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Using Sony a77 camera w/ 16-50mm f2.8 lens
ISO 100, 28mm, f 3.2, 1/320 sec
Edited using Adobe Light room 4
Following collection from infected wheat plants using a cyclone collector, stem rust spores are sieved to remove chaff and other detritus, at the Njoro research station, part of the Kenya Agricultural Research Institute (KARI). These spores can be stored for use in inoculation the next season.
Njoro is home to an ongoing screening program, working in close partnership with CIMMYT to identify sources of resistance to the Ug99 race of stem rust. This virulent new strain of the disease, which emerged in Uganda in 1999, is already endemic in the area, making it possible to use Njoro as a testing ground for wheats from all over the world. More than 30,000 wheat lines are now being screened each year.
For more information on stem rust, see CIMMYT's Wheat Doctor: wheatdoctor.cimmyt.org/en/pests-a-diseases/list/122?task=....
For information on collection and inoculation techniques, see the CIMMYT publication "Rust diseases of wheat: Concepts and methods of disease management", available as a pdf at: libcatalog.cimmyt.org/download/cim/38487.pdf.
For more on CIMMYT's ongoing work on Ug99, see the following e-news stories:
2010, "Planting for the future: New rust resistant wheat seed on its way to farmers": www.cimmyt.org/newsletter/231-2010/716-planting-for-the-f....
October 2009, "From Cairo to Kabul: Rust resistant wheat seed just in time": www.cimmyt.org/newsletter/38-2009/460-from-cairo-to-kabul....
December 2008, "Report from the field: Wheat stem rust resistance screening at Njoro, Kenya": www.cimmyt.org/newsletter/37-2008/110-genetic-resources-p....
December 2006, "Threat level rising": www.cimmyt.org/newsletter/82-2006/263-threat-level-rising.
September 2005, "The World’s Wheat Crop is Under Threat from New Disease": www.cimmyt.org/newsletter/86-2005/331-the-worlds-wheat-cr....
Photo credit: Petr Kosina/CIMMYT.
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.
If using this image please attribute to "Kitmondo LAB" - www.kitmondo.com/lab-medical-bioscience-equipment
Images from listings on our website Kitmondo.com in the laboratory, medical and bioprocessing section. See a range of lab, medical and biomedical equipment from across the globe on our site.
This image is free to use in your creative works.
Please do not redistribute or make small changes and claim it as your own.
Please provide credit via a link under your work back to this image or to my account where possible, thank you .
I love to see how you use my image, so please leave me a link or a small copy in my comment box below.
Thank you,
Brenda.
I belong to this set - ~Backgrounds~
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 :)
By using color changing LED lighting I-5 Design and Manufacture created a unique façade upgrade for Oaklawn Racetrack & Casino. This amazing LED Billboard is completely programmable and can easily be changed to thousands of colors or video files of your choice! Click here to view more Custom Design projects
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
Before soldering, a small amount of liquid borax flux is applied to the joint of a link to facilitate the flowing of the molten solder. In this case, I'm soldering a pointe shoe silver pendant. Mauro Cateb, Brazilian jeweler and silversmith.
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...
This is another version of this dress with this fabric. This time, I used a stand collar and added cuffs so that it would look a LOT more like the DVF dress here:
I used a Japanese pull saw to start the notches for the floors but had trouble cutting a true line perpendicular to the top edge of the strongback. This piece of scrap gave me a guide to get the cuts started nice and true.
We find that Craft & Design pupils often have difficulty remembering the sequence of operations involved when making a simple screwdriver handle. These photographs depict this process.
We begin with the preparation of the 25mm aluminium blank. After this the blank is held in the 3 jaw self centering chuck. A series of turning operations is then carried out. For the following we set a high spindle speed and used a slow feed speed for best results. Shown here we show facing off. Then turning down or parallel turning. Next taper turning. After that the Slocombe bit or centre bit is mounted in a Jacob's chuck and a pilot hole is drilled. A HSS twist drill or jobber bit is then mounted in the Jacob's chuck and a blind hole is drilled to a depth of 30mm. The depth gauge is used to judge this.
Taps and dies are used to cut the internal thread on the screwdriver blade and the internal thread on the handle.
Finally both components are assembled and the handle is knurled or given a textured grip pattern. This is done at a very low spindle speed and a slow automatic feed speed.
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Women used to wear jangot (a kind of long hood) when going out of the house (Courtesy of Damyeon) (Source: Han Style)
Flickr : If you would like to use this photo, please contact : sip-images-production@orange.fr
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Projets/Reportages FNH 2008/16 : www.flickr.com/photos/sebastienduhamel/collections/721576...
Projets/Reportages : Écologie, Éducation et Politiques www.flickr.com/photos/sebastienduhamel/collections/721576...
