For your Art only, not for Sale on a Collage Sheet or a CD

***Please, feel free to use my Textures, Backgrounds, Stock, etc., in your Artwork.

If you do use them, I would love it if you would please post your work in my group, Ruby's Treasures.

  

...Please DO NOT redistribute as your own...

 

See all my Premade Backgrounds~ Here

Using a combination of a bare 580EXII (flash#1) and a Vivitar 285HV (flash#2) with a shoot through umbrella on a tripod when needed placed where needed in each of these shots (read below).

 

#1 behind the couple #2 immediately left of camera.

Using box pleating instead of my normal circle packing made it easier to arrange the flaps considering this flower has radial symmetry with six petals and six stamens. It was also easier to make sure that all the features are uniform - they all come from the interior of the paper with none on the edges or corners, giving everything equal thicknesses.

A bird does not sing because it has an answer. It sings because it has a song. ~Chinese Proverb~

The Above shot was taken using a Nikon D 5100 on scene setting for Snow and bright light ...

this little guy flew right up to me ..

took four other shots using this mode just testing the whiteness of the snow and light .....love the sitting

  

Rebeak123

 

“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”

  

So please don't **Please don't use this image on websites, blogs or other media without my explicit permission. ©...

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Thank You to all that comment and fave and help me grow here on Flickr

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© All my images are copyrighted.

If you intend to use any of my pictures, for any usage, you need written permission of the author first.

 

Image Details

 

Camera........: Canon 5D Mark III

Lens..............: Canon EF70-200mm f/2.8L IS II USM @ 100mm/f5.0

ISO Speed....: 3200

Exposure.....: 1/60s in Raw

Resolution....: 5675x3762

 

Technical details

 

Processed twice with Adobe Camera Raw and blended together.

High pass sharpening.

 

About

 

One of the domes of Saint-Peter's Basilica.

 

Jesus Christ preached lack of possessions and modesty, I'm afraid someone was seriously misunderstood.

 

Apart from the nice messages of peace and love and everything else it is very easy to prove that an all mighty God is a logical impossibility, the proof is one short sentence:

An all mighty God is unable to create something he can not destroy.

 

When we deny the proof above, there is another ethical stance : An all mighty, all knowing God is an accomplice to every single crime ever committed.

In any system of law based on ethics and not on religion such a 'person' would be jailed for life or better still get the death penalty.

 

The conclusion is that religion is the biggest irony of all, thy will know the truth and the truth will set you free, LOL, you die and you know nothing anymore.

Religion is the pinnacle of wishful thinking, the pinnacle of an empty promise.

If you need religion to be a good person, you're a sad person indeed.

 

Music

 

Pink Floyd - Comfortably Numb.

 

° My photoshop tutorial on Layers, Masks, Selections & Channels.

° Channel mixer tutorial to remove lens flare spots.

° Vertorama stitching

° High pass sharpening.

° My portfolio on fluidr

 

You

 

All tips, tricks & criticism and honest opinions are highly appreciated.

 

The fine art of baloney detection, by Carl Sagan

Using new Krate Kradle innovations. You buy, yeah?

I was using the fuji X-Pro 1 for a while with the 35mm 1.4 then sold it.

 

Then i missed it so much i looked into getting a Leica but bank so not so keen!

After looking around on the internet for a manual lens i could get the same usage as a Leica on the XPro i found the Jackar 34mm 1.8....

 

When i got the lens i was shocked how well made it was. A heavy smooth aperture and focus. When the lens is wide open the bokeh is nice! Sharp on the centre and it fades out to the corners kind of like an old lens when shooting film.

 

There seems to be an added bonus of Jackar and thats the meta data tells me the aperture is shooting at f1.0!!

The focus seems to look like a f1.0 as its hard to get it spot on.. but when it is its great!

 

Anyone looking for a very cheap £70 lens to shoot manually at 50mm its a gem;)

  

A personal fav of mine from the trip

(C) Photograph copyright 2009 Ivan Safyan Abrams. All rights reserved.

 

NRV "Alliance" is a TV star! National Geographic Channel's "Ghost Ships of the Black Sea" documented the underwater archeological expedition led by Dr. Ballard, and has been broadcast worldwide. This ship is featured prominently in the production.

 

From ScienceDaily (Aug. 16, 2007):

 

"Using a novel underwater robot, University of Delaware marine scientists will help reveal the mysteries of the Black Sea's geology and maritime history, including ages-old shipwrecks, during an international expedition that is now underway.

 

The Institute for Exploration and the Institute for Archaeological Oceanography at the University of Rhode Island's Graduate School of Oceanography are leading the mission, which will conduct geological and archaeological research in the Aegean and Black Seas--waterways that have served as major trade routes for centuries.

 

Robert Ballard, professor of oceanography at the University of Rhode Island, and president of the Institute for Exploration, is the principal investigator on the research cruise, which will include a multidisciplinary team of scientists from several nations.

 

“This is a truly exciting expedition that will shed light on important geological features in the Mediterranean while also uncovering vital information about ancient trade routes and the maritime history of the Black Sea,” Ballard said.

 

Perhaps best known for locating the sunken ocean liner Titanic in 1985, Ballard has received numerous honors for scientific research and public education. He was awarded an honorary doctor of science degree by UD in 2001.

 

Last year, in partnership with the Department of Underwater Heritage in Ukraine, Ballard's research team located numerous shipwrecks in the Black Sea, including a vessel from the Byzantine period that will be revisited and explored during this expedition.

 

The research vessel NRV Alliance will serve as the scientists' home, lab and the platform from which remotely operated vehicles with high-definition cameras will be deployed to provide high-resolution images of the deep.

 

From the Ukrainian research vessel Flamingo, Art Trembanis, UD assistant professor of marine and Earth studies, and graduate students Adam Skarke and Stephanie Nebel, together with colleagues from the Center for Coastal and Ocean Mapping at the University of New Hampshire and Ballard's own team, will operate the autonomous underwater vehicle (AUV) DOERRI (pronounced “Dory”), which stands for “Delaware Oceanographic and Environmental Research Remote Instrument.”

 

“My students and I are tremendously honored to be participating in this unprecedented project,” Trembanis said. “We are working with a real pioneer in the field of ocean exploration--a hero and mentor to an entire generation of marine scientists, myself included,” he noted.

 

The 83-inch-long, 240-pound DOERRI, which Trembanis designed, will map the seafloor of the Black Sea off Sevastopol, Ukraine, on missions up to 14 hours long and to depths of approximately 200 meters (656 feet).

 

“As a child, I remember waking up early on Saturday mornings not to watch cartoons, but to catch the latest National Geographic Explorer episode that Dr. Ballard might be hosting, and now I find myself fulfilling a childhood dream to work alongside Dr. Ballard and his expert team of researchers. It is truly exciting,” Trembanis said.

 

The DOERRI carries a sophisticated sensor system including devices to measure salinity, temperature and oxygen levels and two types of advanced sonar systems for mapping the seafloor. Multiple computers and safety features work in tandem to keep the systems operating, and to safely return the vehicle back to the ship at the end of each day.

 

In many ways, DOERRI may serve as the scientists' “agent into the unknown” much like the AUV's namesake, the cartoon fish “Dory,” did in the Disney film Finding Nemo.

 

“Just like her eponymous namesake, we hope that DOERRI will be a finder of lost things,” Trembanis said. “We hope DOERRI will provide unrivaled data that will allow us to discover very ancient shipwrecks, previously unknown, on the Black Sea floor,” he noted. “Along the way, DOERRI will also give us new insights into the dynamics of dissolved oxygen and internal waves that help to shape and mold the seafloor.”

 

Shipwrecks in the Black Sea often are remarkably well-preserved due to the waterway's chemistry. Nearly 90 percent of the Black Sea is a no-oxygen “dead zone,” where only a few bacteria live.

 

“At depths beyond 150 meters, the Black Sea is not unlike a giant natural bell jar from which life-supporting oxygen has been entirely removed,” Trembanis said.

 

A major advantage of AUVs like DOERRI, Trembanis said, is that they allow researchers to literally become more immersed in the marine environment.

 

“By severing the cord to the surface, we become more a part of the environment we are studying because we can approach things just as a curious fish might do,” Trembanis said. “In real terms, the AUV provides capabilities to get below the influence of surface conditions and get closer to the features on the seafloor we wish to study without actually touching or disturbing anything around us. Furthermore, we can ask the robot to do critical but perhaps monotonous tasks over and over again--tasks that give us great scientific data, but tasks that would seem boring to human operators.”

 

Locally, DOERRI has been used in a variety of research in Delaware's coastal waters, including nearshore areas of Delaware Bay and the Atlantic Ocean and in Delaware's Inland Bays.

 

While this will be the DOERRI's farthest trip from home so far, it likely will not be its last. Trembanis said the leading-edge robot already is scheduled for another international mission, to explore the coral reefs off Bonaire, early next year.

 

The expedition is supported by NOAA's Office of Ocean Exploration, the Office of Naval Research and the Richard Lounsbery Foundation. Participating institutions include the French Research Institute for Exploitation of the Sea, University of Texas, Institute for Classical Archaeology, Naval Meteorological and Oceanography Command, University of Delaware, University of Massachusetts at Boston, University of New Hampshire and Woods Hole Oceanographic Institution."

 

and, from NATO's website:

 

"The NATO Research Vessel ALLIANCE is one of the most capable undersea research platforms at sea today and possibly the most quietest motor vessel afloat. She is unique in being one of only two ships owned jointly by member nations of the North Atlantic Treaty Organisation. NRV ALLIANCE has the status of a public vessel of the Federal Republic of Germany and flies the German republic flag. The vessel is assigned to the NATO Undersea Research Centre under the Allied Command Transformation, located at La Spezia, Italy.

 

ALLIANCE enables scientists from the Centre to conduct a wide range of experiments in all the oceans of importance to NATO. Particular care has been taken to minimise the noise generated by the ship in order to reduce interference with the environmental measurements and acoustic experiments which form an important basis for Centre research. The vessel has been designed for eight different noise states, the quietest one operating on batteries. An auxiliary gas turbine generator provides the lowest noise propulsion option, leading up to the full complement of diesel electric generators allowing the vessel to tow twenty tonnes at twelve knots. The gas turbine and diesel electric generators are mounted on individual vibration isolating rafts and enclosed within acoustic booths to reduce hull and airborne noise transmission.

