Cobweb with water drops macro

Used Sigma 105mm F2.8 EX DG MACRO OS

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

Use for Threadless submissions.

 

DISCLAIMER: PLEASE READ BEFORE USING THIS PHOTO

 

If you would like to use this photo for a site other than Threadless, please contact me via flickrmail or e-mail me at randyaquilizan (at) yahoo (dot) com. Thanks.

Used daily shunting boxes Sounds Great!

Link for a video

www.youtube.com/watch?v=JGrlssXIrrY

Using only a flashgun for these shots.

I never cease to be amazed by my grand-kiddos ability to master modern technology :-)

Warped Tour // Milwaukee, WI

Using my laptop's display as a source for polarized light, a polystyrene CD jewel case top was photographed using an analyzing polarizer in front of the camera lens.

 

The polystyrene top was briefly heated in the center with a propane torch causing the plastic to warp. The upper left corner curled up about an inch compared to the rest of the piece.

 

The color patterns are due to interference caused by retardation of the light going through the plastic. Internal stresses were frozen when the plastic cooled creating a stress tensor field that resulted in a varying birefringence which is seen by a spectral color pattern.

 

See: en.wikipedia.org/wiki/Photoelasticity

Used at odb-c.net/blog/archives/835, and redholics.com/red_board/view.php?bbs_code=expert1&bd_...

To climb the High Temple at Lamanai Archeological Site in Belize. Coming down those steps was also done on all four for most tourists.

Buns - I used the oval "Twinkie" pan by Wilton. I secured string lengthways across the middle so the rising cupcakes would have a seam down the top with two rounded edges.

 

Dogs - I used cake batter in a Cookie pan by Wilton. Then I skewered the cake-dogs and dipped them in Candy Melts (a mixture of red and chocolate). They are only smooth on top.

 

Cheese - I mixed yellow and orange Candy melts together, hardened in the fridge, grated.

 

Ketchup & Mustard - Wilton frosting straight from a tube with a round tip.

 

Mayonnaise - White frosting piped into the bun to secure the dog.

 

Relish - Green Sparkle gel in a tube, with little glittery flakes sprinkled on top. Found everything at JoAnn's Fabric & Craft store.

  

Photo used with permission. Original can be found HERE

 

This is not a drawing of the TSRR #7, but as it is an ALCO RS-2 I'll treat it as a "generic" RS-2 where detailed bits (like smoke stack placement) is in flux. I'm mostly concerned about overall dimensions and such.

 

Looking at these images I can see several things - my locomotive is too short, but I already knew this. My calculations from the TSRR #7 have my locomotive some 8 or 10 studs shorter than it should be, but here it is only 2. I may actually go back and add in those two extra studs for fun.

 

My locomotive is also too squat, by two plates. BUT...

 

I was concerned that this would be too tall in relative comparison to my other TSRR locomotives, but looking at the drawing it says the locomotive is 14' 5", whereas the #300, for example, I know to be 13'. Comparing them together in LDraw tells me that I could raise this locomotive a plate in height without issue. However I'll have to be careful - the #500 should be a foot+ taller than this locomotive, but so long as it is at most equal in height my anal retentiveness should be held at bay.

Flickr : If you would like to use this photo, please contact : sip-images-production@orange.fr

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Série complète projets/reportages, Parti socialiste 2016/17 www.flickr.com/photos/sebastienduhamel/albums/72157674150...

 

Projets/Reportages : Écologie, Éducation et Politiques www.flickr.com/photos/sebastienduhamel/collections/721576...

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Hé, Oh, la gauche !

 

Autour de Stéphane Le Foll, et dans la perspective de l’Alliance populaire lancée par Jean-Christophe Cambadélis, la gauche qui gouverne, c’est-à-dire le parti socialiste, les écologistes d’Emmanuelle Cosse et les radicaux de gauche de Jean-Michel Baylet, se réunit le 25 avril afin de remobiliser l’électorat de gauche face à la droite qui se croit déjà de retour au pouvoir.

