View allAll Photos Tagged system.
Taken with a C9.25 telescope and ZWO video camera, stacked with RegiStax. Top image at F/10, bottom 200% enlargement.
GP7 #5730 and GP40-2 #4283 power CG41 northbound (timetable west) at Wheatfield, NY on October 30, 1983. This train is utilizing trackage rights on Conrail's Niagara Falls Branch to make it's way to Canada.(CSS1208c)
All images in this album are renderings.
Select renderings show customs items which would need to be individually quoted by project.
Finish Disclaimer:
No details on finishes can be provided. Finishes on computer screens can appear different than in person. Dealers should order samples through the Dealer Resource Center (DRC) to determine what works best for their needs.
Culprit: www.youtube.com/watch?v=DPxbU68jxSU
LXF: www.brickshelf.com/gallery/Cagerrin/MOCs/LDD/e52mistral.lxf
Kind of a mishmash, there's influence from at least 5 planes in here(guessing game?), mostly I wanted to make a floatplane.
Cleverly borrowing the hands of the TMP mesh body to improve these system body looks.
Left: Peak suit & Dandy shoes by Deadwool
Middle: jacket by Kauna, skinny pants by Gild and sneakers by Deadwool
Right: leather aviator jacket & jeans by Lapoint & Bastchild, boots by Gabriel
This system map is from a report, dated January 19, 1955, detailing elements in support of the Metropolitan Coach Lines' applications (no.35134, no.35151. no.35304, and no. 35407) to motorize the Belllflower, Watts, San Pedro, and Long Beach Rail Lines. The report describes the corporate history of Metropolitan Coach Lines, the obselescence of streetcars, and public interest in the matter.
This item is from a collection of material donated by former employee Ed Vandeventer in 2011. Finding aid for this collection is at the Online Archive of California: www.oac.cdlib.org/findaid/ark:/13030/c89w0d7c/
Exploring the l-system. Tryin' a bunch of axiom & replacement rules.
Made with Processing.
Basic Code:
A train headed by locomotive Sir Walter Raleigh takes a tour of the Bicton Park Botanical Gardens site in Devon.
This small railway opened in Easter 1963. Most of the track and rolling stock came from the Woolwich Arsenal private railway system in East London.
It is 18" Narrow Gauge which was the War Office standard for its factory and munitions railway systems.
The only other 18" railway running in the UK is at Waltam Abbey which has a short section of track, until this opened BIcton was unique.
The ride takes about 25 minutes and is a fun and informative way to see the (Spectacular) Gardens and attractions therein.
The locomotive appears to be a diesel masquerading as a steam engine.
I use this small LED light module "as model" to setup the focus of my Sony A6000 camera in combination with my ArnoSync setup and my manual lenses. Because the Sony A6000 has focus peaking on board, one can turn the focus ring on the lens until the pictures edges are colored deeple red ( bloody ). Look here for an example
The module operates now at a current of 0.3 mA, which produces enough light for my purpose. I use a rechargeble 9 Volt block battery with a proper resistor in series as power supply. This portable light source can be mounted on most surfaces with Velcro or double sided mounting tape.
Engineers prepare Orion's Launch Abort System for the Ascent Abort-2 flight test on July 2, 2019.
Credit: NASA/Rad Sinyak
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More motorcycle images.
driver-photographer.blogspot.de/
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Metro Rail is an urban rail system serving Los Angeles County, California. It consists of six lines, including two rapid transit subway lines (the Red and Purple lines) and four light rail lines (the Blue, Green, Gold and Expo lines) serving 80 stations. It connects with the Metro Liner bus rapid transit system (the Orange Line and Silver Line) and also with the Metrolink commuter rail system. Metro Rail, which has an average daily weekday ridership of 362,904 as of June 2012, is owned and operated by the Los Angeles County Metropolitan Transportation Authority (Metro) and started service in 1990. It has been extended significantly since that time and several further extensions are either in the works or being considered.