 

ALLIANCE has 400 m² of open deck working area as well as 370 m² of enclosed laboratory spaces. There is an additional 500 m³ of scientific storage. The vessel is equipped with an extensive suite of winches and other deck handling gear for deploying and towing systems and instrumentation needed for acoustic and oceanographic research. A sophisticated Windows based integrated navigation system, which utilizes DGPS, includes the ARCS (electronic chart system) and ensures that the ship's position is logged with great precision to provide precise time tagged navigation strings to other fixed vessel sensors such as the Swathe Mapping System and the Acoustic Doppler Current Profiler.

 

ALLIANCE is operated by a commercial ship manager. When not engaged in NATO research, the vessel is available for charter to NATO nations and international organisations with NATO nation membership."

I used to make custom motorcycle speedometer faces, (Alien Faces) and this is one that I made for a customer. (These were high resolution printed inserts that was placed OVER your original speedometer face)

He had a WWII P-51 Mustang airplane theme and wanted something fit the theme.

 

We talked about it in e-mail and came up with this, he just had a vague idea as to what he wanted.

 

His motorcycle had a custom paint job on it that had bullet holes and some intentional paint wear, rust, damage, exhaust smudge etc. So, that is what he wanted to continue on this.

 

I know that those with a sharp eye will see that the two gauges have (digitally painted) glass over them. The inner face has broken (digitally painted) glass over it too, AND, not just that, but there was some REAL glass over these. :)

So, that part, while hokey, he loved it, and we both knew it was WAY over the top, but he wanted it that way, so...

 

Also, in real life if those bullet holes were from a German plane, the holes would be larger, so practically NONE of what you see is realistic. (These are .22 caliber size)

 

In my mind I designed this to be like an old plane that was in a plane boneyard and was rusting for years and he came along and saved it. That was how I looked at it, and realism is what I aimed for, although, nothing was realistic in 'real life'. :)

I learned how to do rust, and age things while making this.

 

This was all done in Photoshop after looking online at how planes (especially P-51's) gauges looked. Actually, I couldn't find one, so I looked at other plane gauges and just went with it.

 

He was ex-Air Force so he had to have the Air Force star, and he also wanted the small type in small print about, "War Bird", his bike. (See circular print in the inner ring)

He won some contests with his bike, I saw it in a magazine once.

I did several that were in magazines actually, I had a really good business while it lasted.

(Another guy saw this and wanted one for his bike and he had been a Tomcat pilot, so I made him one for that, I had several pilots actually)

 

Anyway, yeah, it's not realistic, but you just have to open your mind, or, have a shot of tequila, whichever. :)

 

Using the ladder crossing to access the Up Slow, Colas Rail Class 66 66846 was negotiating Farington Junction with the 12.58 Carlisle Yard to Chirk Kronospan logs (6J37) on March 31st 2021.

Has being active on the streets again !

The Supermarine Spitfire is a British single-seat fighter aircraft that was used by the Royal Air Force and many other Allied countries during and after the Second World War. The Spitfire was built in many variants, using several wing configurations, and was produced in greater numbers than any other British aircraft. It was also the only British fighter to be in continuous production throughout the war. The Spitfire continues to be a popular aircraft, with approximately 55 Spitfires being airworthy, while many more are static exhibits in aviation museums all over the world.

 

The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works (which operated as a subsidiary of Vickers-Armstrong from 1928). In accordance with its role as an interceptor, Mitchell designed the Spitfire's distinctive elliptical wing to have the thinnest possible cross-section; this thin wing enabled the Spitfire to have a higher top speed than several contemporary fighters, including the Hawker Hurricane. Mitchell continued to refine the design until his death from cancer in 1937, whereupon his colleague Joseph Smith took over as chief designer, overseeing the development of the Spitfire through its multitude of variants.

 

During the Battle of Britain (July–October 1940), the Spitfire was perceived by the public to be the RAF fighter, though the more numerous Hawker Hurricane shouldered a greater proportion of the burden against the Luftwaffe. However, because of its higher performance, Spitfire units had a lower attrition rate and a higher victory-to-loss ratio than those flying Hurricanes.

 

After the Battle of Britain, the Spitfire superseded the Hurricane to become the backbone of RAF Fighter Command, and saw action in the European, Mediterranean, Pacific and the South-East Asian theatres. Much loved by its pilots, the Spitfire served in several roles, including interceptor, photo-reconnaissance, fighter-bomber and trainer, and it continued to serve in these roles until the 1950s. The Seafire was a carrier-based adaptation of the Spitfire which served in the Fleet Air Arm from 1942 through to the mid-1950s. Although the original airframe was designed to be powered by a Rolls-Royce Merlin engine producing 1,030 hp (768 kW), it was strong enough and adaptable enough to use increasingly powerful Merlin and, in later marks, Rolls-Royce Griffon engines producing up to 2,340 hp (1,745 kW); as a consequence of this the Spitfire's performance and capabilities improved, sometimes dramatically, over the course of its life.

 

Mk V (Types 331, 349 & 352)

 

Spitfire LF.Mk VB, BL479, flown by Group Captain M.W.S Robinson, station commander of RAF Northolt, August 1943. This Spitfire has the wide bladed Rotol propeller, the internal armoured windscreen and "clipped" wings.

Late in 1940, the RAF predicted that the advent of the pressurised Junkers Ju 86P bomber series over Britain would be the start of a new sustained high altitude bombing offensive by the Luftwaffe, in which case development was put in hand for a pressurised version of the Spitfire, with a new version of the Merlin (the Mk VI). It would take some time to develop the new fighter and an emergency stop-gap measure was needed as soon as possible: this was the Mk V.

 

The basic Mk V was a Mk I with the Merlin 45 series engine. This engine delivered 1,440 hp (1,074 kW) at take-off, and incorporated a new single-speed single-stage supercharger design. Improvements to the carburettor also allowed the Spitfire to use zero gravity manoeuvres without any problems with fuel flow. Several Mk I and Mk II airframes were converted to Mk V standard by Supermarine and started equipping fighter units from early 1941. The majority of the Mk Vs were built at Castle Bromwich.

 

The VB became the main production version of the Mark Vs. Along with the new Merlin 45 series the B wing was fitted as standard. As production progressed changes were incorporated, some of which became standard on all later Spitfires. Production started with several Mk IBs which were converted to Mk VBs by Supermarine. Starting in early 1941 the round section exhaust stacks were changed to a "fishtail" type, marginally increasing exhaust thrust. Some late production VBs and VCs were fitted with six shorter exhaust stacks per side, similar to those of Spitfire IXs and Seafire IIIs; this was originally stipulated as applying specifically to VB(trop)s. After some initial problems with the original Mk I size oil coolers, a bigger oil cooler was fitted under the port wing; this could be recognised by a deeper housing with a circular entry. From mid-1941 alloy covered ailerons became a universal fitting.

 

Spitfire VC(trop), fitted with Vokes filters and "disc" wheels, of 417 Squadron RCAF in Tunisia in 1943.

A constant flow of modifications were made as production progressed. A "blown" cockpit hood, manufactured by Malcolm, was introduced in an effort to further increase the pilot's head-room and visibility. Many mid to late production VBs - and all VCs - used the modified, improved windscreen assembly with the integral bullet resistant centre panel and flat side screens introduced with the Mk III. Because the rear frame of this windscreen was taller than that of the earlier model the cockpit hoods were not interchangeable and could be distinguished by the wider rear framing on the hood used with the late-style windscreen.

 

Different propeller types were fitted, according to where the Spitfire V was built: Supermarine and Westland manufactured VBs and VCs used 10 ft 9 in (3.28 m) diameter, 3 bladed de Havilland constant speed units, with narrow metal blades, while Castle Bromwich manufactured VBs and VCs were fitted with a wide bladed Rotol constant speed propeller of either 10 ft 9 in (3.28 m) diameter, with metal blades, or (on late production Spitfires) 10 ft 3 in (3.12 m) diameter, with broader, "Jablo" (compressed wood) blades. The Rotol spinners were longer and more pointed than the de Havilland leading to a 3.5 in (8.9 cm) increase in overall length. The Rotol propellers allowed a modest speed increase over 20,000 ft (6,100 m) and an increase in the service ceiling. A large number of Spitfire VBs were fitted with "gun heater intensifier" systems on the exhaust stacks. These piped additional heated air into the gun bays. There was a short tubular intake on the front of the first stack and a narrow pipe led into the engine cowling from the rear exhaust.

 

The VB series were the first Spitfires able to carry a range of specially designed "slipper" drop tanks which were fitted underneath the wing centre-section. Small hooks were fitted, just forward of the inboard flaps: when the tank was released these hooks caught the trailing edge of the tank, swinging it clear of the fuselage.

 

With the advent of the superb Focke Wulf Fw 190 in August 1941 the Spitfire was for the first time truly outclassed, hastening the development of the "interim" Mk IX. In an effort to counter this threat, especially at lower altitudes, the VB was the first production version of the Spitfire to use "clipped" wingtips as an option, reducing the wingspan to 32 ft 2 in (9.8 m).The clipped wings increased the roll rate and airspeed at lower altitudes. Several different versions of the Merlin 45/50 family were used, including the Merlin 45M which had a smaller "cropped" supercharger impeller and boost increased to +18 lb. This engine produced 1,585 hp (1,182 kW) at 2,750 ft (838 m), increasing the L.F VB's maximum rate of climb to 4720 ft/min (21.6 m/s) at 2,000 ft (610 m).

 

VB Trop of 40 Squadron SAAF fitted with the "streamlined" version of the Aboukir filter, a broad-bladed, 10 ft 3 in (3.12 m) diameter Rotol propeller, and clipped wings.

