved for service as the Type 34. A new anti-aircraft director called the Type 94 that was used to control the 127 mm AA guns was introduced in 1937, although when Nagato received hers is unknown. The Type 96 25 mm (0.98 in) AA guns were controlled by a Type 95 director that was also introduced in 1937.[30]
While in drydock in May 1943, a Type 21 air search radar was installed on the roof of the 10-meter rangefinder at the top of the pagoda mast. On 27 June 1944, two Type 22 surface search radars were installed on the pagoda mast and two Type 13 early warning radars were fitted on her mainmast.[7]
Aircraft
Nagato was fitted with an 18-meter (59 ft 1 in)[31] aircraft flying-off platform on Turret No. 2 in August 1925. Yokosuka Ro-go Ko-gata and Heinkel HD 25 floatplanes were tested from it before it was removed early the following year.[7] An additional boom was added to the mainmast in 1926 to handle the Yokosuka E1Y now assigned to the ship.[16] A Hansa-Brandenburg W.33 floatplane was tested aboard Nagato that same year.[7] A catapult was fitted between the mainmast and Turret No. 3[32] in mid-1933,[7] a collapsible crane was installed in a portside sponson, and the ship was equipped to operate two or three floatplanes, although no hangar was provided. The ship now operated Nakajima E4N2 biplanes until they were replaced by Nakajima E8N2 biplanes in 1938. A more powerful catapult was installed in November 1938 to handle heavier aircraft, such as the one Kawanishi E7K that was added in 1939–1940. Mitsubishi F1M biplanes replaced the E8Ns on 11 February 1943.[33]
Construction and service
Nagato, named for Nagato Province,[34] was ordered on 12 May 1916[35] and laid down at the Kure Naval Arsenal on 28 August 1917 as the lead ship of her class. She was launched on 9 November 1919 by Admiral Katō Tomosaburō, completed on 15 November 1920 and commissioned 10 days later with Captain Nobutaro Iida in command. Nagato was assigned to the 1st Battleship Division and became the flagship of Rear Admiral Sōjirō Tochinai. On 13 February 1921, the ship was inspected by the Crown Prince, Hirohito. Captain Kanari Kabayama relieved Iida on 1 December 1921. The ship hosted Marshal Joseph Joffre on 18 February 1922 and Edward, Prince of Wales, and his aide-de-camp Lieutenant Louis Mountbatten on 12 April during the prince's visit to Japan.[7]
After the 1923 Great Kantō earthquake, Nagato loaded supplies from Kyushu for the victims on 4 September. Together with her sister ship Mutsu, she sank the hulk of the obsolete battleship Satsuma on 7 September 1924 during gunnery practice in Tokyo Bay in accordance with the Washington Naval Treaty. The ship was transferred to the reserve of the 1st Division on 1 December[36] and became a gunnery training ship. In August 1925, aircraft handling and take-off tests were conducted aboard Nagato. She was reassigned as the flagship of the Combined Fleet on 1 December, flying the flag of Admiral Keisuke Okada. Captain Kiyoshi Hasegawa assumed command of the ship on 1 December 1926.