The Metro Rail system is the indirect descendant of Pacific Electric Red Car and Los Angeles Railway Yellow Car lines, which operated between the late 19th century and the 1960s.
In Los Angeles Metro terminology, common with most other metro systems, a line is a named service, defined by a route and set of stations served by trains on that route. (The word does not refer to a physical rail corridor, as it does in New York City Subway nomenclature.) Metro Rail lines are named after colors (with the exception of the Expo Line), and these colors are used to distinguish the lines on Metro's maps. Metro also uses colors for its Metro Liner services (which are bus services operating in transitways). Some Metro Rail lines (in particular, the Crenshaw/LAX Line) have no colors assigned to them yet. There is currently a plan to rename all metro rail and BRT lines by letters.
The Red and Purple lines follow a fully underground route (subway), and the Green Line follows a fully elevated route. The Blue, Expo and Gold Line routes run in a mix of environments, including at-grade street running, at-grade ROW, elevated, and underground.
en.wikipedia.org/wiki/Metro_Rail_(Los_Angeles_County)
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
verseo epen permanent hair removal system hairremoval.ganeshasolution.com/laser-hair-removal/verseo...
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some Background:
The Lockheed F-94 Starfire was a first-generation jet aircraft of the United States Air Force. It was developed from the twin-seat Lockheed T-33 Shooting Star in the late 1940s as an all-weather, day/night interceptor, replacing the propeller-driven North American F-82 Twin Mustang in this role. The system was designed to overtake the F-80 in terms of performance, but more so to intercept the new high-level Soviet bombers capable of nuclear attacks on America and her Allies - in particular, the new Tupelov Tu-4. The F-94 was furthermore the first operational USAF fighter equipped with an afterburner and was the first jet-powered all-weather fighter to enter combat during the Korean War in January 1953.
The initial production model, the F-94A, entered operational service in May 1950. Its armament consisted of four 0.50 in (12.7 mm) M3 Browning machine guns mounted in the fuselage with the muzzles exiting under the radome for the APG-33 radar, a derivative from the AN/APG-3, which directed the Convair B-36's tail guns and had a range of up to 20 miles (32 km). Two 165 US Gallon (1,204 litre) drop tanks, as carried by the F-80 and T-33, were carried on the wingtips. Alternatively, these could be replaced by a pair of 1,000 lb (454 kg) bombs under the wings, giving the aircraft a secondary fighter bomber capability. 109 were produced.
The subsequent F-94B, which entered service in January 1951, was outwardly virtually identical to the F-94A. Its Allison J33 turbojet had a number of modifications made, though, which made it a very reliable engine. The pilot was provided with a roomier cockpit and the canopy received a bow frame in the center between the two crew members. A new Instrument Landing System (ILS) was fitted, too, which made operations at night and/or in bad weather much safer. However, this new variant’s punch with just four machine guns remained weak, and, to improve the load of fire, wing-mounted pods with two additional pairs of 0.5” machine guns were introduced – but these hardly improved the interceptor’s effectiveness. 356 of the F-94B were nevertheless built.
The following F-94C was extensively modified and initially designated F-97, but it was ultimately decided just to treat it as a new version of the F-94. USAF interest was lukewarm since aircraft technology had already developed at a fast pace – supersonic performance had already become standard. Lockheed funded development themselves, converting two F-94B airframes to YF-94C prototypes for evaluation with a completely new, much thinner wing, a swept tail surface and a more powerful Pratt & Whitney J48. This was a license-built version of the afterburning Rolls-Royce Tay, which produced a dry thrust of 6,350 pounds-force (28.2 kN) and approximately 8,750 pounds-force (38.9 kN) with afterburning. Instead of machine guns, the proposed new variant was exclusively armed with unguided air-to-air missiles.
Tests were positive and eventually the F-94C was adopted for USAF service, since it was the best interim solution for an all-weather fighter at that time. It still had to rely on Ground Control Interception Radar (GCI) sites to vector the interceptor to intruding aircraft, though.