The Mk VB(trop) (or type 352) could be identified by the large Vokes air filter fitted under the nose; the reduced speed of the air to the supercharger had a detrimental effect on the performance of the aircraft, reducing the top speed by 8 mph (13 km/h) and the climb rate by 600 ft/min (3.04 m/s), but the decreased performance was considered acceptable. This variant was also fitted with a larger oil tank and desert survival gear behind the pilot's seat. A new "desert" camouflage scheme was applied. Many VB(trop)s were modified by 103 MU (Maintenance Unit-RAF depots in which factory fresh aircraft were brought up to service standards before being delivered to squadrons) at Aboukir, Egypt by replacing the Vokes filter with locally manufactured "Aboukir" filters, which were lighter and more streamlined. Two designs of these filters can be identified in photos: one had a bulky, squared off filter housing while the other was more streamlined. These aircraft were usually fitted with the wide blade Rotol propeller and clipped wings.

 

Triumph Spitfire Mk I Roadster

 

The Triumph Spitfire is a small English two-seat sports car, introduced at the London Motor Show in 1962.[3] The vehicle was based on a design produced for Standard-Triumph in 1957 by Italian designer Giovanni Michelotti. The platform for the car was largely based upon the chassis, engine, and running gear of the Triumph Herald saloon, and was manufactured at the Standard-Triumph works at Canley, in Coventry. As was typical for cars of this era, the bodywork was fitted onto a separate structural chassis, but for the Spitfire, which was designed as an open top or convertible sports car from the outset, the ladder chassis was reinforced for additional rigidity by the use of structural components within the bodywork. The Spitfire was provided with a manual hood for weather protection, the design improving to a folding hood for later models. Factory-manufactured hard-tops were also available.

 

The Triumph Spitfire was originally devised by Standard-Triumph to compete in the small sports car market that had opened up with the introduction of the Austin-Healey Sprite. The Sprite had used the basic drive train of the Austin A30/35 in a light body to make up a budget sports car; Triumph's idea was to use the mechanicals from their small saloon, the Herald, to underpin the new project. Triumph had one advantage, however; where the Austin A30 range was of unitary construction, the Herald featured a separate chassis. It was Triumph's intention to cut that chassis down and clothe it in a sports body, saving the costs of developing a completely new chassis / body unit.

 

Italian designer Michelotti—who had already penned the Herald—was commissioned for the new project, and came up with a traditional, swooping body. Wind-up windows were provided (in contrast to the Sprite/Midget, which still featured sidescreens, also called curtains, at that time), as well as a single-piece front end which tilted forwards to offer unrivaled access to the engine. At the dawn of the 1960s, however, Standard-Triumph was in deep financial trouble, and unable to put the new car into production; it was not until the company was taken over by the Leyland organization funds became available and the car was launched. Leyland officials, taking stock of their new acquisition, found Michelotti's prototype hiding under a dust sheet in a corner of the factory and rapidly approved it for production.

 

Spitfire 4 or Mark I (1962-1964)

 

Overview:

Production1962–1964

45,753 made

Powertrain:

Engine1,147 cc (1.1 l) I4

Transmission4-speed manual with optional overdrive on top and third from 1963 onwards

Dimensions:

Curb weight1,568 lb (711 kg) (unladen U.K.-spec)

 

The production car changed little from the prototype, although the full-width rear bumper was dropped in favour of two part-bumpers curving round each corner, with overriders. Mechanicals were basically stock Herald. The engine was an 1,147 cc (1.1 l) 4-cylinder with a pushrod OHV cylinder head and 2 valves per cylinder, mildly tuned for the Spitfire, fed by twin SU carburettors. Also from the Herald came the rack and pinion steering and coil-and-wishbone front suspension up front, and at the rear a single transverse-leaf swing axle arrangement. This ended up being the most controversial part of the car: it was known to "tuck in" and cause violent over steer if pushed too hard, even in the staid Herald. In the sportier Spitfire (and later the 6-cylinder Triumph GT6 and Triumph Vitesse) it led to severe criticism. The body was bolted to a much-modified Herald chassis, the outer rails and the rear outriggers having been removed; little of the original Herald chassis design was left, and the Spitfire used structural outer sills to stiffen its body tub.

 

The Spitfire was an inexpensive small sports car and as such had very basic trim, including rubber mats and a large plastic steering wheel. These early cars were referred to both as "Triumph Spitfire Mark I" and "Spitfire 4", not to be confused with the later Spitfire Mark IV.

 

In UK specification the in-line four produced 63 bhp (47 kW) at 5750 rpm, and 67 lb·ft (91 N·m)of torque at 3500 rpm. This gave a top speed of 92 mph (148 km/h), and would achieve 0 to 60 mph (97 km/h) in 17.3 seconds. Average fuel consumption was 31mpg.

 

For 1964 an overdrive option was added to the 4-speed manual gearbox to give more relaxed cruising. Wire wheels and a hard top were also available.

 

Text regarding the Supermarine Spitfire aeroplane and Triumph Spitfire Roadster has been taken from excerpts of Wikipedia articles on each model.

 

The Supermarine Spitfire Mk VB aircraft and 1962 Triumph Spitfire Mk I road car have been modelled in Lego miniland-scale for Flickr LUGNuts' 79th Build Challenge, - 'LUGNuts goes Wingnuts, ' - featuring automotive vehicles named after, inspired by, or with some relationship to aircraft.

Used a Rogue Flash Bender as a snoot and a black backdrop.

randomly pieced using hand dyed cotton in 2007. I no longer make these because I don't love them. These days I make more traditional quilts using commercial fabrics. Read more on my blog stitchesinplay.typepad.com/stitches_in_play/

Use with caution!

Soles of Hunters, some marks of wearing

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.

= = = = = = = = = = = = = = = = = = = = = = = = = = = =

Francisco Aragão © 2015. All Rights Reserved.

Use without permission is illegal.

= = = = = = = = = = = = = = = = = = = = = = = = = = = =[fasub]

 

Portuguese

Canela é um município brasileiro do estado do Rio Grande do Sul. Faz divisa com a cidade de Gramado. A cidade é conhecida por atrações turísticas como a Cascata do Caracol, o Parque da Ferradura e a Catedral de Pedra.

História

A Serra Gaúcha foi habitada, antigamente, pelos índios caingangues. Nos séculos XVIII e XIX, estes foram desalojados violentamente por ação de matadores de indígenas, os chamados "bugreiros". Estes foram contratados, pelo governo imperial brasileiro, para abrir espaço para a instalação de imigrantes europeus na região, visando a uma "embranquecimento" da população brasileira, que, na época, era predominantemente negra ou mestiça6 . Ao mesmo tempo, a região era desbravada por descendentes de açorianos, os chamados "tropeiros", que utilizavam a região para o descanso do gado.

Um dos mais importantes destinos turísticos do Rio Grande do Sul, a cidade de Canela teve seu primeiro núcleo urbano formado em 1903, quando o coronel João Ferreira Corrêa da Silva se instalou no local. Foi sob sua organização que se construiu a estrada para Taquara, de cujo território Canela fazia parte, e se instituíram os principais serviços. A principal praça de Canela recebeu o nome em homenagem a esse desbravador. O clima saudável e as belezas naturais deram sustentação à procura da cidade como centro de veraneio desde os anos 1930 e especialmente a partir dos 1940.

Foi nessa época também que surgiu o movimento emancipacionista liderado por Pedro Sander, Nagibe da Rosa, Danton Corrêa da Silva, Attilio Zugno e Pedro Oscar Selbach. Em 28 de dezembro de 1944, a Lei Estadual 717 criou o município, que foi instalado quatro dias depois em 1º de janeiro de 1945. A estrada de ferro e as usinas de Canastra e Bugres colaboraram para consolidar a importância de Canela.

 

English

Canela, meaning Cinnamon in Portuguese and Spanish, is a town located in the Serra Gaúcha of Rio Grande do Sul, Brazil. Both Canela and neighboring Gramado are important tourist resorts and they both draw many visitors each year. Ecotourism is very popular in the area and there are many opportunities for hiking, rock climbing, horseback riding and river rafting. The main tourist attraction in Canela is the Parque do Caracol, the Cathedral of Stone, and Caracol Falls (Cascata do Caracol). Like sister town Gramado, Canela is a large tourist draw during the winter, where snowfall can occur, and during the Christmas holiday and the local town council deck Canela with lights and other festive decorations. Canela is part of the Rota Romântica or Romantic Route, a scenic bypass.

 

Spanish

Canela es un municipio localizado en el estado de Río Grande del Sur. Separado de Gramado por el Valle del Quilombo, conforma junto con su ciudad vecina el polo turístico más importante de Río Grande del Sur y uno de los más concurridos del país. Su nombre se debe a la presencia de la "caneleira", un árbol típico de la región.

La ciudad es famosa como base para practicar actividades ecoturísticas.

Entre sus muchos puntos turísticos se destacan el Parque Estatal del Caracol, con la famosa cascada del mismo nombre (cascada del Caracol, de 131 metros de caída) y el parque da Ferradura.

La ciudad alberga una de las más importantes catedrales de la región, cuya patrona es Nuestra Señora de Lourdes. Localmente, se la conoce como "Iglesia de piedra", pues fue realizada en basalto en estilo gótico inglés.

Otro monumento destacable es el "Castillito", una casa de principios del siglo XX construida en estilo típico europeo. En sus instalaciones funciona un museo y una confitería donde se sirve Apfelstrudel acompañado de té de manzanilla.

 

German

Canela ist eine Stadt in Rio Grande do Sul im Süden Brasiliens. Der Ort mit ca 40.000 Einwohnern wurde zu Beginn des 20. Jahrhunderts gegründet und am 28. Dezember 1944 eigenständig. Er liegt auf einer Höhe von 837 Metern in der Serra Gaúcha in der Region der Hortensien. Das Gemeindegebiet grenzt an Três Coroas (im Süden), Gramado (im Südwesten), Caxias do Sul (im Nordwesten) und São Francisco de Paula (im Nordosten). Canela liegt 123 km nördlich der Hauptstadt Porto Alegre (84 km Luftlinie).

Der deutsch, italienisch und portugiesisch geprägte Stadtkern mit seiner Kathedrale stammt aus dem frühen 20. Jahrhundert.

