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I painted this before breakfast this morning. I received an email from Flickr alerting me to someone adding me as a contact. I looked them up and looked at their favorites which were mostly watercolors. I studied them closely and discovered that the ones I liked used wet-in-wet technique and the colors were light, unsaturated and close to the same value. I wondered if I could achieve the same look in ArtRage.
It took a bit of experimenting, but I managed to get something similar. I used a combination of the watercolor brush set with lots of thinner, the airbrush tool, and the flat palette knife to do blending.
A lot of my paintings are like this one - an experiment in technique rather than a finished painting.
I like the foreground. It has the look I was trying to achieve of blended colors with some hard edges.
iPad, ArtRage app, finger.
I've struggled with rendering scenery for my Lego model railway for quite some time. I was initially going to use a hybrid brick/scenic products approach similar to bricktrix's Corfe Castle layout.
In order to avoid raised eyebrows and the ire of the brick purists, I ambitiously attempted to render all of the scenery using brick elements. It was partly an experiment and partly a challenge to see if it could be done. I am mostly pleased with the results; however it has come at great cost (literally). The brick cost of building scenery is easily underestimated. Here is a rough idea of the cost:
1) Baseplates: my layout has the equivalent of 160x 32 sq baseplates. At retail prices this is around $1200
2) Track ballast: my layout has 100s of pieces of track each with 45 additional parts added to render the ballast and tile sleepers/ties. This amounts to around $1000 just for the 220x straight tracks alone.
3) Scenic brick - I don't have a hard number for this, but the amount of green brick and plate elements to render elevation and scenic texture is easily 4 digits price wise.
4) Foliage - at current prices, building trees is very costly--one 6x5 foliage element is around $0.40 each, a tree requires around 20x at least, so its easily around $10 per complete tree.
If I were to ballast the the track with Woodland Scenics O-scale ballast, I'd probably need 2 or 3 containers of ballast at around $13 each--no more than $50 worth. Compare this to $1000.
Building landforms with carved extruded styrofoam and coating with several Woodland scenics products (nothing complex, just a simple uniform grass texture) would amount to much less than $150. It would also yield much better scenic profiles since the cost of the extruded foam board is trivial and I could use it without the anxiety of running out of bricks to make a simple embankment!
When I came across the photos you see above, I had very mixed feelings. In some ways I felt cheated--having "played by the rules" scenery wise--only to see a scenic display from TLG use a hybrid approach. In other ways I felt liberated--"if TLG can do it this way, so can I!" I have a scale model train background, and I am comfortable with rendering beautiful landscapes using the rich assortment of scenic products available. I am now even more tempted to build using a balanced hybrid approach more than ever--it will cost orders of magnitude less $ and in some ways, I feel it has been quasi-sanctioned by TLG (if its good enough for a discovery centre).
I am curious to hear other views on this topic...
Our Daily Challenge ... in a row.
"7 Days of Shooting" "Week #20 - Blue" "Technique Tuesday" Technique used :- a filter with a heart shaped hole and shallow depth of field to produce heart shaped bokeh where the light is catching the shine on the beads.
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
I think you can never built in too many styles. This was really just a tablescrap I built around the weird track the barrel runs in to adjust elevation. It's probably impractical for any application more serious than this one, but I like stuff like that anyway. Plus, it's been ages since I built a tank.
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
Toying with techniques for lighting glass.
The back drop is a blue sheet of foam core. Behind the foam core I placed a medium softbox such that it peeked around both edges and over the top.
The foam core is lit by a 430EX gelled blue.
The softbox is lit with a 580EX.
Both strobes are triggered by pocket wizards.
The wine glass has some rather curious irregularities which become quite apparent with this dramatic light.
a recent technique I've learned is to photograph the sky multiple times and blend the images together while riding in a car. The road blends while keeping the clouds in the background.
As a transvestite I enjoy looking at female clothing styles, make-up techniques, hairstyles and women’s shoes. I am influenced by women who are dressed more formally in suits, tailored shirts, elegant court shoes and wear make-up more formally for their work. One such look I love is the television presenter, they always wear full make-up, have their hair styled nicely and wear elegant stylish clothing.