 

Le programme de la droite est clair ; il s’agit de remettre en cause les réformes sociales que la gauche a réalisées depuis quatre ans avec la suppression de 300.000 emplois publics (des enseignants, des infirmières…), la retraite à 63 ans, la remise en cause du compte pénibilité…En même temps, le Medef n’hésite pas à prendre en otage la négociation sur le chômage. La droite et le patronat sont sans complexe.

  

Et face à ces attaques, la gauche ne doit pas rester inactive. Elle doit rappeler aux Français toutes les conquêtes sociales qu’elle a obtenues depuis 2012 avec François Hollande et ses deux premiers ministres, Jean-Marc Ayrault et Manuel Valls.

Il faut rappeler en effet que la gauche depuis 2012 c’est :

 

– la retraite à 60 ans pour ceux qui ont commencé à travailler tôt,

– une complémentaire santé pour tous les salariés,

– la généralisation du tiers payant permettant aux plus modestes de ne pas avoir à avancer les -frais médicaux,

– des baisses d’impôt pour les ménages les moins aisés en 2015 et 2016 (deux foyers sur trois auront bénéficié des baisses d’impôt sur le revenu),

– la revalorisation du point d’indice des fonctionnaires, gelé depuis 2010, qui s’ajoute à la revalorisation des salaires des agents de catégorie C,

– la revalorisation des minima sociaux (augmentation du RSA sur cinq ans de 10% en plus de l’inflation),

– la création de la prime d’activité pour les travailleurs pauvres,

– la création du compte personnel d’activité (sécurisation des parcours professionnels).

  

A ceux qui pensent que François Hollande aurait oublié son discours du Bourget, il faut aussi dire que la loi sur la séparation des banques de juillet 2012 a obligé les banques :

 

– à séparer leurs activités spéculatives de leur activité de prêt,

– à publier les profits qu’elles font pays par pays, y compris dans les paradis fiscaux.

  

Dans le même esprit, dès 2012, la fiscalité sur les flux financiers a été alourdie :

 

– les revenus financiers sont imposés au barème de l’impôt sur le revenu comme les revenus du travail,

– la fiscalité sur les produits et charges financières des grandes entreprises a été alourdie.

  

Enfin, à ceux qui croient que François Hollande aurait oublié la priorité donnée à la jeunesse, on doit redire qu’il a tenu ses engagements :

 

– la création de 60.000 emplois dans l’Education nationale durant le quinquennat,

– la création de 275.000 places d’accueil pour la petite enfance,

– la création de 150.000 emplois d’avenir,

– l’instauration d’un droit universel à la garantie locative pour les moins de 30 ans qui permet aux jeunes de louer un logement en bénéficiant de la garantie de l’Etat,

– la revalorisation de 15% des bourses des étudiants des familles les plus modestes,

– l’instauration de la garantie jeunes (une garantie de revenus de 464€ par mois pour les jeunes de moins de 26 ans sans emploi ni qualification qui s’engagent à suivre une formation ou des stages) qui, fin 2016, aura bénéficié à 100.000 jeunes.

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Parti socialiste www.parti-socialiste.fr/

 

www.facebook.com/partisocialiste/

 

fr.wikipedia.org/wiki/Parti_socialiste_(France)

 

Série complète/Reportages de la campagne à l’élection présidentielle de François Hollande

www.flickr.com/photos/sebastienduhamel/albums/72157629874...

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Débat François Hollande et Nicolas Sarkozy : vidéo intégrale du 2 mai 2012

www.youtube.com/watch?v=Fhv1VVCRrJY

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François Hollande, Moi président de la République, je serai…

 

www.youtube.com/watch?v=53b-pBPvjmA&feature=player_em...

 

30 ans de vie politique, victoires, défaites, moments historiques : François Hollande se livre à vous

 

www.dailymotion.com/video/xq98gp_hollande-par-francois_news

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Photographie de Sébastien Duhamel, professionnel de l’image www.sebastien-duhamel.com/présentation-références/

 

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Tournages vimeo.com/137495739

 

www.dailymotion.com/user/Sebastien_Duhamel/1

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Photo/Conditions www.sebastien-duhamel.com/conditions-tarifs/

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SENDRA cowboy boots

Special edition made for »Boots by Boots«, Stuttgart, Germany

103 MA I 2764 8

Rot, Weiß, Schwarz

 

Using the brick stitch technique, I wove tiny seed beads around the perimeter of these sturdy sterling silver hoops, using nymo thread, a strong multifilament thread favored by bead artists. The beadwork on these earrings will not flop around as I use a firm tension in my weaving, but it is slightly flexible. Store your earrings flat when not wearing them, and I would recommend not wearing these to bathe or swim since there is thread in the design.