The F-94C's introduction and the availability of the more effective Northrop F-89C/D Scorpion and the North American F-86D Sabre interceptors led to a quick relegation of the earlier F-94 variants from mid-1954 onwards to second line units and to Air National Guards. By 1955 most of them had already been phased out of USAF service, and some of these relatively young surplus machines were subsequently exported or handed over to friendly nations, too. When sent to the ANG, the F-94As were modified by Lockheed to F-94B standards and then returned to the ANG as B models. They primarily replaced outdated F-80C Shooting Stars and F-51D/H Mustangs.
At that time the USAF was looking for a tactical reconnaissance aircraft, a more effective successor for the RF-80A which had shown its worth and weaknesses during the Korea War. For instance, the plane could not fly at low altitude long enough to perform suitable visual reconnaissance, and its camera equipment was still based on WWII standards. Lockheed saw the opportunity to fill this operational gap with conversions of existing F-94A/B airframes, which had, in most cases, only had clocked few flying hours, primarily at high altitudes where Soviet bombers were expected to lurk, and still a lot of airframe life to offer. This led to another private venture, the RF-94B, auspiciously christened “Stargazer”.
The RF-94B was based on the F-94B interceptor with its J33 engine and the original unswept tail. The F-94B’s wings were retained but received a different leading-edge profile to better cope with operations at low altitude. The interceptor’s nose with the radome and the machine guns underneath was replaced by a new all-metal nose cone, which was more than 3 feet longer than the former radar nose, with windows for several sets of cameras; the wedge-shaped nose cone quickly earned the aircraft the unofficial nickname “Crocodile”.
One camera was looking ahead into flight direction and could be mounted at different angled downward (but not moved during flight), followed by two oblique cameras, looking to the left and the right, and a vertical camera as well as a long-range camera focussed on the horizon, which was behind a round window at port side. An additional, spacious compartment in front of the landing gear well held an innovative Tri-Metrogen horizon-to-horizon view system that consisted of three synchronized cameras. Coupled with a computerized control system based on light, speed, and altitude, it adjusted camera settings to produce pictures with greater delineation.
All cameras could be triggered individually by pilot or a dedicated observer/camera systems operator in the 2nd seat. Talking into a wire recorder, the crew could describe ground movements that might not have appeared in still pictures. A vertical view finder with a periscopic presentation on the cockpit panel was added for the pilot to enhance visual reconnaissance and target identification directly under the aircraft. Using magnesium flares carried under its wings in flash-ejector cartridges, the RF-94B was furthermore able to fly night missions.
The RF-94B was supposed to operate unarmed, but it could still carry a pair of 1.000 lb bombs under its wings or, thanks to added plumbings, an extra pair of drop tanks for ferry flights. The F-94A/B’s machine gun pods as well as the F-94C’s unguided missile launchers could be mounted to the wings, too, making it a viable attack aircraft in a secondary role.
The USAF was highly interested in this update proposal for the outdated interceptors (almost 500 F-94A/Bs had been built) and ordered 100 RF-94B conversions with an option for 100 more – just when a severe (and superior) competitor entered the stage after a lot of development troubles: Republic’s RF-84F Thunderflash reconnaissance version. The first YRF-84F had already been completed in February 1952 and it had an overall slightly better performance than the RF-94B. However, it offered more internal space for reconnaissance systems and was able to carry up to fifteen cameras with the support of many automatized systems, so that it was a single seater. Being largely identical to the F-84F and sharing its technical and logistical infrastructures, the USAF decided on short notice to change its procurement decision and rather adopt the more modern and promising Thunderflash as its standard tactical reconnaissance aircraft. The RF-94B conversion order was reduced to the initial 100 aircraft, and to avoid operational complexity these aircraft were exclusively delivered to Air National Guardss that had experience with the F-94A/B to replace their obsolete RF-80As.
Gradual replacement lasted until 1958, and while the RF-94B’s performance was overall better than the RF-80A’s, it was still disappointing and not the expected tactical intelligence gathering leap forward. The airframe did not cope well with constant low-level operations, and the aircraft’s marginal speed and handling did not ensure its survivability. However, unlike the RF-84F, which suffered from frequent engine problems, the Stargazers’ J33 made them highly reliable platforms – even though the complex Tri-Metrogen device turned out to be capricious, so that it was soon replaced with up to three standard cameras.