Canela hat ein subtropisches durch die Höhenlage relativ kühles und feuchtes Klima. Im Sommer wird es durchschnittlich 28 °C, im Winter 6 °C. Es gibt gelegentlich Frost und Schnee. Die Stadt lockt sowohl im Sommer als auch bei Schneefall viele Touristen an, meist Brasilianer, und ist touristisch sehr gut erschlossen. Besonders die beiden Naturparks Ferradura und Caracol, dessen größte Attraktion ein Wasserfall ist, sind bei Besuchern sehr beliebt. Die ursprüngliche Vegetation ist Araukarienwald und Mata Atlântica in den tieferen Lagen.

Die landwirtschaftliche Produktion ist geprägt durch Mais, Äpfel, Bohnen, Wein, Reis, Maté, Schweine, Rinder und Hühner.

Der Ort liegt an der Rota Romântica, einer landschaftlich schönen Strecke, welche neben Canela noch São Leopoldo, Novo Hamburgo, Estância Velha, Ivoti, Dois Irmãos, Morro Reuter, Santa Maria do Herval, Presidente Lucena, Picada Café, Nova Petrópolis, Gramado und São Francisco de Paula umfasst. Die Straße RS-235 führt von Gramado über Canela nach São Francisco de Paula. Von 1924 bis 1963 war Canela durch eine Bahnlinie mit Taquara verbunden. Der Bahnhof dient heute als Museum. Der Flugplatz zwischen Gramado und Canela wird nicht im Linienverkehr angeflogen.

 

Wikipedia

Used the Panorama function on me Moby, Quite impressed with the quality.

© All rights reserved. Use without permission is illegal.

 

Il genere Saxifraga appartiene alla famiglia delle Saxifragracaceae, un genere molto grande che comprende più di 480 specie.

Il nome Saxifraga deriva dal latino "saxum= pietra" e "frango = rompo", quindi "spaccasassi" per la capacità che hanno le radici di alcune specie di penetrare nelle rocce e di frantumarle.

Sono per lo più piante di piccole dimensioni con le foglie disposte a rosetta nella parte bassa della pianta ed i fiori ermafroditi che possono essere riuniti in infiorescenze o crescere solitari fiorendo durante tutta l'estate, di colore molto variabile a seconda della specie ma generalmente con tutte le tonalità del rosa, dal bianco al rosa scuro.

www.giardinaggio.it/giardino/singolepiante/Saxifraga/Saxi...

 

View On Black

 

PhotoAwardsCounter

Click here to see the awards count for this photo. (?)

AGS22 shower car used on Reso Trains seen Albany in April 1975. Photo: Jim Bisdee.

The Baltimore & Ohio created a lap siding at Cairo, Ohio, with the middle of siding being at Main Street. If you look carefully you will see the dwarf signal displays a clear indication. In the meantime, CSX steel train K596 is pulling out of the north end of the siding onto the main. A northbound behind the photographer is in the south end of the siding and will pull onto the main as the steel train meets it.

Used a photo reference I found on Internet.

Postcard. Postally used. Cancellation date of 3 February, 1910.

 

Likely to have been published by E. Le Deley (E.L.D.), Paris (company logo obscured by stamp).

 

Bought from an eBay seller in Mingoute, France.

 

Location: Google Maps Street View / Historypin

 

en.wikipedia.org/wiki/1910_Great_Flood_of_Paris

 

Paris Under Water: How the City of Light Survived the Great Flood of 1910 by Jeffrey H. Jackson

 

The Parisian printing firm of E. Le Deley (E. L. D.), located at 73, rue Claude Bernard, was founded by the photographer Ernest Louis Désiré le Deley (1859–1917).

Information From: en.wikipedia.org/wiki/Brooklyn_bridge

 

Brooklyn Bridge

From Wikipedia, the free encyclopedia

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For other uses, see Brooklyn Bridge (disambiguation).

Brooklyn Bridge

 

Carries Motor vehicles (cars only)

Elevated trains (until 1944)

Streetcars (until 1950)

Pedestrians, and bicycles

Crosses East River

Locale New York City (Manhattan–Brooklyn)

Maintained by New York City Department of Transportation

Designer John Augustus Roebling

Design Suspension/Cable-stay Hybrid

Total length 5,989 feet (1825 m)[1]

Width 85 feet (26 m)

Longest span 1,595 feet 6 inches (486.3 m)

Clearance below 135 feet (41 m) at mid-span

Opened May 24, 1883

Toll Free both ways

Daily traffic 123,781 (2008)[2]

Coordinates 40°42′20″N 73°59′47″W / 40.70569°N 73.99639°W / 40.70569; -73.99639 (Brooklyn Bridge)Coordinates: 40°42′20″N 73°59′47″W / 40.70569°N 73.99639°W / 40.70569; -73.99639 (Brooklyn Bridge)

  

Brooklyn Bridge

U.S. National Register of Historic Places

U.S. National Historic Landmark

NYC Landmark

 

Built/Founded: 1883

Architectural style(s): Gothic

Added to NRHP: 1966[3]

Designated NHL: January 29, 1964[4]

NRHP Reference#: 75001237

 

The Brooklyn Bridge is one of the oldest suspension bridges in the United States. Completed in 1883, it connects the New York City boroughs of Manhattan and Brooklyn by spanning the East River. With a main span of 1,595.5 feet (486.3 m), it was the longest suspension bridge in the world from its opening until 1903, and the first steel-wire suspension bridge.

 

Originally referred to as the New York and Brooklyn Bridge, it was dubbed the Brooklyn Bridge in a January 25, 1867 letter to the editor of the Brooklyn Daily Eagle,[5] and formally so named by the city government in 1915. Since its opening, it has become an iconic part of the New York skyline. It was designated a National Historic Landmark in 1964[4][6][7] and a National Historic Civil Engineering Landmark in 1972.[8]

 

Contents [hide]

1 Construction

2 Pedestrian and vehicular access

2.1 Notable events

2.2 100th anniversary celebrations

2.3 125th anniversary celebrations

3 Cultural significance

4 References

5 Further reading

6 External links

  

[edit] Construction

The Brooklyn Bridge was initially designed by German immigrant John Augustus Roebling, who had previously designed and constructed shorter suspension bridges, such as Roebling's Delaware Aqueduct in Lackawaxen, Pennsylvania, and the John A. Roebling Suspension Bridge in Cincinnati, Ohio.

 

While conducting surveys for the bridge project, Roebling sustained a crush injury to his foot when a ferry pinned it against a piling. After amputation of his crushed toes he developed a tetanus infection which left him incapacitated and soon resulted in his death, not long after he had placed his 32 year-old son Washington Roebling in charge of the project.[9]

 

Washington Roebling also suffered a paralyzing injury as a result of decompression sickness shortly after the beginning of construction on January 3, 1870.[10] This condition, first called "caisson disease" by the project physician Dr. Andrew Smith, afflicted many of the workers working within the caissons.[11][12] After Roebling's debilitating condition left him unable to physically supervise the construction firsthand, his wife Emily Warren Roebling stepped in and provided the critical written link between her husband and the engineers on-site.[13] Under her husband's guidance, Emily had studied higher mathematics, the calculations of catenary curves, the strengths of materials, bridge specifications, and the intricacies of cable construction.[14][15][16] She spent the next 11 years assisting Washington Roebling helping to supervise the bridge's construction.

 

When iron probes underneath the caisson found the bedrock to be even deeper than expected, Roebling halted construction due to the increased risk of decompression sickness. He deemed the aggregate overlying the bedrock 30 feet (9 m) below it to be firm enough to support the tower base.[17]

 

The Brooklyn Bridge was completed thirteen years later and was opened for use on May 24, 1883. The opening ceremony was attended by several thousand people and many ships were present in the East Bay for the occasion. President Chester A. Arthur and New York Mayor Franklin Edson crossed the bridge to celebratory cannon fire and were greeted by Brooklyn Mayor Seth Low when they reached the Brooklyn-side tower. Arthur shook hands with Washington Roebling at the latter's home, after the ceremony. Roebling was unable to attend the ceremony (and in fact rarely visited the site again), but held a celebratory banquet at his house on the day of the bridge opening. Further festivity included the performance of a band, gunfire from ships, and a fireworks display.[18]

 

On that first day, a total of 1,800 vehicles and 150,300 people crossed what was then the only land passage between Manhattan and Brooklyn. Emily Warren Roebling was the first to cross the bridge. The bridge's main span over the East River is 1,595 feet 6 inches (486.3 m). The bridge cost $15.5 million to build and approximately 27 people died during its construction.[19]

 

One week after the opening, on May 30, 1883, a rumor that the Bridge was going to collapse caused a stampede, which crushed and killed at least twelve people.[20] On May 17, 1884, P. T. Barnum helped to squelch doubts about the bridge's stability—while publicizing his famous circus—when one of his most famous attractions, Jumbo, led a parade of 21 elephants over the Brooklyn Bridge.[21][22][23][24]

  

Plan of one tower for the Brooklyn Bridge, 1867At the time it opened, and for several years, it was the longest suspension bridge in the world—50% longer than any previously built — and it has become a treasured landmark. Since the 1980s, it has been floodlit at night to highlight its architectural features. The towers are built of limestone, granite, and Rosendale cement. Their architectural style is neo-Gothic, with characteristic pointed arches above the passageways through the stone towers. The paint scheme of the bridge is "Brooklyn Bridge Tan", although is has been argued that the original paint was "Rawlins Red".[25]

 

At the time the bridge was built, the aerodynamics of bridge building had not been worked out. Bridges were not tested in wind tunnels until the 1950s—well after the collapse of the original Tacoma Narrows Bridge (Galloping Gertie) in 1940. It is therefore fortunate that the open truss structure supporting the deck is by its nature less subject to aerodynamic problems. Roebling designed a bridge and truss system that was six times as strong as he thought it needed to be. Because of this, the Brooklyn Bridge is still standing when many of the bridges built around the same time have vanished into history and been replaced. This is also in spite of the substitution of inferior quality wire in the cabling supplied by the contractor J. Lloyd Haigh—by the time it was discovered, it was too late to replace the cabling that had already been constructed. Roebling determined that the poorer wire would leave the bridge four rather than six times as strong as necessary, so it was eventually allowed to stand, with the addition of 250 cables. Diagonal cables were installed from the towers to the deck, intended to stiffen the bridge. They turned out to be unnecessary, but were kept for their distinctive beauty.