As I’m a man that enjoys dressing up as a woman I simply cannot resist attempting to create the appearance of such a woman. I am aware we all have our own motivations for cross-dressing. My own approach being I seek to try and pass convincingly as I can, I fail in my aspiration but I endeavour to do my best. My ambition is to be seen as female and nobody is aware I am really a man, what a thrill that would be!
I am guilty of posting a variation on this picture a few months ago but I saw it again this week and this version is a closer portrait shot. I believe that trying to look female facially is the biggest challenge we face as transvestites. It is relatively easy to get the body shape as one can employ techniques such as shaving legs, wearing breast forms and hip shapers and choosing dresses, skirts and heels that are very feminine and flattering. The face though...well, we are stuck with what we have so what can be done?
As a man I have a very dark beard shadow and my normal eyebrow shape is thick and bushy with no real shape at all. For the last ten years I have been plucking my eyebrows to be more shaped and defined and reduce the density of the number of the hairs. Nobody appears to have noticed this. In fact people I’ve not seen for a long time often say I’m somehow looking a bit younger. Never underestimate how much effect a nicely shaped eyebrow can have. I don’t like super thin eyebrows and feel a nice tidy shape is better. My current eyebrow plucking seems to work okay in both male and female modes. I may have them defined a bit more if I’m going to record a video as Helene or planning a photo-shoot.
My method for disguising the fact I’ve plucked a bit neater than usual is I let my beard grow for a few days then I pluck my eyebrows or have them waxed into a neater shape at a salon then I shave off the beard. People just assume I look tidier after the scruffy beard stubble.
I require a lot of foundation make-up to cover my beard shadow as even after an ultra close facial shave the dark shadow is present. I don’t mind wearing heavier make-up as I enjoy make-up and like the effect it has upon my confidence, I feel good and better in make-up. I have a weak looking face for a man which helps my efforts to look like a woman as I have no strong facial features and a weak looking chin. This suits me and I am grateful I’m not very masculine.
The secret to getting make-up to work is placing it wear it works. This maybe to bring out an aspect or to reduce an area so it is less noticeable. Too many people, including many real women, just put make up on without ever considering how to use it to enhance ones features. Transvestites love to put on make-up that often is too much as it all at one level leaving the features one has that would look at their best to be hidden in this dominant all over make-up approach.
One should ensure the whole face looks nice and even and softer so much effort needs to be put into applying foundation properly to achieve this. Once the foundation is complete and looks soft and smooth one should aim to enhance their best feature not go mad and try and enhance everything. In my case I have no real cheekbones to make use of, my lips are not nice being very thin and my top lip virtually non existent. For me I was left with only one facial feature I could make use of and this was my eyes. My eyes are not very nice either so I use make-up to try and rectify that and add a bit more a feminine eye shape.
A common mistake is to put eye-liner right around the whole eye. An effect on most people (Male and female) it makes their eye look smaller. The aim is to open up the eyes and make them more feminine. To this end one needs to lift the eye. As our eyes are set in position an illusion of the lift and feminine shape can be added by making the upper eye and lashes stand out more. In this picture because I don’t have feminine eyelashes I am wearing false eyelashes on my upper eye. To finish the upper eye look I have eye-liner drawn from the inner upper corner out to the edge of my eye. I have also used brown shades of eye-shadow with a lighter brown in the arch of my eyebrow to make it stand out more. I also lightly pencilled my eyebrows to give them more definition.
On my lower eye I have eye-liner drawn on from the outer edge but only two thirds of the away across. the line should be thicker at the outer edge and get very thin at the end. The effect is a more feminine, more open eye that looks softer.
As my lips are not attractive they are played down against the eyes. Soft pink lipstick with lip gloss gives them a presence but helps my eyes stand out more. A bit of softly applied blusher on my undefined cheeks adds a bit of colour and healthiness to my face.
To maintain the look I am aware that shorter wigs look better on my facial shape and so produce a result that is more convincing. I like contemporary short female hair style with the hair not just flat as the wig typically is straight out of the box. This short wig was back combed and fluffed up to add more volume and that contemporary feel. It was the liberally sprayed with hair spray to maintain its shape.
I do not have pierced ears so I chose clip on hoop ear rings which can look quite convincing but be aware, they fall off easily if your hand or hair brush catches them
To completely get into the character I was portraying I chose a fitted trouser suit. This required a genital tuck as the fit was tight, and I wore a bra in which I placed my breast forms. I thin wore a plain fitted lycra t-shirt and donned the suit jacket. I chose a pair of burgundy stiletto pointed court shoes with 4 inch heels and as a final flourish painted my nails with pink nail varnish and dabbed on some perfume.