Nagato was again placed in reserve on 1 December 1931 and her anti-aircraft armament was upgraded the following year. In August 1933 the ship participated in fleet maneuvers north of the Marshall Islands and she began her first modernization on 1 April 1934. This was completed on 31 January 1936 and Nagato was assigned to the 1st Battleship Division of the 1st Fleet. During the attempted coup d'état on 26 February by disgruntled Army officers, the ship was deployed in Tokyo Bay and some of her sailors were landed in support of the government. In August, she transported 1,749 men of the 43rd Infantry Regiment of the 11th Infantry Division from Shikoku to Shanghai during the Second Sino-Japanese War.[7] Her floatplanes bombed targets in Shanghai on 24 August before she returned to Sasebo the following day.[37] Nagato became a training ship on 1 December until she again became the flagship of the Combined Fleet on 15 December 1938. The ship participated in an Imperial Fleet Review on 11 October 1940. She was refitted in early 1941 in preparation for war.[7]
World War II
Admiral Isoroku Yamamoto issued the code phrase "Niitaka yama nobore" (Climb Mount Niitaka) on 2 December 1941 from Nagato at anchor at Hashirajima to signal the 1st Air Fleet (Kido Butai) in the North Pacific to proceed with its attack on Pearl Harbor. When the war started for Japan on 8 December,[Note 3] she sortied for the Bonin Islands, along with Mutsu, the battleships Hyūga, Yamashiro, Fusō, Ise of Battleship Division 2, and the light carrier Hōshō as distant cover for the withdrawal of the fleet attacking Pearl Harbor, and returned six days later. Yamamoto transferred his flag to the new battleship Yamato on 12 February 1942. Nagato was briefly refitted 15 March – 9 April at Kure Naval Arsenal.[7]
In June 1942 Nagato, commanded by Captain Hideo Yano, was assigned to the Main Body of the 1st Fleet during the Battle of Midway, together with Yamato, Mutsu, Hosho, the light cruiser Sendai, nine destroyers and four auxiliary ships.[38][39] Following the loss of all four carriers of the 1st Air Fleet on 4 June, Yamamoto attempted to lure the American forces west to within range of the Japanese air groups at Wake Island, and into a night engagement with his surface forces, but the American forces withdrew and Nagato saw no action. After rendezvousing with the remnants of the 1st Air Fleet on 6 June, survivors from the aircraft carrier Kaga were transferred to Nagato.[40] On 14 July, the ship was transferred to Battleship Division 2 and she became the flagship of the 1st Fleet. Yano was promoted to rear admiral on 1 November and he was replaced by Captain Yonejiro Hisamune nine days later. Nagato remained in Japanese waters training until August 1943. On 2 August Captain Mikio Hayakawa assumed command of the ship.[7]
That month, Nagato, Yamato, Fusō and the escort carrier Taiyō, escorted by two heavy cruisers and five destroyers transferred to Truk in the Caroline Islands. In response to the carrier raid on Tarawa on 18 September, Nagato and much of the fleet sortied for Eniwetok to search for the American forces before they returned to Truk on 23 September, having failed to locate them. The Japanese had intercepted some American radio traffic that suggested an attack on Wake Island, and on 17 October, Nagato and the bulk of the 1st Fleet sailed for Eniwetok to be in a position to intercept any such attack. The fleet arrived on 19 October, departed four days later, and arrived back at Truk on 26 October. Hayakawa was promoted to rear admiral on 1 November and he was relieved on 25 December by Captain Yuji Kobe.[7]
On 1 February 1944, Nagato departed Truk with Fusō to avoid an American air raid, and arrived at Palau on 4 February. They left on 16 February to escape another air raid. The ships arrived on 21 February at Lingga Island, near Singapore, and the ship became the flagship of Vice Admiral Matome Ugaki, commander of Battleship Division 1, on 25 February until he transferred his flag to Yamato on 5 May. Aside from a brief refit at Singapore, the ship remained at Lingga training until 11 May when she was transferred to Tawitawi on 12 May. The division was now assigned to the 1st Mobile Fleet, under the command of Vice Admiral Jisaburō Ozawa.[7]
On 10 June, Battleship Division 1 departed Tawitawi for Batjan in preparation for Operation Kon, a planned counterattack against the American invasion of Biak. Three days later, when Admiral Soemu Toyoda, commander-in-chief of the Combined Fleet, was notified of American attacks on Saipan, Operation Kon was canceled and Ugaki's force was diverted to the Mariana Islands. The battleships rendezvoused with Ozawa's main force on 16 June. During the Battle of the Philippine Sea, Nagato escorted the aircraft carriers Jun'yō, Hiyō and the light carrier Ryūhō. She fired 41 cm Type 3 Sankaidan incendiary anti-aircraft shrapnel shells at aircraft from the light carrier Belleau Wood that were attacking Jun'yō and claimed to have shot down two Grumman TBF Avenger torpedo bombers. The ship was strafed by American aircraft during the battle, but was not damaged and suffered no casualties.[7] During the battle Nagato rescued survivors from Hiyō that were transferred to the carrier Zuikaku once the ship reached Okinawa on 22 June. She continued on to Kure where she was refitted with additional radars and light AA guns. Undocked on 8 July, Nagato loaded a regiment of the 28th Infantry Division the following day and delivered them to Okinawa on 11 July. She arrived at Lingga via Manila on 20 July.[41]