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Fondation Nicolas Hulot : www.fondation-nicolas-hulot.org/
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La Fondation Nicolas Hulot lance My Positive Impact
2015 est une année décisive pour le climat et donc pour l’humanité toute entière. La COP 21, Conférence internationale sur le climat, se réunira à Paris en décembre prochain. 195 pays, devront impérativement parvenir à un accord si nous voulons éviter des changements climatiques irréversibles et leurs conséquences dramatiques pour la vie sur notre planète et pour des millions d’habitants.
Pendant longtemps, le débat sur le climat a été agité par deux questions : est-ce vrai ? Et y-a-t-il des solutions ?
Aujourd’hui nous savons que c’est vrai. Les scientifiques sont unanimes pour l’affirmer. Maintenant le changement est-il inéluctable ? Non, si nous optons pour les bons choix, individuellement et collectivement.
Les solutions existent, elles naissent partout dans la société civile. Des associations, des entreprises, des collectivités inventent, créent, lancent des initiatives pertinentes, efficaces et réplicables, pour lutter contre le dérèglement climatique. Habitat, alimentation, transport, santé … tous les secteurs sont concernés. A la clé : des créations d’emplois, plus de lien social, une meilleure qualité de vie et moins d’émissions de gaz à effet de serre. Malheureusement ces projets restent trop souvent expérimentaux confrontés à un mur de conformisme ou de scepticisme. Il suffirait pourtant de presque rien pour faire de ces bonnes idées isolées les standards de demain. C’est pourquoi, la Fondation Nicolas Hulot pour la Nature et l’Homme a décidé de permettre à tous de choisir les idées à suivre et de donner le pouvoir aux solutions pour le climat en les sortant de l’anonymat, grâce à une campagne de mobilisation inédite : My Positive Impact.
Le principe : 100 initiatives portées par des petites entreprises, des collectivités et des associations, qui répondent aux problèmes du changement climatique sont soumises au vote du public. Pour plus de lisibilité, deux sessions de votes sont proposées à raison de :
• 50 solutions soumises au vote du 11 mars au 19 avril
• 50 solutions soumises au vote du 25 mai au 5 juillet
Chacun est invité à voter pour celles qui lui parle ou qui le convainque le plus et, avec ses partenaires médias, la Fondation transformera les votes en visibilité ! 10 solutions remporteront ainsi une véritable campagne de communication en mesure de leur apporter la crédibilité et la notoriété nécessaire pour attirer investisseurs, compétences, partenaires, débouchés…. Reportages, plateaux TV, chroniques radios, articles, annonces presse, bannières web… les récompenses médiatiques prendront diverses formes.
Soutenue par de nombreuses personnalités (chanteurs, acteurs, sportifs, chefs d’entreprise, …), la campagne trouvera son point d’orgue en décembre 2015 à l’occasion de la COP 21, lors d’une grande soirée de remise de trophées My Positive Impact aux lauréats.
Participer à la campagne My Positive Impact permet non seulement aux solutions pour le climat d’être vues, partagées, déployées à très large échelle, mais aussi de créer les conditions pour faire émerger un nouveau modèle de société, où les bonnes idées de quelques-uns deviennent la chance de tous.
Changements climatiques, quels enjeux pour la COP21 ?
2 degrés de plus… Ça change quoi ?
Pourquoi et comment réduire les pesticides?
Comment financer les actions pour faire face au changement climatique ?
Pour en savoir plus et voter : www.mypositiveimpact.org
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OSONS - Plaidoyer d'un homme libre
« Les sommets sur le climat se succèdent, nous croulons sous l'avalanche de rapports plus alarmants les uns que les autres. Et l'on se rassure avec une multitude de déclarations d'intention et de bonnes résolutions. Si la prise de conscience progresse, sa traduction concrète reste dérisoire. L'humanité doit se ressaisir, sortir de son indifférence et faire naître un monde qui prend enfin soin de lui. »
Nicolas Hulot, Président de la Fondation Nicolas Hulot pour la Nature et l'Homme
Ce manifeste écrit par Nicolas Hulot est un cri du coeur, un plaidoyer pour l'action, un ultime appel à la mobilisation et un coup de poing sur la table des négociations climat avant le grand rendez-vous de la COP21. Il engage chacun à apporter sa contribution dans l'écriture d'un nouveau chapitre de l'aventure humaine, à nous changer nous mêmes et par ce biais à changer le monde.
Diagnostic implacable, constat lucide mais surtout propositions concrètes pour les responsables politiques et pistes d'action accessibles pour chacun d'entre nous, cet ouvrage est l'aboutissement de son engagement et de sa vision en toute liberté des solutions à « prescrire » avant et après la COP21. L'urgence est à l'action. En 12 propositions concrètes, Nicolas Hulot dresse, avec sa Fondation, une feuille de route alternative pour les États et suggère 10 engagements individuels pour que chacun puisse également faire bouger les lignes à son niveau.