I was finally Helene the woman! I was now ready to walk on set and do my interview.
I have no real idea if I succeeded in my efforts to create the female look, I put my all into it but when one is a middle aged bald man with a dark beard shadow one cannot quite disguise all of this. It is a delight and real thrill to be a man and dare to attempt becoming a woman. I really enjoyed filming the interview. The interview with with another T-girl and was posted on You Tube for awhile but unfortunately it had to be removed due to a change in her circumstances. It’s not always easy being a transvestite but it certainly is an amazing experience and feels fantastic.
The Witches Tower build techniques. When I make these large builds I usually try to come up with a technique I haven’t seen before or try something I haven’t done before. It helps make these projects more interesting to build and makes bulk ordering parts a lot simpler.
This build I wanted to try messing around with flex tube to get the correct spacing I wanted for the bricks. I did try mixel ball joints and hinges but I quickly realised the price would get expensive quick. Flex tube just ended up being the simpler option and gave me a lot of options to attach things to.
The technique I use for the framing in the rock has been used in all my show displays. It is the best solution I have come up with to help make elevated terrain. It is very strong and light for transport. Its also quick to build and easy to change if need be.
I made a master board for the die-cut snowflakes. I took recycled packaging cardboard, slathered it with paints, sprays, glimmers, embossed papers, gilding, molding paste through stencils, microbeads, etc. etc. etc. It looks like a big old mess until you cut out the shapes. But then you are left with wonderful details and texture.
January 2016
I like the leaves here. The technique is fun, plus it means that the rockwork can be simple and use few parts.
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
A way of attaching a cape via the arms of a minifigure rather than the neck. I am not sure if this technique is mine, so please tell me if it is not. Instructions are provided in this post on Mocpages.
Technique: "Monochrome" effect in photography is a term generally used to describe a photograph in one color or shades of one color. Monochromatic light is light of a single wavelength, though in practice it can refer to light of a narrow wavelength range. A monochromatic object or image is one whose range of colors consists of shades of a single color or hue; monochrome images in neutral colors are also known as grayscale or black-and-white.
As the sun set, I took 229 photos of this spot for a photo challenge I've joined, and in the end I didn't use any of them. I love these Tibetan prayer flags I strung up at the river edge, and the shadow they left on the snow. But somehow none of the photos were quite right for what I wanted. I learned a lot though - and will go back out at sunset on a sunny day and see if I can get what I want. With thanks to Charles Mercer, and Photocoach in Hout Bay South Africa for the challenge !!
A Quick shot While the sunset time, i really love this technique and i`ll do more enshalla :)
let me show you how to do this type of shot :
-you need a tripod. flash and for sure your camera.
-Choose the place and angle.
-Switch off the flash set your apreture f/5.6 or more and take place reading.
-Now, switch on the flash and take the shot, you need to take a few shots and change the shutter speed until you get the right shot.
Rule: In this type of shots, the better the weather the better the image.
Note: In my shot the flash was off the camera, on other stand on the right of the camera .
--------------------------
Location: Kuwait, Bnaider
Camera: Nikon D300
Exposure: 0.1 sec (1/10)
Aperture: f/7.1
Focal Length: 31 mm
ISO Speed: 250
Exposure Bias: 0/6 EV
Flash: Flash fired
Models: ( From right )
1- Me( Fahad Al Nusf )
2-Hamad S Al Shayaa
3-Thamer K Al Hashash
Lens: Nikon 17-55mm f/2.8G ED-IF AF-S DX Nikkor Zoom Lens
Other Details:
-Nikon SB-800 AF Speedlight Flash
-On Tripod
-Timer
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Copyright© Fahad Al Nusf. All rights reserved
I figured out how to non-destructively open up a DUPLO figure. The key is to remove the bar like element. This bar is 2.75L and 3.0mm at the ends but 3.2mm in the middle. You can clip stuff to the middle and poke the ends into Modulex. See the whole writeup at www.dagsbricks.com/2014/07/lego-techniques-duplo-figure-b...
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.