These earrings feature tiny size 11 and size 15 seed beads in a range of matte and shiny finishes in copper, teal, blue and purple for a tribal boho look. These earrings feature a looped edging with the addition of frosted blue tear drops. The sterling hoops have a thicker gauge ear wire than my silver plated hoops.

Today I went to the dentist. Basically my whole life I've been afraid of the dentist. Over the last few years, that fear has finally started going away. Today at the dentist my ankles were so locked in fear, I could have broken my ankle. Anyways, I made it out alive. But, I got another cavity.

 

Honestly, the reason I took this because slowly as I grow older, I slowly grow more comfortable with my teeth. I barely smile because of them, but still I'm learning I just gotta buck up and deal with the way they are. So when pushing myself into that I decided I'd better do this picture.

Used combination of ND, ND Grad and CPL to prolong the exposure. JPEG is then adjusted a little in iOS Snapseed.

Used - 9.5

GONE

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

This is from a 1955 Buick Used Car Merchandizing Manual. This is a huge album (1,000 pages?) and includes order forms for knickknacks to layout suggestions, advertisements, plastic lay-over design pages, cartoon art etc. Interesting piece of literature.

I used picknic to adjust the exposure of this farm5.static.flickr.com/4043/4452865550_8611bc71c3_m.jpg

  

older pic. I realized my laptop has a brighter screen than most of others. Most of my early pics are therefore appear a bit underexposed.

 

The first (and only so far) shot that conveys some emotions to me. A trumpet player just about to jump in the stage for his solo during a jam session at Small's, nyc..

 

Comments very appreciated! Please add a tag if you find it suitable

Asian woman drinking coffee and using computer in cafe. Photo filter effect.

Used to be an Elf garage many years back - stopped selling petrol maybe about 20 years ago - until recently was a main Renault dealer but has now closed to move to new premises - and no longer called Wests Garage. Update - now turned into student accommodation - here's a Streetview shot with it as a building site www.google.co.uk/maps/@52.2095825,0.143132,3a,90y,264.67h...

Used as a raw material in the manufacture of soap, detergent, textiles and paper, in water softening and treatment, petroleum products refining, in sanitation and hygiene products, and in the food and drug industry, etc.

 

Price: competitive price with super quality

 

Caustic Soda Prills (Sodium hydroxide) CAS NO.: 1310-73-2

Molecular formula: NaOH

Appearance: white

SODIUM HYDROXIDE: 98.5% Min.

CHLORIDE (AS CL): 0.04% Max.

IRON (Fe): 0.008% Max.

NaCO3: 0.8% Max.

Prill Size: average 1 mm.

Appearance: white bead/pearl

Package: 25kgs PP bag

 

More inorganic compound at credit-chemical.com

 

used instructions from bend the rules sewing. christmas present for sis

The SU-100 was a Soviet casemate-style tank destroyer. It was used extensively during the last year of World War II and saw service for many years afterwards with the armies of Soviet allies around the world.

 