For better handling and less drag esp. at low altitude, the F-94B’s large Fletcher type wingtip tanks were frequently replaced with smaller ones with about half capacity. It also became common practice to operate the RF-94Bs with only a crew of one, and from 1960 on the RF-94B was, thanks to its second seat, more and more used as a trainer before pilots mounted more potent reconnaissance aircraft like the RF-101 Voodoo, which eventually replaced the RF-94B in ANG service. The last RF-94B was phased out in 1968, and, unlike the RF-84F, it was not operated by any foreign air force.
General characteristics:
Crew: 2 (but frequently operated by a single pilot)
Length: 43 ft 4 3/4 in (13.25 m)
Wingspan (with tip tanks): 40 ft 9 1/2 in (12.45 m)
Height: 12 ft. 2 (3.73 m)
Wing area: 234' 8" sq ft (29.11 m²)
Empty weight: 10,064 lb (4,570 kg)
Loaded weight: 15,330 lb (6,960 kg)
Max. takeoff weight: 24,184 lb (10,970 kg)
Powerplant:
1× Allison J33-A-33 turbojet, rated at 4,600 lbf (20.4 kN) continuous thrust,
5,400 lbf (24 kN) with water injection and 6,000 lbf (26.6 kN) thrust with afterburner
Performance:
Maximum speed: 630 mph (1,014 km/h) at height and in level flight
Range: 930 mi (813 nmi, 1,500 km) in combat configuration with two drop tanks
Ferry range: 1,457 mi (1,275 nmi, 2,345 km)
Service ceiling: 42,750 ft (14,000 m)
Rate of climb: 6,858 ft/min (34.9 m/s)
Wing loading: 57.4 lb/ft² (384 kg/m²)
Thrust/weight: 0.48
Armament:
No internal guns; 2x 165 US Gallon (1,204 liter) drop tanks on the wing tips and…
2x underwing hardpoints for two additional 165 US Gallon (1,204 liter) ferry tanks
or bombs of up to 1.000 lb (454 kg) caliber each, plus…
2x optional (rarely fitted) pods on the wings’ leading edges with either a pair of 0.5" (12.7 mm)
machine guns or twelve 2.75” (70 mm) Mk 4/Mk 40 Folding-Fin Aerial Rockets each
The kit and its assembly:
This project was originally earmarked as a submission for the 2021 “Reconnaissance & Surveillance” group build at whatifmodellers.com, in the form of a Heller F-94B with a new nose section. The inspiration behind this build was the real-world EF-94C (s/n 50-963): a solitary conversion with a bulbous camera nose. However, the EF-94C was not a reconnaissance aircraft but rather a chase plane/camera ship for the Air Research and Development Command, hence its unusual designation with the suffix “E”, standing for “Exempt” instead of the more appropriate “R” for a dedicated recce aircraft. There also was another EF-94C, but this was a totally different kind of aircraft: an ejection seat testbed.
I had a surplus Heller F-94B kit in The Stash™ and it was built almost completely OOB and did – except for some sinkholes and standard PSR work – not pose any problem. In fact, the old Heller Starfire model is IMHO a pretty good representation of the aircraft. O.K., its age might show, but almost anything you could ask for at 1:72 scale is there, including a decent, detailed cockpit.
The biggest change was the new camera nose, and it was scratched from an unlikely donor part: it consists of a Matchbox B-17G tail gunner station, slimmed down by the gunner station glazing's width at the seam in the middle, and this "sandwich" was furthermore turned upside down. Getting the transitional sections right took lots of PSR, though, and I added some styrene profiles to integrate the new nose into the rest of the hull. It was unintentional, but the new nose profile reminds a lot of a RF-101 recce Voodoo, and there's, with the straight wings, a very F-89ish look to the aircraft now? There's also something F2H-2ish about the outlines?