The MLD process involves a light vibratory touch to encourage the lymphatic fluid flow toward the main lymphatic ducts and back into the blood system.
When the flow of lymphatic elements is reduced, the immune system weakens. Lymphatic drainage can help improve the production and flow of antibodies, thus better empowering the immune system and assisting in detoxification and relaxation.
these two men (rabbis i think) where leading the jewish party you see in my video!
Iphone and Ipad, as it should be ;-)
Alright, after weeks of no upload I come up with this... uh.. A rather mediocre picture of studs.
What, studs? Not just any studs... some sort of discussion on another pic got me thinking about
ways to make water in my future MOCs. I was thinking of using something similar to this
(the picture sucks pretty much so it doesn't look so good here, but it has been used in
this 'Last March of the Ents' MOC and some others I've seen) and I started to wonder whether
I should even think of using something like this at all, or perhaps move to something else...
This way of making water would be using lots of loose transparent studs, and maybe
cheese slopes as well. For Helm's Deep, I wanted to use either one of these:
a) just trans clear studs etc. or b) trans clear studs mixed with trans lt. blue.
So I wanted to know if you guys thought of this as a good idea,
or if I should start thinking of something else... this would otherwise also be used for water
and it would look better with some layers of blue colors under it, I suppose.
If you've got a suggestion or an idea for water, feel free to post something... I could go for
something like this in Helm's Deep,
and use the "Derfel Cadarn water" for other things, so to call it.
And yes, that is, or rather was, a Rohirrim...
NOTE: Osgiliath is still being made as of now. Planning to do a preview shot soon,
and I want to start some photography improvements in a bit before I post new MOCs of mine...
Has it been over a year since I last publicly posted an actual MOC, other than figures?!
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Copyright : Philippe Clabots (#PhilippeCPhoto)
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Web Site : photos.philippec.be/
This work by #PhilipppeCPhoto (Philippe Clabots) is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Permissions beyond the scope of this license may be available at photos.philippec.be/.
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Two High is a new font in Swooshable's font directory. Variants have been floating around a long time, but I think the original version can be attributed to William Howard.
You can write with this font using Swooshable's Font Tester. I appreciate any feedback, yay/nay and links, so please let me know if you have any thoughts.
Using NASA's Hubble Space Telescope and a new observing technique, astronomers have found that dark matter forms much smaller clumps than previously known. This result confirms one of the fundamental predictions of the widely accepted "cold dark matter" theory.
All galaxies, according to this theory, form and are embedded within clouds of dark matter. Dark matter itself consists of slow-moving, or “cold,” particles that come together to form structures ranging from hundreds of thousands of times the mass of the Milky Way galaxy to clumps no more massive than the heft of a commercial airplane. (In this context, "cold" refers to the particles' speed.)
The Hubble observation yields new insights into the nature of dark matter and how it behaves. "We made a very compelling observational test for the cold dark matter model and it passes with flying colors," said Tommaso Treu of the University of California, Los Angeles (UCLA), a member of the observing team.
Dark matter is an invisible form of matter that makes up the bulk of the universe's mass and creates the scaffolding upon which galaxies are built. Although astronomers cannot see dark matter, they can detect its presence indirectly by measuring how its gravity affects stars and galaxies. Detecting the smallest dark matter formations by looking for embedded stars can be difficult or impossible, because they contain very few stars.
While dark matter concentrations have been detected around large- and medium-sized galaxies, much smaller clumps of dark matter have not been found until now. In the absence of observational evidence for such small-scale clumps, some researchers have developed alternative theories, including "warm dark matter." This idea suggests that dark matter particles are fast moving, zipping along too quickly to merge and form smaller concentrations. The new observations do not support this scenario, finding that dark matter is "colder" than it would have to be in the warm dark matter alternative theory.
"Dark matter is colder than we knew at smaller scales," said Anna Nierenberg of NASA's Jet Propulsion Laboratory in Pasadena, California, leader of the Hubble survey. "Astronomers have carried out other observational tests of dark matter theories before, but ours provides the strongest evidence yet for the presence of small clumps of cold dark matter. By combining the latest theoretical predictions, statistical tools and new Hubble observations, we now have a much more robust result than was previously possible."