It was developed in 1944 as an improvement to the SU-85, built on the same chassis as the T-34-85 tank. It was designed and built at the UZTM (Russian abbreviature УЗТМ for Уральский Завод Тяжелого Машиностроения – Ural Heavy Machinery Factory, also called Uralmash) in Yekaterinburg. The SU-100 quickly proved itself to be among the best self-propelled anti-tank guns of World War II, able to penetrate 125 mm (4.9 in) of vertical armor from a range of 2,000 m (1.2 mi) and the sloped 85 mm (3.3 in) front armor of the German Panther from 1,500 m (0.93 mi).[citation needed] The development was conducted under supervision of L. I. Gorlitskiy, chief designer of all medium Soviet self-propelled guns. The work started in February 1944 and first prototype of SU-100, called "Object 138", was built in March. After intensive testing with different models of 100 mm gun Soviet engineers approved the D-10S gun for mass production. This gun was developed in Constructors Bureau of Artillery Factory No. 9 under guidance of F. F. Petrov. After the Second World War it was installed on T-54 and T-55 tanks and its derivatives were in service forty years after initial development. The hull of SU-100 had major improvements over the SU-85; the thickness of the front armour was increased from 45 to 75 mm (1.8 to 3.0 in), and the commander's workplace was made in a small sponson on the right side of the hull; combined with the commander's cupola this greatly improved the commander's effectiveness. For better ventilation two ventilator units were installed, instead of only one as in the SU-85. Mass production began in September 1944.

 

The SU-100 saw extensive service during the last year of the war. It was used en masse in Hungary in March 1945, when Soviet forces defeated the German Operation Frühlingserwachen offensive at Lake Balaton. By July 1945, 2,335 SU-100s had been built.

 

The vehicle remained in service with the Red Army well after the war; production continued in the Soviet Union until 1947 and into the 1950s in Czechoslovakia. It was withdrawn from Soviet service in 1957 but many vehicles were transferred to reserve stocks. Some exist to this day in the Russian Army holding facilities.

 

Many Warsaw Pact countries also used the SU-100, as did Soviet allies such as Egypt, Angola and Cuba. A few SU-100 were delivered to Yugoslavia after the war, under the designation M-44.[1] The SU-100 saw service in the fighting that accompanied the 1956 Suez Crisis, in which the Egyptians used SU-100s against Israel's M4 Sherman tanks. The vehicle was also utilized in the 1967 Six-Day War and the 1973 Yom Kippur War. It was modified slightly to adapt it to the sandy conditions of the Middle East, thus creating the SU-100M variant. Exported SU-100s continued in service until the 1970s, and in some countries, even later. Yugoslavs used them during the civil war however due to lack of spare parts they were quickly retired, but performed satisfactorily. The SU-100 remains in use by the Vietnam People's Army and the Korean People's Army Ground Force despite the age of the design.

 

SU-100s entered service with the People's Liberation Army (PLA) of China after 1 December 1950 when Soviet forces left Dalian. The armaments in Dalian were sold to China, including 99 SU-100s, 18 IS-2 heavy tanks, 16 T-54s and 224 T-34s, with which PLA formed its 1st Mechanised Division.

 

(Text Wikipedia)

Nepalese women carry wood harvested sustainably from a forest.

 

The future of forests is an important issue in the Copenhagen talks – with countries aiming to come to an agreement that will reduce deforestation and degradation.

 

Forests cover nearly half of Nepal but many of these are being cut down, which means there are fewer trees to absorb the dangerous greenhouse gases in the atmosphere.

 

DFID programmes in Nepal are helping protect the forests by encouraging local people to look after them and earn a living from the forests’ natural resources in a sustainable way.

 

Photo: Bikas Rauniar/Department for International Development

Please attribute to Lorie Shaull if used elsewhere.

 

"Scaffold," a wood & steel sculpture by the artist Sam Durant, was a composite of the representations of 7 historical gallows used in US state-sanctioned executions by hanging between 1859 and 2006. One of them being the gallows constructed in Mankato, Minnesota to simultaneously hang 38 Dakota men on December 26, 1862 on orders signed by President Lincoln following the U.S.-Dakota War. The Mankato execution is the largest one-day execution in US history.

 

Some additional information on the context of historical events surrounding the Mankato hanging:

www.mprnews.org/story/2017/05/30/why-scaffold-struck-so-f...