 

After the collapse in 2007 of the I-35W highway bridge in the city of Minneapolis, increased public attention has been brought to bear on the condition of bridges across the US, and it has been reported that the Brooklyn Bridge approach ramps received a rating of "poor" at its last inspection.[26] According to a NYC Department of Transportation spokesman, "The poor rating it received does not mean it is unsafe. Poor means there are some components that have to be rehabilitated." A $725 million project to replace the approaches and repaint the bridge was scheduled to begin in 2009.[27]

 

The construction of the Brooklyn Bridge is detailed in the 1978 book The Great Bridge by David McCullough[13] and Brooklyn Bridge (1981), the first PBS documentary film ever made by Ken Burns.[28] Burns drew heavily on McCullough's book for the film and used him as narrator.[29] It is also described in Seven Wonders of the Industrial World, a BBC docudrama series with accompanying book.

 

[edit] Pedestrian and vehicular access

 

Cross section diagramAt various times, the bridge has carried horse-drawn and trolley traffic; at present, it has six lanes for motor vehicles, with a separate walkway along the centerline for pedestrians and bicycles. Due to the roadway's height (11 ft (3.4 m) posted) and weight (6,000 lb (2,700 kg) posted) restrictions, commercial vehicles and buses are prohibited from using this bridge. The two inside traffic lanes once carried elevated trains of the BMT from Brooklyn points to a terminal at Park Row via Sands Street. Streetcars ran on what are now the two center lanes (shared with other traffic) until the elevated lines stopped using the bridge in 1944, when they moved to the protected center tracks. In 1950 the streetcars also stopped running, and the bridge was rebuilt to carry six lanes of automobile traffic.

 

The Brooklyn Bridge is accessible from the Brooklyn entrances of Tillary/Adams Streets, Sands/Pearl Streets, and Exit 28B of the eastbound Brooklyn-Queens Expressway. In Manhattan, motor cars can enter from either direction of the FDR Drive, Park Row, Chambers/Centre Streets, and Pearl/Frankfort Streets. Pedestrian access to the bridge from the Brooklyn side is from either Tillary/Adams Streets (in between the auto entrance/exit), or a staircase on Prospect St between Cadman Plaza East and West. In Manhattan, the pedestrian walkway is accessible from the end of Centre Street, or through the unpaid south staircase of Brooklyn Bridge-City Hall IRT subway station.

  

View from the pedestrian walkway. The bridge's cable arrangement forms a distinct weblike pattern.The Brooklyn Bridge has a wide pedestrian walkway open to walkers and cyclists, in the center of the bridge and higher than the automobile lanes. While the bridge has always permitted the passage of pedestrians across its span, its role in allowing thousands to cross takes on a special importance in times of difficulty when usual means of crossing the East River have become unavailable.

 

During transit strikes by the Transport Workers Union in 1980 and 2005, the bridge was used by people commuting to work, with Mayors Koch and Bloomberg crossing the bridge as a gesture to the affected public.[30][31]

 

Following the 1965, 1977 and 2003 Blackouts and most famously after the September 11, 2001, attacks on the World Trade Center, the bridge was used by people in Manhattan to leave the city after subway service was suspended. The massive numbers of people on the bridge could not have been anticipated by the original designer, yet John Roebling designed it with three separate systems managing even unanticipated structural stresses. The bridge has a suspension system, a diagonal stay system, and a stiffening truss. "Roebling himself famously said if anything happens to one of [his] systems, 'The bridge may sag, but it will not fall.'"[32] The movement of large numbers of people on a bridge creates pedestrian oscillations or "sway" as the crowd lifts one foot after another, some falling inevitably in synchronized cadences. The natural sway motion of people walking causes small sideways oscillations in a bridge, which in turn cause people on the bridge to sway in step, increasing the amplitude of the bridge oscillations and continually reinforcing the effect. High-density traffic of this nature causes a bridge to appear to move erratically or "to wobble" as happened at opening of the London Millennium Footbridge in 2000.[33]

  

Frank Leslie's Illustrated Newspaper c.1883[edit] Notable events

First jumper

The first person to jump from the bridge was Robert E. Odlum on May 19, 1885. He struck the water at an angle and died shortly thereafter from internal injuries.[34] Steve Brodie was the most famous jumper, or self-proclaimed jumper (in 1886).

 

Bungee jump

On June 1993, following 13 reconnoiters inside the metal structure, and with the help of a mountain guide, Thierry Devaux performed (illegally) eight acrobatic bungee jumps above the East River close to the Brooklyn pier, in the early morning. He used an electric winch between each acrobatic figure.[35]

 

1994 Brooklyn Bridge shooting

Main article: Brooklyn Bridge Shooting

On March 1, 1994, Lebanese-born Rashid Baz opened fire on a van carrying members of the Chabad-Lubavitch Orthodox Jewish Movement, striking sixteen-year-old student Ari Halberstam and three others traveling on the bridge.[36] Halberstam died five days later from his wounds. Baz was apparently acting out of revenge for the Hebron massacre of 29 Muslims by Baruch Goldstein that had taken place days earlier on February 25, 1994. Baz was convicted of murder and sentenced to a 141-year prison term. After initially classifying the murder as one committed out of road rage, the Justice Department reclassified the case in 2000 as a terrorist attack. The entrance ramp to the bridge on the Manhattan side was named the Ari Halberstam Memorial Ramp in memory of the victim.[37]

 

The 2003 plot

In 2003, truck driver Iyman Faris was sentenced to about 20 years in prison for providing material support to Al-Qaeda, after an earlier plot to destroy the bridge by cutting through its support wires with blowtorches was thwarted through information the National Security Agency uncovered through wiretapped phone conversations and interrogation of Al-Qaeda militants.[38]

 

2006 bunker discovery

In 2006, a Cold War era bunker was found by city workers near the East River shoreline of Manhattan's Lower East Side. The bunker, hidden within the masonry anchorage, still contained the emergency supplies that were being stored for a potential nuclear attack by the Soviet Union.[39]

 

[edit] 100th anniversary celebrations

The centennary celebrations on May 24, 1983, saw a cavalcade of cars crossing the bridge, led by President Ronald Reagan. A flotilla of ships visited the harbor, parades were held, and in the evening the sky over the bridge was illuminated by Grucci fireworks.[40] The Brooklyn Museum exhibited a selection of the original drawings made for the bridge's construction, some by Washington Roebling himself.

 

[edit] 125th anniversary celebrations

Beginning on May 22, 2008, festivities were held over a five-day period to celebrate the 125th anniversary of the opening of the Brooklyn Bridge. The events kicked off with a live performance of the Brooklyn Philharmonic in Empire–Fulton Ferry State Park, followed by special lighting of the bridge's towers and a fireworks display.[41] Other events held during the 125th anniversary celebrations, which coincided with the Memorial Day weekend, included a film series, historical walking tours, information tents, a series of lectures and readings, a bicycle tour of Brooklyn, a miniature golf course featuring Brooklyn icons, and other musical and dance performances.[42]

 

Just before the anniversary celebrations, the Telectroscope, which created a video link between New York and London, was installed on the Brooklyn side of the bridge. The installation lasted for a few weeks and permitted viewers in New York to see people looking into a matching telectroscope in front of London's Tower Bridge.[43] A newly renovated pedestrian connection to DUMBO was also unveiled before the anniversary celebrations.[44]

 

[edit] Cultural significance

Contemporaries marveled at what technology was capable of and the bridge became a symbol of the optimism of the time. John Perry Barlow wrote in the late 20th century of the "literal and genuinely religious leap of faith" embodied in the Brooklyn Bridge ... "the Brooklyn Bridge required of its builders faith in their ability to control technology."[45]

 

References to "selling the Brooklyn Bridge" abound in American culture, sometimes as examples of rural gullibility but more often in connection with an idea that strains credulity. For example, "If you believe that, I've got a bridge to sell you."[citation needed] References are often nowadays more oblique, such as "I could sell you some lovely riverside property in Brooklyn ...".[citation needed] George C. Parker and William McCloundy are two early 20th-century con-men who had (allegedly) successfully perpetrated this scam on unwitting tourists.[46] The 1949 Bugs Bunny cartoon Bowery Bugs is a joking reference to Bugs "selling" a story of the Brooklyn Bridge to a naive tourist.

 

In his second book The Bridge, Hart Crane begins with a poem entitled "Proem: To Brooklyn Bridge." The bridge was a source of inspiration for Crane and he owned different apartments specifically to have different views of the bridge.

 

[edit] References

^ "NYCDOT Bridges Information". New York City Department of Transportation. www.nyc.gov/html/dot/html/bridges/bridges.shtml#brooklyn. Retrieved 2008-08-23.

^ "New York City Bridge Traffic Volumes 2008" (PDF). New York City Department of Transportation. March 2010. p. 63. www.nyc.gov/html/dot/downloads/pdf/bridgetrafrpt08.pdf. Retrieved 2010-07-10.

^ "National Register Information System". National Register of Historic Places. National Park Service. 2007-01-23. www.nr.nps.gov/.

^ a b "Brooklyn Bridge". National Historic Landmark summary listing. National Park Service. tps.cr.nps.gov/nhl/detail.cfm?ResourceId=376&Resource....

^ E.P.D. (January 25, 1867). "Bridging the East River – Another Project". The Brooklyn Daily Eagle: p. 2. www.brooklynpubliclibrary.org/eagle/. Retrieved 2007-11-26.

^ "The Brooklyn Bridge", February 24, 1975, by James B. Armstrong and S. Sydney Bradford "National Register of Historic Places Inventory-Nomination"]. National Park Service. 1975-02-24. pdfhost.focus.nps.gov/docs/NHLS/Text/66000523.pdf "The Brooklyn Bridge", February 24, 1975, by James B. Armstrong and S. Sydney Bradford].