The large original wing tip tanks were cut off and replaced with smaller alternatives from a Hasegawa A-37. Because it was easy to realize on this kit I lowered the flaps, together with open ventral air brakes. The cockpit was taken OOB, I just modified the work station on the rear seat and replaced the rubber sight protector for the WSO with two screens for a camera operator. Finally, the one-piece cockpit glazing was cut into two parts to present the model with an open canopy.
Painting and markings:
This was a tough decision: either an NMF finish (the natural first choice), an overall light grey anti-corrosive coat of paint, both with relatively colorful unit markings, or camouflage. The USAF’s earlier RF-80As carried a unique scheme in olive drab/neutral grey with a medium waterline, but that would look rather vintage on the F-94. I decided that some tactical camouflage would make most sense on this kind of aircraft and eventually settled for the USAF’s SEA scheme with reduced tactical markings, which – after some field tests and improvisations in Vietnam – became standardized and was officially introduced to USAF aircraft around 1965 as well as to ANG units.
Even though I had already built a camouflaged F-94 some time ago (a Hellenic aircraft in worn SEA colors), I settled for this route. The basic colors (FS 30219, 34227, 34279 and 36622) all came from Humbrol (118, 117, 116 and 28, respectively), and for the pattern I adapted the paint scheme of the USAF’s probably only T-33 in SEA colors: a trainer based on Iceland during the Seventies and available as a markings option in one of the Special Hobby 1:32 T-33 kits. The low waterline received a wavy shape, inspired by an early ANG RF-101 in SEA camouflage I came across in a book. The new SEA scheme was apparently applied with a lot of enthusiasm and properness when it was brand new, but this quickly vaned. As an extra, the wing tip tanks received black anti-glare sections on their inner faces and a black anti-glare panel was added in front of the windscreen - a decal from a T-33 aftermarket sheet. Beyond a black ink wash the model received some subtle panel post-shading, but rather to emphasize surface details than for serious weathering.
The cockpit became very dark grey (Revell 06) while the landing gear wells were kept in zinc chromate green primer (Humbrol 80, Grass Green), with bright red (Humbrol 60, Matt Red) cover interiors and struts and wheels in aluminum (Humbrol 56). The interior of the flaps and the ventral air brakes became red, too.
The decals/markings came from a Special Hobby 1:72 F-86H; there’s a dedicated ANG boxing of the kit that comes with an optional camouflaged aircraft of the NY ANG, the least unit to operate the “Sabre Hog” during the Seventies. Since this 138th TFS formerly operated the F-94A/B, it was a perfect option for the RF-94B! I just used a different Bu. No. code on the fin, taken from a PrintScale A/T-37 set, and most stencils were perocured from the scrap box.
After a final light treatment with graphite around the afterburner for a more metallic shine of the iron metallic (Revell 97) underneath, the kit was sealed with a coat of matt acrylic varnish (Italeri).
A camouflaged F-94 is an unusual sight, but it works very well. The new/longer nose considerably changes the aircraft's profile, and even though the change is massive, the "Crocodile" looks surprisingly plausible, if not believable! And, despite the long nose, the aircraft looks pretty sleek, especially in the air.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
This map shows the correlation between the types of level of land degradation and child mortality. In West Africa there are a higher percentage of child mortality around areas that have higher levels of land degradation.
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: Emmanuelle Bournay, Philippe Rekacewicz
ZL1: Chevrolet Camaro Enters The Realm Of Advanced Performance Technology
2011-02-09
* LSA 6.2L supercharged engine will produce an estimated 550 horsepower (410 kW) and is matched with a six-speed manual transmission with a dual-disc clutch system
* Packed with performance technologies, highlighted by Magnetic Ride Control, and advanced materials – including a vented carbon fiber hood insert. Extensive aerodynamic development designed for high-performance driving
* Development ongoing, targeting launch at the beginning of 2012
CHICAGO – The 2012 Chevrolet Camaro ZL1 debuted today at the Chicago Auto Show. It is the highest-performing Camaro and the most technically advanced car ever developed in its class. The new ZL1 continues the momentum of Camaro, propelling it into an entirely new realm of leading-edge performance technology. It is planned to launch at the beginning of 2012.