 

The names of the 38 Dakota men executed in Mankato on December 26, 1862:

 

1. Ti-hdo’-ni-ca (One Who Jealousy Guards His Home)

2. Ptan Du-ta (Scarlet Otter)

3. O-ya’-te Ta-wa (His people)

4. Hin-han’-sun-ko-yag-ma-ni (One who Walks Clothed in Owl Feathers)

5. Ma-za Bo-mdu (Iron Blower)

6. Wa-hpe Du-ta (Scarlet Leaf)

7. Wa-hi’na (I Came)

8. Sna Ma-hi (Tinkling Walker)

9. Hda In-yan-ka (Rattling Runner)

10. Do-wan’-s’a (Sings A Lot)

11. He-pan (Second Born Male Child)

12. Sun-ka Ska (White Dog)

13. Tun-kan’ I-ca’hda Ma-ni (One Who Walks by His Grandfather)

14. Wa-kin’-yan-na (Little Thunder)

15. I-te’ Du-ta (Scarlet Face)

16. Ka-mde’-ca (Broken to Pieces)

17. He pi’ da (Third Born Male)

18. Ma-hpi’-ya A-i’-na-zin (Cut Nose)

19. Henry Milord

20. Cas-ke’-da (First Born)

21. Baptiste Campbell

22. Ta-te’ Ka-ga (Wind Maker)

23. He in’-kpa (The Tip of the Horn)

24. Hypolite Auge

25. Na-pe’-sni (Fearless)

26. Wa-kan Tan-ka (Great Spirit)

27. Tun-kan’ K o-yag I-na’-zin (One Who Stands Cloaked in Stone)

28. Ma-ka’-ta I-na’ (One Who Stands on Earth)

29. Ma-za Ku-te Ma-ni (One Who Shoots As He Walks)

30. Ta-te’ Hdi-da (Wind Comes Home)

31. Wa-si’-cun (White Man)

32. A-i’-ca-ge (To Grow Upon)

33. Ma-hu’-we-hi (He Comes for Me)

34. Ho-i’-tan-in Ku (Returning Clear Voice)

35. Ce-tan’ Hun-ka’ (Elder Hawk)

36. Can-ka-hda (Near the Woods)

37. Hda’-hin-hde (Sudden Rattle)

38. O-ya’-te A-ku’ (He Brings the People)

 

The names of the 2 Dakota men subsequently executed on November 11, 1865 at Fort Snelling for participating in the US-Dakota War:

 

Wa-kan-o-zhan-zhan (Medicine Bottle)

Sakpedan (Shakopee, Little Six)

 

Using the 6.5 creedmore in a 14+1 magazine, this DMR is meant to take targets at ranges between 1-300 metres. Uses a custom handguard that helps heat dissapation so it can be used for supporting fire without overheating. Has a free floating, colbalt alloy barrel and custom stock to help accuracy.

 

Hope you like it :)

Even I only used this transport interchange for maybe 1 or 2 times when I was a kid, the unique spatial arrangement of the complex still evolved from my memory when I re-visited and entered the fenced off, narrow queue of the terminus.

 

-

 

Construction started in 1983, with the multi-storey car park opened in April 1986. The Transport Complex connected to the pier with ferry services serving mainly between Tsuen Wan and Central. The Complex provides passage interchanges to the bus, van and taxi services directly from the pier. The building programmes also included government departments (e.g. Identical Card issue), and other retail booths & food stores. The building has however been disconnected to the central Tsuen Wan areas since the Tsuen Wan MTR service operated even before the completion of the building. The ferry service was closed in 2000 due to the more convenient use of road transport from Tsuen Wan to Central through the West Cross Harbour Tunnel, causing the Complex to be further under-used.

 

The use of individual staircase connecting to each of the bus stop termini was first used in this building - an unique machine-like design to avoid large loads of pedestrians to cross the bus platforms for safety reason.

The most interesting moment of the building was the establishment of a driving school on the 9th and 10th floors of the building since 1999.

 

Most of the bus routes using the Complex have relocated their termini to Tsuen Wan West Station Public Transport Interchange in 2003, and left a larger area of the building into disuse. Under the MTR Corporation's TW5 property development project, the carpark Complex is planned to be closed from 5 Feb 2013 and will be demolished and replaced by residential towers.

 

Digested & quoted from:

zh.wikipedia.org/wiki/%E8%8D%83%E7%81%A3%E9%81%8B%E8%BC%B...

en.wikipedia.org/wiki/Tsuen_Wan_Transport_Complex

using admit one and hello sunshine. Tfl!

wingsofabutterfly-vanessa.blogspot.de/2015/02/watercolor-...