^ The Brooklyn Bridge—Accompanying three photos, from 1975. "National Register of Historic Places Inventory-Nomination"]. National Park Service. 1975-02-24. pdfhost.focus.nps.gov/docs/NHLS/Photos/66000523.pdf The Brooklyn Bridge—Accompanying three photos, from 1975.].

^ "Brooklyn Bridge". ASCE Metropolitan Section. www.ascemetsection.org/content/view/339/872/. Retrieved 2010-06-30.

^ "THE BUILDING OF THE BRIDGE.; ITS COST AND THE DIFFICULTIES MET WITH-- DETAILS OF THE HISTORY OF A GREAT ENGINEERING TRIUMPH.". The New York Times. May 24, 1883. query.nytimes.com/gst/abstract.html?res=9F01E5DC1431E433A.... Retrieved 2009-10-27.

^ Butler WP (2004). "Caisson disease during the construction of the Eads and Brooklyn Bridges: A review". Undersea Hyperb Med 31 (4): 445–59. PMID 15686275. archive.rubicon-foundation.org/4028. Retrieved 2008-06-19.

^ Smith, Andrew Heermance (1886). The Physiological, Pathological and Therapeutical Effects of Compressed Air. Detroit: George S. Davis. books.google.com/?id=hLq981_A5bMC&printsec=frontcover.... Retrieved 2009-04-17.

^ Acott, Chris (1999). "A brief history of diving and decompression illness.". South Pacific Underwater Medicine Society journal 29 (2). ISSN 0813-1988. OCLC 16986801. archive.rubicon-foundation.org/6004. Retrieved 2009-04-17.

^ a b Amazon.com: The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge: J'aime Drisdelle: Books

^ Weigold, Marilyn (1984). Silent Builder: Emily Warren Roebling and the Brooklyn Bridge. Associated Faculty Press.

^ McCullough, David (1983). The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge. New York: Simon & Schuster. p. 421.

^ "Emily Warren Roebling". American Society of Civil Engineers. www.asce.org/PPLContent.aspx?id=2147487328. Retrieved 2010-06-30.

^ "GlassSteelandStone: Brooklyn Bridge-tower rests on sand". www.glasssteelandstone.com/BuildingDetail/435.php. Retrieved 2007-02-20.

^ Reeves, Thomas C. (1975). Gentleman Boss. New York: Alfred A. Knopf. pp. 359–360. ISBN 0-394-46095-2.

^ "Brooklyn Daily Eagle 1841–1902 Online". Archived from the original on 2007-11-14. web.archive.org/web/20071114135249/http://eagle.brooklynp.... Retrieved 2007-11-23.

^ "Dead on the New Bridge; Fatal Crush at the Western Approach". The New York Times. May 31, 1883. query.nytimes.com/gst/abstract.html?res=980DE3DA1431E433A.... Retrieved 2010-02-20.

^ Bildner, Phil (2004). Twenty-One Elephants. New York: Simon & Schuster. ISBN 0689870116.

^ Prince, April Jones (2005). Twenty-One Elephants and Still Standing. Boston: Houghton Mifflin. ISBN 061844887X.

^ "P.T. Barnum – MSN Encarta". Archived from the original on 2009-10-31. www.webcitation.org/5kwQPajtQ.

^ Strausbaugh, John (November 9, 2007). "When Barnum Took Manhattan". The New York Times. www.nytimes.com/2007/11/09/arts/09expl.html. Retrieved 2008-09-21.

^ Gary Buiso, New York Post (May 25, 2010). "A True Cover Up. Brooklyn Bridge Paint Job Glosses over History". www.nypost.com/p/news/local/brooklyn/true_cover_up_brookl.... Retrieved October 23, 2010.

^ Chan, Sewell (August 2, 2007). "Brooklyn Bridge Is One of 3 With Poor Rating". The New York Times. cityroom.blogs.nytimes.com/2007/08/02/brooklyn-bridge-is-.... Retrieved 2007-09-10.

^ "Brooklyn Bridge called 'safe' – DOT says span is okay despite getting a 'poor' rating". Courier-Life Publications. www.baynewsbrooklyn.com/site/news.cfm?newsid=18685076&amp.... Retrieved 2007-08-12.

^ Burns, Ken. "Why I Decided to Make Brooklyn Bridge". Public Broadcasting Service. www.pbs.org/kenburns/brooklynbridge/about/. Retrieved 2010-02-20.

^ "Burns, Ken – U.S. Documentary Film Maker". The Museum of Broadcast Communications. www.museum.tv/eotvsection.php?entrycode=burnsken. Retrieved 2010-02-20.

^ Quindlen, Anna (April 2, 1980). "Koch Faces Day Ebulliently; He Looks Well Rested". The New York Times. select.nytimes.com/gst/abstract.html?res=F3061EFB395C1272.... Retrieved 2010-06-30.

^ Rutenberg, Jim (December 21, 2005). "On Foot, on Bridge and at City Hall, Bloomberg Is Irate". The New York Times. www.nytimes.com/2005/12/21/nyregion/nyregionspecial3/21ma.... Retrieved 2010-06-30.

^ Julavits, Robert (August 26, 2003). "Point of Collapse". The Village Voice. www.villagevoice.com/2003-08-26/news/point-of-collapse/. Retrieved 2010-02-20.

^ Steven Henry, Strogatz (2003). Sync: The Emerging Science of Spontaneous Order. New York: Hyperion. pp. 174–175, 312, 320. ISBN 0786868449.

^ "Odlum's Leap to Death". The New York Times: p. 1. May 20, 1885. query.nytimes.com/gst/abstract.html?res=990DE4D91739E533A.... Retrieved 2008-04-15.

^ "Brooklyn Bridge". SunnyDream. www.sunnydream.info/index.php?page=brooklyn. Retrieved 2010-06-25.

^ Sexton, Joe (March 2, 1994). "4 Hasidic Youths Hurt in Brooklyn Bridge Shooting". The New York Times. www.nytimes.com/1994/03/02/nyregion/4-hasidic-youths-hurt.... Retrieved 2010-06-30.

^ "In Memoriam". Ari Halberstam Memorial Site. www.arihalberstam.com/in-memoriam/. Retrieved 2010-06-30.

^ "Iyman Faris". GlobalSecurity.org. www.globalsecurity.org/security/profiles/iyman_faris.htm. Retrieved 2010-06-30.

^ Lovgren, Stefan (March 24, 2006). "Cold War "Time Capsule" Found in Brooklyn Bridge". National Geographic. news.nationalgeographic.com/news/2006/03/0324_060324_broo.... Retrieved 2010-02-20.

^ NYC Roads. "The Brooklyn Bridge". www.nycroads.com/crossings/brooklyn/. Retrieved October 23, 2010.

^ Burke, Kerry; Hutchinson, Bill (May 23, 2008). "Brooklyn Bridge turns 125 with a bang". Daily News (New York). www.nydailynews.com/ny_local/brooklyn/2008/05/22/2008-05-.... Retrieved 2009-08-01.

^ "Brooklyn Bridge 125th Anniversary Celebration". ASCE Metropolitan Section. www.ascemetsection.org/content/view/121/830/. Retrieved 2009-08-01.

^ Ryzik, Melena (May 21, 2008). "Telescope Takes a Long View, to London". The New York Times. www.nytimes.com/2008/05/21/arts/design/21tele.html. Retrieved 2009-08-01.

^ Farmer, Ann (May 21, 2008). "This Way to Brooklyn, This Way". The New York Times. cityroom.blogs.nytimes.com/2008/05/21/welcome-to-dumbo-it.... Retrieved 2009-08-01.

^ Cultural Significance

^ Cohen, Gabriel (November 27, 2005). "For You, Half Price". The New York Times. www.nytimes.com/2005/11/27/nyregion/thecity/27brid.htm. Retrieved 2010-02-20.

[edit] Further reading

Cadbury, Deborah. (2004), Dreams of Iron and Steel. New York: HarperCollins. ISBN 0-00-716307-X

Haw, Richard. (2005). The Brooklyn Bridge: A Cultural History. New Brunswick: Rutgers University Press. ISBN 0-8135-3587-5

Haw, Richard. (2008). Art of the Brooklyn Bridge: A Visual History. New York: Routledge. ISBN 0-415-95386-3

McCullough, David. (1972). The Great Bridge. New York: Simon & Schuster. ISBN 0-671-21213-3

Strogatz, Steven. (2003). Sync: The Emerging Science of Spontaneous Order. New York: Hyperion books. 10-ISBN 0-7868-6844-9; 13-ISBN 978-0-7868-6844-5 (cloth) [2nd ed., Hyperion, 2004. 10-ISBN 0-7868-8721-4; 13-ISBN 978-0-7868-8721-7 (paper)]

Strogartz, Steven, Daniel M. Abrams, Allan McRobie, Bruno Eckhardt, and Edward Ott. et al. (2005). "Theoretical mechanics: Crowd synchrony on the Millennium Bridge," Nature, Vol. 438, pp, 43–44.link to Nature articleMillennium Bridge opening day video illustrating "crowd synchrony" oscillations

Trachtenberg, Alan. (1965). Brooklyn Bridge: Fact and Symbol. Chicago: University of Chicago Press. ISBN 0226811158 [2nd ed., 1979, ISBN 0-226-81115-8 (paper)]

[edit] External links

New York City portal

Wikimedia Commons has media related to: Brooklyn Bridge

360° Interactive panorama from the top of the Brooklyn Bridge

The Brooklyn Bridge: A Study in Greatness

NYCroads.com – Brooklyn Bridge

Transportation Alternatives Fiboro Bridges – Brooklyn Bridge

The story of Brooklyn Bridge – by CBS Forum

Panorama of Brooklyn Bridge 1899 – Extreme Photo Constructions

Structurae: Brooklyn Bridge

Great Buildings entry for the Brooklyn Bridge

American Society of Civil Engineers

Railroad Extra – Brooklyn Bridge and its Railway

Images of the Brooklyn Bridge from the Brooklyn Museum

Brooklyn Bridge Photo Gallery with a Flash VR 360 of the Brooklyn Bridge Pedestrian Walkway

Opening Ceremonies of the New York and Brooklyn Bridge, May 24, 1883 at Project Gutenberg

Brooklyn Bridge at Historical Marker Database

 

Used as a Boston College football stadium shuttle.