Battle of Leyte Gulf
Kobe was promoted to rear admiral on 15 October. Three days later, Nagato sailed for Brunei Bay, Borneo, to join the main Japanese fleet in preparation for "Operation Sho-1", the counterattack planned against the American landings at Leyte. The Japanese plan called for Ozawa's carrier forces to lure the American carrier fleets north of Leyte so that Vice Admiral Takeo Kurita's 1st Diversion Force (also known as the Center Force) could enter Leyte Gulf and destroy American forces landing on the island. Nagato, together with the rest of Kurita's force, departed Brunei for the Philippines on 22 October.[42]
In the Battle of the Sibuyan Sea on 24 October, Nagato was attacked by multiple waves of American dive bombers and fighters. At 14:16[Note 4] she was hit by two bombs dropped by planes from the fleet carrier Franklin and the light carrier Cabot. The first bomb disabled five of her casemate guns, jammed one of her Type 89 gun mounts, and damaged the air intake to No. 1 boiler room, immobilizing one propeller shaft for 24 minutes until the boiler was put back on line.[7] Damage from the second bomb is unknown. The two bombs killed 52 men between them; the number of wounded is not known.[43]
On the morning of 25 October, the 1st Diversion Force passed through the San Bernardino Strait and headed for Leyte Gulf to attack the American forces supporting the invasion. In the Battle off Samar, Nagato engaged the escort carriers and destroyers of Task Group 77.4.3, codenamed "Taffy 3". At 06:01 she opened fire on three escort carriers, the first time she had ever fired her guns at an enemy ship, but missed. At 06:54 the destroyer USS Heermann fired a spread of torpedoes at the fast battleship Haruna; the torpedoes missed Haruna and headed for Yamato and Nagato which were on a parallel course. The two battleships were forced 10 miles (16 km) away from the engagement before the torpedoes ran out of fuel. Turning back, Nagato engaged the American escort carriers and their screening ships, claiming to have damaged one cruiser[Note 5] with forty-five 410 mm and ninety-two 14 cm shells. The ineffectiveness of her shooting was the result of the poor visibility caused by numerous rain squalls and by smoke screens laid by the defending escorts. At 09:10 Kurita ordered his ships to break off the engagement and head north. At 10:20 he ordered the fleet south once more, but as they came under increasingly severe air attack he ordered a retreat again at 12:36. At 12:43 Nagato was hit in the bow by two bombs, but the damage was not severe. Four gunners were washed overboard at 16:56 as the ship made a sharp turn to avoid dive-bomber attacks; a destroyer was detached to rescue them, but they could not be found. As it retreated back to Brunei on 26 October, the Japanese fleet came under repeated air attacks. Nagato and Yamato used Sankaidan shells against them and claimed to have shot down several bombers. Over the course of the last two days she fired ninety-nine 410 mm and six hundred fifty-three 14 cm shells, suffering 38 crewmen killed and 105 wounded during the same time.[7]
Final days of the war
On 15 November the ship was assigned to Battleship Division 3 of the 2nd Fleet. After an aerial attack at Brunei on 16 November, Nagato, Yamato, and the fast battleship Kongō left the following day, bound for Kure. En route, Kongō and one of the escorting destroyers were sunk by USS Sealion on 21 November. On 25 November, she arrived at Yokosuka, Japan, for repairs. Lack of fuel and materials meant that she could not be brought back into service and she was turned into a floating anti-aircraft battery. Her funnel and mainmast were removed to improve the arcs of fire of her AA guns, which were increased by two Type 89 mounts and nine triple Type 96 gun mounts. Her forward secondary guns were removed in compensation. Captain Kiyomi Shibuya relieved Kobe in command of Nagato on 25 November. Battleship Division 3 was disbanded on 1 January 1945 and the ship was reassigned to Battleship Division 1. That formation was disbanded on 10 February and she was assigned to the Yokosuka Naval District as a coastal defense ship.[7] Moored alongside a pier, a coal-burning donkey boiler was installed on the pier for heating and cooking purposes and a converted submarine chaser was positioned alongside to provide steam and electricity;[44] her anti-aircraft guns lacked full power and were only partially operational. On 20 April, Nagato was reduced to reserve and retired Rear Admiral Miki Otsuka assumed command a week later.[7]