Lots of people have been asking which apps I use for my pics. So here we go:

 

I always take the photos with Camera+. It's a good basic camera with a grid to keep the pic horizontal. Easy to use. Easy to crop the picture. Also a decent library of effects.

 

Next I use Afterlight. Awesome app! My fav. So many opportunities! I adjust the color, contrast, brightness and shit first and then go for the special effects. There's tons of them and I never use just one. Even though I have my favs:) Afterlight also allows you to crop the photo in different shapes like heart, anchor, cloud...you name it!

 

I sometimes use iDarkroom for bokeh or texture effects. Not my fav but in frequent use.

 

This photo also went to Grid Lens so that I could place two pics side by side. Use this app for this purpose only.

 

I add text and shit in Beautiful Mess app. :)

 

That's about it.

Then pic: Camera+ (nothing else done but the actual photo)

Now pic: Bunch of stuff in Afterligh

Por favor, no use esta imagen en su web, blogs u otros medios sin mi permiso explícito. © Todos los derechos reservados.

© Alejandro Cárdaba Rubio/2012

 

La ermita mozárabe de San Baudelio de Berlanga (en castellano actual sería más propio San Baudilio) se encuentra cerca de la aldea de Casillas de Berlanga, Soria. Es un monumento de gran interés tanto por su arquitectura como por sus pinturas románicas, de una singularidad excepcional.

Casi un milenio después de su construcción y pese a que parte de sus interesantísimas pinturas murales fueron vendidas a un marchante en 1922, y arrancadas de los muros tres años después, se la sigue conociendo hoy día como la "Capilla Sixtina del arte mozárabe". Como en el caso de tantas obras de arte trasladadas a museos y colecciones particulares fuera de su país o región de origen, la legalidad de la venta y posterior arrancamiento de las pinturas de su lugar de origen fueron objeto de controversia y consideradas un expolio desde el momento en que se conoció que la venta había tenido lugar, hasta que el Tribunal Supremo sentenció en el sentido de la legalidad de la misma en 1925 permitiendo su salida del territorio español. Las pinturas murales retiradas se conservan actualmente en diversos museos estadounidenses, y en el madrileño de El Prado.

 

Más Información / More Information : es.wikipedia.org/wiki/Ermita_de_San_Baudelio_de_Berlanga

Using a Disney Store Flynn Rider I made this Hades doll from the film Hercules (1997).

 

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Sabrina Carpenter arriva il 22 maggio ai Magazzini Generali di Milano.

 

Sabrina Ann Lynn Carpenter è un'attrice, cantante e ballerina statunitense. All'età di soli 18 anni Sabrina Carpenter è un’affermata attrice che ha recitato in diversi film e serie di successo.

 

Dal 2014 interpreta il ruolo di Maya Hart - l'amica coraggiosa e indipendente di Riley - nella serie Disney Girl Meets World, ma la sua più grande passione è la musica.

 

Sabrina canta e compone le sue canzoni e nel 2014 ha pubblicato il suo primo singolo Can’t Blame A Girl For Trying, seguito un mese più tardi da un Ep con lo stesso titolo.

 

Da allora la sua carriera è decollata e tutti i suoi singoli sono stati visti milioni di volte su YouTube. Le sue canzoni esplorano differenti stati d'animo. A ogni esibizione, Sabrina Carpenter propone una musica personale, unica e positiva.

 

Due sono gli album al suo attivo: un traguardo sorprendente, se si pensa che per la sua giovane età ha continuato ad esercitare parallelamente la sua professione di attrice. Dopo l'uscita del disco Evolution, ha registrato il tutto esaurito nei concerti del suo tour negli Stati Uniti.

 

Using its rapid acceleration to head for Leeds and The North as can be seen from the exhaust heat above the train.

Cross Country is now run by Arriva which in turn is owned by DB Schenker.

Used for ground instruction as 7975M at 71 MU Bicester, then moved to RAF West Raynham fire section on 30-4-69 where it was burnt.