For Your Art Only, not for Sale on a CD or Collage Sheet

Scientists using NASA’s Hubble Space Telescope have confirmed the presence of electrically-charged molecules in space shaped like soccer balls, shedding light on the mysterious contents of the interstellar medium (ISM) – the gas and dust that fills interstellar space.

 

Since stars and planets form from collapsing clouds of gas and dust in space, “The diffuse ISM can be considered as the starting point for the chemical processes that ultimately give rise to planets and life,” said Martin Cordiner of the Catholic University of America, Washington. “So fully identifying its contents provides information on the ingredients available to create stars and planets.” Cordiner, who is stationed at NASA’s Goddard Space Flight Center in Greenbelt, Maryland, is lead author of a paper on this research published April 22nd in the Astrophysical Journal Letters.

 

The molecules identified by Cordiner and his team are a form of carbon called “Buckminsterfullerene,” also known as “Buckyballs,” which consists of 60 carbon atoms (C60) arranged in a hollow sphere. C60 has been found in some rare cases on Earth in rocks and minerals, and can also turn up in high-temperature combustion soot.

 

C60 has been seen in space before. However, this is the first time an electrically charged (ionized) version has been confirmed to be present in the diffuse ISM. The C60 gets ionized when ultraviolet light from stars tears off an electron from the molecule, giving the C60 a positive charge (C60+). “The diffuse ISM was historically considered too harsh and tenuous an environment for appreciable abundances of large molecules to occur,” said Cordiner. “Prior to the detection of C60, the largest known molecules in space were only 12 atoms in size. Our confirmation of C60+ shows just how complex astrochemistry can get, even in the lowest density, most strongly ultraviolet-irradiated environments in the Galaxy.”

 

Life as we know it is based on carbon-bearing molecules, and this discovery shows complex carbon molecules can form and survive in the harsh environment of interstellar space. “In some ways, life can be thought of as the ultimate in chemical complexity,” said Cordiner. “The presence of C60 unequivocally demonstrates a high level of chemical complexity intrinsic to space environments, and points toward a strong likelihood for other extremely complex, carbon-bearing molecules arising spontaneously in space.”

 

Most of the ISM is hydrogen and helium, but it’s spiked with many compounds that haven’t been identified. Since interstellar space is so remote, scientists study how it affects the light from distant stars to identify its contents. As starlight passes through space, elements and compounds in the ISM absorb and block certain colors (wavelengths) of the light. When scientists analyze starlight by separating it into its component colors (spectrum), the colors that have been absorbed appear dim or are absent. Each element or compound has a unique absorption pattern that acts as a fingerprint allowing it to be identified. However, some absorption patterns from the ISM cover a broader range of colors, which appear different from any known atom or molecule on Earth. These absorption patterns are called Diffuse Interstellar Bands (DIBs). Their identity has remained a mystery ever since they were discovered by Mary Lea Heger, who published observations of the first two DIBs in 1922.

 

A DIB can be assigned by finding a precise match with the absorption fingerprint of a substance in the laboratory. However, there are millions of different molecular structures to try, so it would take many lifetimes to test them all.

 

“Today, more than 400 DIBs are known, but (apart from the few newly attributed to C60+), none has been conclusively identified,” said Cordiner. “Together, the appearance of the DIBs indicate the presence of a large amount of carbon-rich molecules in space, some of which may eventually participate in the chemistry that gives rise to life. However, the composition and characteristics of this material will remain unknown until the remaining DIBs are assigned.”

 

Decades of laboratory studies have failed to find a precise match with any DIBs until the work on C60+. In the new work, the team was able to match the absorption pattern seen from C60+ in the laboratory to that from Hubble observations of the ISM, confirming the recently claimed assignment by a team from University of Basel, Switzerland, whose laboratory studies provided the required C60+ comparison data. The big problem for detecting C60+ using conventional, ground-based telescopes, is that atmospheric water vapor blocks the view of the C60+ absorption pattern. However, orbiting above most of the atmosphere in space, the Hubble telescope has a clear, unobstructed view. Nevertheless, they still had to push Hubble far beyond its usual sensitivity limits to stand a chance of detecting the faint fingerprints of C60+.

 

The observed stars were all blue supergiants, located in the plane of our Galaxy, the Milky Way. The Milky Way's interstellar material is primarily located in a relatively flat disk, so lines of sight to stars in the Galactic plane traverse the greatest quantities of interstellar matter, and therefore show the strongest absorption features due to interstellar molecules.

 

The detection of C60+ in the diffuse ISM supports the team’s expectations that very large, carbon-bearing molecules are likely candidates to explain many of the remaining, unidentified DIBs. This suggests that future laboratory efforts measure the absorption patterns of compounds related to C60+, to help identify some of the remaining DIBs.

 

The team is seeking to detect C60+ in more environments to see just how widespread buckyballs are in the Universe. According to Cordiner, based on their observations so far, it seems that C60+ is very widespread in the Galaxy.

 

This work was funded by NASA under a grant from the Space Telescope Science Institute. 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. NASA is exploring our Solar System and beyond, uncovering worlds, stars, and cosmic mysteries near and far with our powerful fleet of space and ground-based missions.

 

Credits: NASA/JPL-Caltech

 

For more information: www.nasa.gov/feature/goddard/2019/soccer-balls-in-space

Contrary to the narrative that is being pushed by the mainstream that the COVID 19 virus was the result of a natural mutation and that it was transmitted to humans from bats via pangolins, Dr Luc Montagnier the man who discovered the HIV virus back in 1983 disagrees and is saying that the virus was man made.Professor Luc Montagnier, 2008 Nobel Prize winner for Medicine, claims that SARS-CoV-2 is a manipulated virus that was accidentally released from a laboratory in Wuhan, China. Chinese researchers are said to have used coronaviruses in their work to develop an AIDS vaccine. HIV DNA fragments are believed to have been found in the SARS-CoV-2 genome. We knew that the Chinese version of how the coronavirus emerged was increasingly under attack, but here’s a thesis that tells a completely different story about the Covid-19 pandemic, which is already responsible for more than 110,000 deaths worldwide. According to Professor Luc Montagnier, winner of the Nobel Prize for Medicine in 2008 for “discovering” HIV as the cause of the AIDS epidemic together with Françoise Barré-Sinoussi, the SARS-CoV-2 is a virus that was manipulated and accidentally released from a laboratory in Wuhan, China, in the last quarter of 2019. According to Professor Montagnier, this laboratory, known for its work on coronaviruses, tried to use one of these viruses as a vector for HIV in the search for an AIDS vaccine! “With my colleague, bio-mathematician Jean-Claude Perez, we carefully analyzed the description of the genome of this RNA virus,” explains Luc Montagnier, interviewed by Dr Jean-François Lemoine for the daily podcast at Pourquoi Docteur, adding that others have already explored this avenue: Indian researchers have already tried to publish the results of the analyses that showed that this coronavirus genome contained sequences of another virus, … the HIV virus (AIDS virus), but they were forced to withdraw their findings as the pressure from the mainstream was too great. To insert an HIV sequence into this genome requires molecular tools. In a challenging question Dr Jean-François Lemoine inferred that the coronavirus under investigation may have come from a patient who is otherwise infected with HIV. No, “says Luc Montagnier,” in order to insert an HIV sequence into this genome, molecular tools are needed, and that can only be done in a laboratory. According to the 2008 Nobel Prize for Medicine, a plausible explanation would be an accident in the Wuhan laboratory. He also added that the purpose of this work was the search for an AIDS vaccine. The truth will eventually come out In any case, this thesis, defended by Professor Luc Montagnier, has a positive turn. According to him, the altered elements of this virus are eliminated as it spreads: “Nature does not accept any molecular tinkering, it will eliminate these unnatural changes and even if nothing is done, things will get better, but unfortunately after many deaths.” Luc Montagnier added that with the help of interfering waves, we could eliminate these sequences and as a result stop the pandemic. This is enough to feed some heated debates! So much so that Professor Montagnier’s statements could also place him in the category of “conspiracy theorists”: “Conspirators are the opposite camp, hiding the truth,” he replies, without wanting to accuse anyone, but hoping that the Chinese will admit to what he believes happened in their laboratory.

 

www.pourquoidocteur.fr/Articles/Question-d-actu/32184-EXC...

 

To entice a confession from the Chinese he used the example of Iran which after taking full responsibility for accidentally hitting a Ukrainian plane was able to earn the respect of the global community. Hopefully the Chinese will do the right thing he ads. “In any case, the truth always comes out, it is up to the Chinese government to take responsibility.”

 

www.gilmorehealth.com/chinese-coronavirus-is-a-man-made-v...

 

Back in January, when the pandemic now consuming the world was still gathering force, a Berkeley research scientist named Xiao Qiang was monitoring China’s official statements about a new coronavirus then spreading through Wuhan and noticed something disturbing. Statements made by the World Health Organization, the international body that advises the world on handling health crises, often echoed China’s messages. “Particularly at the beginning, it was shocking when I again and again saw WHO’s [director-general], when he spoke to the press … almost directly quoting what I read on the Chinese government’s statements,” he told me.

 

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The most notorious example came in the form of a single tweet from the WHO account on January 14: “Preliminary investigations conducted by the Chinese authorities have found no clear evidence of human-to-human transmission of the novel #coronavirus.” That same day, the Wuhan Health Commission’s public bulletin declared, “We have not found proof for human-to-human transmission.” But by that point even the Chinese government was offering caveats not included in the WHO tweet. “The possibility of limited human-to-human transmission cannot be excluded,” the bulletin said, “but the risk of sustained transmission is low.”

 

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Xi Jinping at the School of Medicine at Tsinghua University in Beijing

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This, we now know, was catastrophically untrue, and in the months since, the global pandemic has put much of the world under an unprecedented lockdown and killed more than 100,000 people.