Hunting for dark matter concentrations devoid of stars has proved challenging. The Hubble research team, however, used a technique in which they did not need to look for the gravitational influence of stars as tracers of dark matter. The team targeted eight powerful and distant cosmic "streetlights," called quasars (regions around active black holes that emit enormous amounts of light). The astronomers measured how the light emitted by oxygen and neon gas orbiting each of the quasars' black holes is warped by the gravity of a massive foreground galaxy, which is acting as a magnifying lens.
Using this method, the team uncovered dark matter clumps along the telescope's line of sight to the quasars, as well as in and around the intervening lensing galaxies. The dark matter concentrations detected by Hubble are 1/10,000th to 1/100,000th times the mass of the Milky Way's dark matter halo. Many of these tiny groupings most likely do not contain even small galaxies, and therefore would have been impossible to detect by the traditional method of looking for embedded stars.
The eight quasars and galaxies were aligned so precisely that the warping effect, called gravitational lensing, produced four distorted images of each quasar. The effect is like looking at a funhouse mirror. Such quadruple images of quasars are rare because of the nearly exact alignment needed between the foreground galaxy and background quasar. However, the researchers needed the multiple images to conduct a more detailed analysis.
The presence of the dark matter clumps alters the apparent brightness and position of each distorted quasar image. Astronomers compared these measurements with predictions of how the quasar images would look without the influence of the dark matter. The researchers used the measurements to calculate the masses of the tiny dark matter concentrations. To analyze the data, the researchers also developed elaborate computing programs and intensive reconstruction techniques.
"Imagine that each one of these eight galaxies is a giant magnifying glass," explained team member Daniel Gilman of UCLA. "Small dark matter clumps act as small cracks on the magnifying glass, altering the brightness and position of the four quasar images compared to what you would expect to see if the glass were smooth."
The researchers used Hubble’s Wide Field Camera 3 to capture the near-infrared light from each quasar and disperse it into its component colors for study with spectroscopy. Unique emissions from the background quasars are best seen in infrared light. "Hubble's observations from space allow us to make these measurements in galaxy systems that would not be accessible with the lower resolution of ground-based telescopes—and Earth's atmosphere is opaque to the infrared light we needed to observe," explained team member Simon Birrer of UCLA.
Treu added: "It's incredible that after nearly 30 years of operation, Hubble is enabling cutting-edge views into fundamental physics and the nature of the universe that we didn't even dream of when the telescope was launched."
The gravitational lenses were discovered by sifting through ground-based surveys such as the Sloan Digital Sky Survey and Dark Energy Survey, which provide the most detailed three-dimensional maps of the universe ever made. The quasars are located roughly 10 billion light-years from Earth; the foreground galaxies, about 2 billion light-years.
The number of small structures detected in the study offers more clues about dark matter's nature. "The particle properties of dark matter affect how many clumps form," Nierenberg explained. "That means you can learn about the particle physics of dark matter by counting the number of small clumps."
However, the type of particle that makes up dark matter is still a mystery. "At present, there's no direct evidence in the lab that dark matter particles exist," Birrer said. "Particle physicists would not even talk about dark matter if the cosmologists didn’t say it's there, based on observations of its effects. When we cosmologists talk about dark matter, we're asking 'how does it govern the appearance of the universe, and on what scales?'"
Astronomers will be able to conduct follow-up studies of dark matter using future NASA space telescopes such as the James Webb Space Telescope and the Wide Field Infrared Survey Telescope (WFIRST), both infrared observatories. Webb will be capable of efficiently obtaining these measurements for all known quadruply lensed quasars. WFIRST's sharpness and large field of view will help astronomers make observations of the entire region of space affected by the immense gravitational field of massive galaxies and galaxy clusters. This will help researchers uncover many more of these rare systems.
The team will present its results at the 235th meeting of the American Astronomical Society in Honolulu, Hawaii.
The Hubble Space Telescope is a project of international cooperation between NASA and ESA (European Space Agency). NASA's Goddard Space Flight Center in Greenbelt, Maryland, manages the telescope. The Space Telescope Science Institute (STScI) in Baltimore, Maryland, conducts Hubble science operations. STScI is operated for NASA by the Association of Universities for Research in Astronomy in Washington, D.C.
For more information: www.nasa.gov/feature/goddard/2020/hubble-detects-smallest...