Motivated by a supercharged V-8 engine producing an estimated 550 horsepower (410 kW), the Camaro ZL1 will be the fastest Camaro ever offered by Chevrolet. And more than just power, the ZL1 features technologically advanced and highly developed chassis and suspension systems that help it deliver balanced, track-ready handling and braking power to complement its high engine output. Rigorous development of the ZL1 is ongoing, and official estimates of the car's capabilities will be released later in 2011, as testing nears completion.
"Camaro ZL1 is about high-tech performance and design, and is a type of car no one has ever brought to this segment previously," said Rick Scheidt, vice president of Chevrolet marketing. "It's the most technically advanced Camaro ever, so we've chosen a name from the most elite and exclusive Camaro in history."
The ZL1 name is derived from the all-aluminum racing engine of the same name, which was developed in the late 1960s and installed into a handful of regular-production 1969 Camaros. Only 69 were built with the engine, but they've achieved mythical status among enthusiasts, as they represented the pinnacle in Camaro performance – until now. The 2012 ZL1 model is designed to be a major leap forward for the Camaro, bringing a new level of performance capability to the segment.
The central goal of the car's development was creating something new – a Camaro intended to reach optimal lap times on top road-racing circuits and excellent driving dynamics on the street. To achieve that goal, engineers evolved many of the existing Camaro's systems, as well as incorporated new technologies such as electric power steering and Magnetic Ride Control, the world's fastest-reacting suspension system.
Camaro ZL1's design communicates and supports its performance mission. Rather than using decorative elements, ZL1 is visually differentiated from other current Camaro models with elements vital to the car's elevated capabilities.
"Everything about the ZL1's design is directly related to its technology and serious performance, especially aerodynamics," said Ed Welburn, vice president, Global Design. "Our designers' goal was to execute that function-oriented design with beautifully sculpted forms, creating an imposing, powerful persona. Function becomes the aesthetic. The intent is a car that delivers on the attitude it projects."
Major elements of the ZL1's design are a new front fascia and hood with air extractors, designed in tandem to create aerodynamic downforce to aid handling. The car's hood includes a signature center section constructed of carbon fiber and rendered in satin black finish. New rocker panels, wide tires, 20-inch wheels and exhaust tips portray the car's handling and power.
The ZL1 badge appears on the grille, hood and the brake calipers, all key areas portraying the technology within.
Tech overview
Supporting the dynamic track and street performance of the ZL1 is the LSA 6.2L supercharged engine, which will produce an estimated 550 horsepower (410kW) and 550 lb.-ft. of torque (677 Nm), with specific features for the Camaro. Built on GM's legendary all-aluminum, small-block V-8 architecture, the LSA features an intercooled supercharger system, premium heat-resistant aluminum-alloy cylinder heads and other details designed to ensure its exceptional performance is delivered with smoothness and refinement. Components and design elements that contribute to the LSA's performance include:
* Balanced, lightweight reciprocating assembly
* High-strength hypereutectic pistons
* Sixth-generation Eaton supercharger with four-lobe rotors
* Piston oil squirters.
Because the Camaro ZL1 uses electric power steering, the engine does not incorporate a conventional hydraulic power steering pump on its accessory drive system. This enhances performance, because no engine power is used to turn a steering pump pulley.
Camaro ZL1 is a complete high-performance car, not just a Camaro with more power. Key technical highlights include:
Transmission – The high-performance Tremec TR-6060 six-speed manual is matched with the LSA engine. It is the "MG9" version of the transmission, with a higher torque capacity. It is used with a dual-mass flywheel and twin-disc clutch for easy operation and shift smoothness. A new, shorter-throw shifter actuates the gear changes.
Exhaust – ZL1 is equipped with a dual-mode exhaust system, which alters the sound level and character in response to engine rpm. First used on the legendary Corvette, and specifically tuned for Camaro ZL1, the dual-mode exhaust will give the car a signature sound.