 

Read: The pandemic will cleave America in two

 

The U.S. was also slow to recognize the seriousness of this new coronavirus, which caught the entire country unprepared. President Donald Trump has blamed the catastrophe on any number of different actors, most recently, singling out the WHO. “They missed the call,” Trump said about the body at a briefing this week. “They could have called it months earlier.”

 

Trump may well be looking to deflect blame for his own missed calls, but inherent structural problems at the WHO do make the organization vulnerable to misinformation and political influence, especially at a moment when China has invested considerable resources cultivating influence in international organizations whose value the Trump administration has questioned. (Trump just in March announced he would nominate someone to fill the U.S. seat on the WHO’s Executive Board, which has been vacant since 2018.)

 

Even in January, when Chinese authorities were downplaying the extent of the virus, doctors at the epicenter of the outbreak in Wuhan reportedly observed human-to-human transmission, not least by contracting the disease themselves. In the most famous example, Dr. Li Wenliang was censured for “spreading rumors” after trying to alert other doctors of the new respiratory ailment; he later died of the virus himself at age 33. China now claims him as a martyr. Asked about Li’s case at a press conference, the executive director of the WHO’s Health Emergencies Programme, Michael Ryan, said, “We all mourn the loss of a fellow physician and colleague” but stopped short of condemning China for accusing him. “There is an understandable confusion that occurs at the beginning of an epidemic,” Ryan added. “So we need to be careful to label misunderstanding versus misinformation; there's a difference. People can misunderstand and they can overreact.”

 

Those lost early weeks also coincided with the Chinese New Year, for which millions of people travel to visit family and friends. “That’s when millions of Wuhan people were misinformed,” Xiao said. “Then they traveled all over China, all over the world.”

 

Read: China hawks are calling the coronavirus a ‘wake-up call’

 

The WHO, meanwhile, was getting its information from the same Chinese authorities who were misinforming their own public, and then offering it to the world with its own imprimatur. On January 20, a Chinese official confirmed publicly for the first time that the virus could indeed spread among humans, and within days locked down Wuhan. But by then it was too late.

 

It took another week for the WHO to declare the spread of the virus a global health emergency—during which time Dr. Tedros Adhanom Ghebreyesus, the WHO’s director-general, visited China and praised the country’s leadership for “setting a new standard for outbreak response.” Another month and a half went by before the WHO called COVID-19 a pandemic, at which point the virus had killed more than 4,000 people, and had infected 118,000 people across nearly every continent.

  

The organization’s detractors are now seizing on these missteps and delays to condemn the WHO (for which the U.S. is the largest donor), call for cutting the organization’s funding, or demand Tedros’s resignation. At the White House, Trump’s trade adviser Peter Navarro has been a sharp critic.

 

“Even as the WHO under Tedros refused to brand the outbreak as a pandemic for precious weeks and WHO officials repeatedly praised the [Chinese Communist Party] for what we now know was China’s coordinated effort to hide the dangers of the Wuhan virus from the world, the virus spread like wildfire, in no small part because thousands of Chinese citizens continued to travel around the world,” Navarro wrote to me in an email. Secretary of State Mike Pompeo recently said the administration was “reevaluating our funding with respect to the World Health Organization;” Trump has said an announcement on the matter will come next week. On the Hill, Republican Senators Martha McSally of Arizona and Rick Scott of Florida are both seeking an investigation of the WHO’s performance in the crisis and whether China somehow manipulated the organization. “Anybody who’s clear-eyed about it understands that Communist China has been covering up the realities of the coronavirus from Day 1,” McSally, who has called for Tedros to resign, told me. “We don’t expect the WHO to parrot that kind of propaganda.” Scott told me he wants to know whether the WHO followed their own procedures for handling a pandemic and why the organization hasn’t been forceful in condemning China’s missteps.

 

Asked for comment, a representative from the WHO pointed to a press conference Tedros gave this week. “Please quarantine politicizing COVID,” Tedros said then. “We will have many body bags in front of us if we don’t behave … The United States and China should come together and fight this dangerous enemy.” Even in early January, when it was still describing the disease as a mysterious new pneumonia, the WHO was publishing regular guidance for countries and health-care workers on how to mitigate its spread. And the organization says it has now shipped millions of pieces of protective gear to 75 countries, sent tests to more than 126, and offered training materials for health-care workers.

 

In any case, it’s not the WHO’s fault if China obscured the problem early on, says Charles Clift, a senior consulting fellow at Chatham House’s Center for Universal Health who worked at the WHO from 2004 to 2006. “We’d like more transparency, that’s true, but if countries find reasons to not be transparent, it’s difficult to know what we can do about it.” The organization’s major structural weakness is that it relies on information from its member countries—and the WHO team that visited China in February to evaluate the response did so jointly with China’s representatives. The resulting report did not mention delays in information-sharing, but did say that “China’s bold approach to contain the rapid spread of this new respiratory pathogen has changed the course of a rapidly escalating and deadly epidemic.” The mission came back telling reporters they were largely satisfied with the information China was giving them.

  

Read: The problem with China’s victory lap

 

If this is something short of complicity in a Chinese cover-up—which is what former National Security Adviser John Bolton has alleged of the WHO—it does point to a big vulnerability: The group’s membership includes transparent democracies and authoritarian states and systems in between, which means the information the WHO puts out is only as good as what it’s getting from the likes of Xi Jinping and Russian President Vladimir Putin. North Korea, for instance, has reported absolutely no coronavirus cases, and the WHO isn’t really in a position to say otherwise.

 

The structure also gives WHO leaders like Tedros an incentive not to anger member states, and this is as true of China as it is of countries with significantly less financial clout. During the Ebola epidemic in 2014, Clift said, WHO took months to declare a public-health emergency. “That’s three very small West African countries, and WHO didn’t want to upset them,” Clift said. “WHO didn’t cover itself in glory in that one.” The response this time has been much faster and better, in Clift’s observation. “It doesn’t mean it shouldn’t be examined afterwards to see what they could have done better,” he said. “And one should really investigate the origins of what happened in China.”

 

The WHO has also shown, however, that it can walk the line between the need for cooperation and information-sharing from member states and the need to hold them accountable for mistakes. During the SARS outbreak in 2003, a WHO spokesman criticized China for its lack of transparency and preparation, which had allowed the virus to spread unchecked. China even later admitted to mistakes in handling the outbreak.

 

No such critique has been forthcoming this time. One study found that China could have limited its own infections by up to 95 percent had the government acted in that early period when doctors were first raising the alarm and the Chinese Communist Party was still denying the extent of the problem. “The WHO at that time didn’t do their job,” Xiao said. “The opposite: They actually compounded Chinese authorities’ misinformation for a few weeks. That is, to me, unforgivable.”

 

We want to hear what you think about this article. Submit a letter to the editor or write to letters@theatlantic.com.

 

www.theatlantic.com/politics/archive/2020/04/world-health...

Used camera store in Manila, Philippines. The cameras in the overhead shelves are for display only.

St Paul's Cathedral from Cheapside, 1908 and 1912

 

Four years separate these postcards. . Both postcards are using the same photograph (witness the two men rounding the corner into Cheapside on the left, and the group of people walking into Paternoster Row on the right), but between 1908 and 1912 something has happened. The horsedrawn traffic has been airbrushed out, and instead images of motor omnibuses and cars have been clumsily inserted.

 

The card on the left was posted in London SE at 5.15pm on 8th August 1908 to Mademoiselle de Bonnerville, 30 Rue du Vieux Versailles, Versailles, Seine et Oise, France. The only message is that the date was 8/8 '08.

 

The card on the right was posted in Paddington at 12.15 am on 9th July 1912 to Mrs K Rawlings, "Twyford", Aston Road, East Southsea, Hants, and the message on it was written in reverse writing. it reads My darling Ma, many many thanks for your dear welcome letters, the parcel of good things and the brass received a little while ago. Much love to all at home and heaps of love and kisses for self. I am your loving son George.

used to be a big thing. I know I enjoyed it as a kid. Is it still a thing, do you think?

(answer to P60) @Astro_Cady uses the syringe for calibrating the instrumentation of the Pulmonary Function System. She means business!

 

@Astro_Cady usa la siringa per calibrare il sistema di analisi del funzionamento dei polmoni. E non scherza !

 

Credit: ESA/NASA

 

(238B8244)

Squirrel eating bread by the pool looks a little surprised when I used a flash on him.

This used to be how Deez got into this pen, but she's too big now. The lambs can get out here, though. (Or they could! I blocked it.)

 

She so wanted in the pen today. New lambs!

Using up my JESSIOPS PAN 100 in my CANON EOS 300v as battery failed in LONDON ! All around BRENTWOOD. I processed in my home-made Crawley Formula FX-55

CANON EF 50mm f1.8 .

Camera used: Kodak Flash Single Use Camera [preloaded with Kodak 800 film]

Using Auto HDR on a sony a6000.

For your Art only, not for Sale on a Collage Sheet or a CD

Tyrer's, Addlington East Lancs Pyoneer bodied Volvo Olympian used to be Nottingham 463 (S463 ATV) but looks as good as new if not better in this 2013 view on Canada Boulevard, Liverpool.

 

"The boulevard of Canadian maple trees was established in 1995 by the Canadian Government as "a living memorial to Canadians" who died in the Battle of the Atlantic.

 

It runs north to south in front of the Royal Liver Building, The Cunard Building and The Port of Liverpool Building. Each tree has a plaque set in the pavement next to it commemorating a Canadian ship lost at sea in World War II.

 

An information plaque is set into a pedestal at the south end of the boulevard." (www.liverpoolworldheritage.com/visitingthewhs/areas/pierh...)

I used Friday's color combo (minus the turquoise) and the same layout I used on my first card of this week's challenge. Such a different vibe using pastel colors!

Materials Used:

F5253 Bird with Holly

CG109 Share the Joy (partial sentiment)

SU cs, pp, ink and purple rhinestone brad

AC Moore felt snowflake

American Craft button

Offray ribbon

Ranger Icicle stickles

CB snowflake embossing folder

TFL!