Credits: NASA, ESA, A. Nierenberg (JPL) and T. Treu (UCLA)
Shoulder Length bob razor haircut with layers – Dry haircutting techniques on mid length hair
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alchemists tried making gold by changing the proportions of the Four Elements in the base metals or by attempting to speed up natural growth of lesser metals into gold. Around 100 AD, Egyptian alchemist Maria Prophetissa used mercury and sulfur to try to make gold. Around 300 AD, the alchemist Zosimos, whose recipes often came to him in dreams, was working to transmute copper. “The soul of copper,” he wrote must be purified until it receives the sheen of gold and turns into the royal metal of the Sun." A technique known as "diplosis" (“doubling”) of gold became popular.
Mental retardation (MR) is a generalized disorder appearing before adulthood, characterized by significantly impaired cognitive functioning and deficits in two or more adaptive behaviors. It has historically been defined as an Intelligence Quotient score under 70.[1] Once focused almost entirely on cognition, the definition now includes both a component relating to mental functioning and one relating to individuals' functional skills in their environment. As a result, a person with a below-average intelligence quotient may not be considered mentally retarded. Syndromic mental retardation is intellectual deficits associated with other medical and behavioral signs and symptoms. Non-syndromic mental retardation refers to intellectual deficits that appear without other abnormalities.
The terms used for this condition are subject to a process called the euphemism treadmill. This means that whatever term is chosen for this condition, it eventually becomes perceived as an insult. The terms mental retardation and mentally retarded were invented in the middle of the 20th century to replace the previous set of terms, which were deemed to have become offensive. By the end of the 20th century, these terms themselves have come to be widely seen as disparaging and politically incorrect and in need of replacement.[2] The term intellectual disability or intellectually challenged is now preferred by most advocates in most English-speaking countries. The AAIDD have defined intellectual disability to mean the same thing as mental retardation.[3] Currently, the term mental retardation is used by the World Health Organization in the ICD-10 codes, which has a section titled "Mental Retardation" (codes F70–F79). In the future, the ICD-11 is expected to replace the term mental retardation with intellectual disability, and the DSM-5 is expected to replace it with intellectual developmental disorder.[4][5] Because of its specificity and lack of confusion with other conditions, mental retardation is still sometimes used professional medical settings around the world, such as formal scientific research and health insurance paperwork.
I managed to find Aikido being practiced in Kyoto today, just turned up and it was about to start, jammy as ever! It was amazing to watch them all practicing sword techniques, about 60 people in all, and I got to view it from above!! A real taste of Japan, I was chuffed to bits!!!
This image was produced using a technique called freelensing. This involves simple dismounting your lens and holding it a few millimetres away from your camera. You can then move the lens backwards and forwards to focus and tilt the lens for a tilt-shift type effect.
I've found this technique can work well with a wide variety of lenses from standard modern AF lenses, to classic manual focus lenses, to various weird lenses like 35mm projection lenses.
You images will be very low contrast and hazy because of all the extraneous light that will reach the sensor, but I like this effect. You can use lots of dehire slider in Lightroom to cut through the haze, which tend to introduce quite a bit of false colours, which again, is an effect I quite like.
This image was shot using a ;lens from a Lomo Diana plastic toy camera.
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
I think you can never built in too many styles. This was really just a tablescrap I built around the weird track the barrel runs in to adjust elevation. It's probably impractical for any application more serious than this one, but I like stuff like that anyway. Plus, it's been ages since I built a tank.
From playing around with the new Repair Lift, 30229. See my review here: www.dagsbricks.com/2014/06/set-review-repair-lift-30229.html
Roof technique is from Jaapxaap but with the round web from one of the first spider-man set (I was also inspired by jaapxaap for the colour).
For the wall, I was inspired by Luke Watkins Hutchinson.
For We're Here! who are visiting Books Reviewed.
For my 21st birthday Perry bought me this book.
Perry was someone I met when I first went to college and is someone I love. She was creative, artistic, fun, caring and a unique personality. Val and I shared a flat for a time with Perry and Simon in London. Perry died in a road accident. She was a teacher with young children.
I still think about Perry a lot. She had a big impact on me.
The book is a "sex manual" with drawings and photos that are not really explicit. The title "Sexual Techniques" says it all..
Just one of the speakers tonight
A portrait done for issue 5 of Pomp & Circumstance using only a razor and the ads within the magazine.