Drivetrain – It is revised with a stronger driveshaft and rear axle system, featuring a larger and stronger cast iron differential housing, stronger axles and heavy-duty limited-slip differential. This patent-pending system is designed to ensure that ZL1's tremendous power is delivered smoothly to the ground.
Suspension – The suspension features completely revised tuning and the inclusion of segment-exclusive Magnetic Ride Control. ZL1's Magnetic Ride system will include driver selectable modes (Tour and Sport) tailored for the preferred style of driving. It uses advanced magneto-rheological science to produce shock damping with the highest level of precision, enabling body control optimized for excellent performance in everyday driving as well as track situations. This technology appears on only a small roster of some of the world's finest performance cars. Other chassis elements are redesigned to support the car's high-performance limits. Rear stabilizer bars have drop links repositioned outboard of the control arms. This makes the bars more effective in controlling body roll in turns, with crisp response to driver commands.
Brakes and Steering – Camaro ZL1 features an advanced track-capable braking system, developed in conjunction with experts from Brembo. The large 14.6-inch (370 mm) two-piece front rotors have six-piston calipers; the 14.4-inch (365 mm) rear rotors have four-piston calipers. ZL1 marks the entry of a new electric power steering system to Camaro. It is being developed to ensure precise control and feedback to the driver, with greater variability of effort for high-performance driving.
Exterior – ZL1's signature from the front is the redesigned fascia and aluminum hood with a raised, carbon fiber insert. The fascia includes a front splitter and new vertical fog lamps. The fog lamp area includes air intakes designed for brake cooling. The hood features front-mounted air extractors that direct air precisely over the car. Visually, this center section, in satin black carbon fiber, communicates the car's high-performance intent as a visual contrast to the car's exterior color. Functionally, the air extractor is a key in connecting airflow closely to the bodywork, creating aerodynamic downforce. The carbon fiber center section reduces the mass of the hood. High-intensity discharge (HID) headlamps and fog lamps are standard. The rear of the car includes a diffuser and spoiler, also functional elements that enhance the car's aerodynamics.
Wheels and Tires – New-design, 20-inch forged aluminum wheels, which are lighter than the 20-inch wheels used on the Camaro SS, are used with new Goodyear Supercar F2 ties developed specifically for the ZL1.
Interior – ZL1 is tailored for high-performance driving. The front seats feature microfiber suede inserts. Other enhancements include a redesigned steering wheel, alloy pedals, Head-Up Display with unique performance readouts and the "four-pack" auxiliary gauge system featuring a boost readout.
Production details
All of the Camaro exterior colors will be offered with the ZL1, but black is the only interior color. The unique exterior features are complemented with a black center section on the hood. Inside, the Camaro ZL1 has heated leather seats with microfiber inserts and ZL1 logos embroidered on the front headrests. Microfiber suede is repeated as an accent on the instrument panel, adding a richer look to the interior. The ZL1 will include the same content as the current 2SS package and include the following new or unique features:
* Six-way power driver and passenger seats
* Unique instrument panel and door panel inserts; and ZL1-logo sill plates
* Steering wheel audio controls with Bluetooth capability
* Wireless PDIM and USB-port
* Boston Acoustics premium audio system
* Rear parking assist
* Rear camera system (displayed in the inside rearview mirror).
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Looking straight up a wall with a humoinguous "200" (outlined in black on white) painted on on the wall, advertising the Beaumont Tiles showroom on Grote Street, Adelaide.
Taken with iPhone 4S.
Please feel free to comment or critique this image as I am somewhat ambivalent about it. On the one hand I went to a lot of trouble to get the rings almost but not quite disappearing into the plasma light, which is good. On the other hand I got this base without the metalic look and with too much yellow glow. I suppose the answer is to save a second version in metallic color and blend it into this one.
I will beat the fucking system with my egg-beater.
(Or with my super-swollen foot.)
Stuttgart, 06/08