In June 1945, all of her secondary guns and about half of her anti-aircraft armament was moved ashore, together with her rangefinders and searchlights. Her crew was accordingly reduced to less than 1,000 officers and enlisted men. On 18 July 1945, the heavily camouflaged ship was attacked by fighter bombers and torpedo bombers from five American carriers as part of Admiral William Halsey Jr.'s campaign to destroy the IJN's last surviving capital ships. Nagato was hit by two bombs, the first 500-pound (230 kg) bomb struck the bridge and killed Otsuka, the executive officer, and twelve sailors when it detonated upon hitting the roof of the conning tower. The second 500-pound bomb struck the deck aft of the mainmast and detonated when it hit No. 3 barbette. It failed to damage the barbette or the turret above it, but blew a hole nearly 12 feet (3.7 m) in diameter in the deck above the officer's lounge, killing 21 men and damaging four Type 96 guns on the deck above. A dud rocket of uncertain size hit the ship's fantail, but failed to do any significant damage. To convince the Americans that Nagato had been badly damaged by the attack, her damage was left unrepaired and some of her ballast tanks were pumped full of seawater to make her sit deeper in the water as if she had sunk to the harbor bottom.[7][44]
Captain Shuichi Sugino was appointed as Nagato's new captain on 24 July, but he was unable to take up his appointment until 20 August. Retired Rear Admiral Masamichi Ikeguchi was assigned as the ship's interim captain until Sugino arrived. The Yokosuka Naval District received an alarm on the night of 1/2 August that a large convoy was approaching Sagami Bay and Nagato was ordered to attack immediately. The ship was totally unprepared for any attack, but Ikeguchi began the necessary preparations. The water in the ballast compartments was pumped out and her crew began reloading the propellant charges for her 16-inch guns. The ship received more fuel from a barge later that morning, but no order to attack ever came as it had been a false alarm. Sailors from the battleship USS Iowa, Underwater Demolition Team 18,[44] and the high-speed transport USS Horace A. Bass[45] secured the battleship on 30 August after the occupation began and Captain Thomas J Flynn, executive officer of the Iowa, assumed command. By the time the war ended, Nagato was the only Japanese battleship still afloat.[46] She was stricken from the Navy List on 15 September.[44]
After the war
The ship was selected to participate as a target ship in Operation Crossroads, a series of nuclear weapon tests held at Bikini Atoll in mid-1946. In mid-March, Nagato departed Yokosuka for Eniwetok under the command of Captain W. J. Whipple with an American crew of about 180 men supplementing her Japanese crew.[47] The ship was only capable of a speed of 10 knots (19 km/h; 12 mph) from her two operating propeller shafts. Her hull had not been repaired from the underwater damage sustained during the attack on 18 July 1945 and she leaked enough that her pumps could not keep up. Her consort, the light cruiser Sakawa, broke down on 28 March and Nagato attempted to take her in tow, but one of her boilers malfunctioned and the ship ran out of fuel in bad weather. The ship had a list of seven degrees to port by the time tugboats from Eniwetok arrived on 30 March. Towed at a speed of 1 knot (1.9 km/h; 1.2 mph), the ship reached Eniwetok on 4 April where she received temporary repairs. On her trip to Bikini in May, Nagato reached 13 knots (24 km/h; 15 mph).[7]
Operation Crossroads began with the first blast (Test Able), an air burst on 1 July; she was 1,500 meters (1,640 yd) from ground zero and was only lightly damaged. A skeleton crew boarded Nagato to assess the damage and prepare her for the next test on 25 July. As a test, they operated one of her boilers for 36 hours without any problems. For Test Baker, an underwater explosion, the ship was positioned 870 meters (950 yd) from ground zero. Nagato rode out the tsunami from the explosion with little apparent damage; she had a slight starboard list of two degrees after the tsunami dissipated. A more thorough assessment could not be made because she was dangerously radioactive. Her list gradually increased over the next five days and she capsized and sank during the night of 29/30 July.[44]
The wreck is upside down and her most prominent features are her four propellers, at a depth of 33.5 meters (110 ft) below the surface.[48] She has become a scuba diving destination in recent years and The Times named Nagato as one of the top ten wreck diving sites in the world in 2007.[48][49]
Sometimes depth and height can be perceived in a single glance in one direction from those of us wallowing on the horizontal axis of averages and mediocrity. But going deeper and reaching higher is not as easy as realizing how short and shallow I am - though realizing is certainly a necessary first step.
Just as clothing can prove an encumbrance when plunging into deep waters, one must lay himself bare to fathom the depths of love, dependence and vulnerability required to reach the heights of joy available to us.
But is so much safer and easier to stay covered and encumbered, and look at height reflected on the mere surface of the deep than it is to plunge in or rise up.