Depuis 40 ans, Nicolas Hulot parcourt la planète. Témoin de sa lente destruction, il a décidé de devenir un des acteurs de sa reconstruction. Au côté de sa Fondation pour la Nature et l'Homme ou en parlant aux oreilles des décideurs, il contribue à faire évoluer les mentalités.
Broché - 96 pages - format : 12 x 19 cm.
Editions LLL Les liens qui libèrent.
boutique-solidaire.com/…/produits-…/26414-osons-.html
Osons: la conférence du 07 octobre au Grand Rex à Paris
www.youtube.com/watch?v=cCUEcl6tqRM
Nicolas Hulot - On n'est pas couché 31 octobre 2015 :
www.youtube.com/watch?v=3YjmXqOTqu0
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Festival Science Frontières : Nicolas HULOT et Jean-Marie PELT, nous parlent des grands problèmes de notre planète mais aussi des grandes solutions...
www.youtube.com/watch?v=eo-YoX-nsKk
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Le film "Une Vérité qui Dérange" : www.youtube.com/watch?v=GZ4izGzj9r0
Une vérité qui dérange (An Inconvenient Truth) est un documentaire américain de Davis Guggenheim sorti en 2006. Traitant du changement climatique, il est basé en grande partie sur une présentation multimédia que Al Gore, ancien vice-président des États-Unis et prix Nobel de la paix en 2007 (partagé avec le GIEC) a préparé pour sa campagne de sensibilisation sur le réchauffement planétaire
fr.wikipedia.org/wiki/Une_vérité_qui_dérange
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Le film "Le Syndrome du Titanic" : vimeo.com/64741962
Le Syndrome du Titanic est un film documentaire réalisé en 2008 par Nicolas Hulot et Jean-Albert Lièvre, sorti le 7 octobre 2009
fr.wikipedia.org/wiki/Le_Syndrome_du_Titanic
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Photographie de Sébastien Duhamel, professionnel de l’image www.sebastien-duhamel.com/présentation-références/
Derniers projets/reportages photos www.flickr.com/photos/sebastienduhamel/collections/721576...
Classeurs photos www.flickr.com/photos/sebastienduhamel/collections
Albums photos www.flickr.com/photos/sebastienduhamel/sets/
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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I could sure use a pick me up right now.
This was taken at a bakery in Williamsburg called Baked. If I don't get into grad school opening up a bakery is one of my many Plan B's.
Man, I really need to stop posting so much. As you can see my mind keeps running overtime. At this rate I'm going to need a Pro account soon!
Hopefully this will be the last thought of the day. So, I was stalking my roommate's tumblr and she wrote something that I absolutely loved and it's the downright TRUTH. I loved it so much that I need to share it. I'm basically gonna copy and paste it because I couldn't have said it better.
You Boys are Idiots
"When the going gets tough, MAN UP. Don’t just pick the easy way out and give up. Don’t run away. Try and REALLY TRY. Don’t just say that you’ll try and not try. TRY for goodness sake! When that’s not enough TRY HARDER!! Don’t use God and His will as an excuse for your laziness and cowardice unless you’re really sure He told you so. If He didn’t, at least man up to your own short comings and admit that you’re giving up because of you, not because of God. I’m sure He wouldn’t appreciate you using Him like that either.
We’re good catches. We deserve it. We’re good for you too. But the point is, we want to be there for you. One beauty of a relationship is that you make us better and we make you better. One beauty of a God centered relationship is that God makes us both better. We want to be there with you and fight it out together. We don’t need you to be perfect. We’re not perfect. We just want you to commit and try to make it work. We just want to try with you TOGETHER.
Boys, read this - whether you’re in a relationship, single, looking, or claiming celibacy - read it for the sake of yourselves and your significant other - she may even become your wife.
jaesonma.com/365-days-of-love-day-284-the-5-pillars-of-ma...
(Disclaimer: Definitely not saying that women don’t have their own parts to play either. And don’t agree with every single word of this (like first date comment), but generally the important main points are legit.)
It’s Not About Finding the Right Man/Woman. It’s About Being the Right Man/Woman."
using admit one and hello sunshine. Tfl!
wingsofabutterfly-vanessa.blogspot.de/2015/02/watercolor-...
A contractor uses a wrench to tighten the massive saw teeth of the circular saw of a feller buncher at the U.S. Department of Agriculture (USDA) Forest Service (FS) Kaibab National Forest, Williams Ranger District's Cougar Park Task Order worksite, in Arizona, on December 4, 2018. The saw can cut through 10" trees in less than two seconds.
âTimber Tomâ Dauenhauer, a timber sale administrator for the Kaibab National Forest, is visiting the restoration work site.
The 1,342-acre Cougar Park Task Order is part of the broader Four Forest Restoration Initiative, which is intended to treat more than 2.4 million acres of ponderosa pine forest across northern Arizona. The work within the Cougar Park timber sale, located south of Bill Williams Mountain, is about 60 percent complete. Current activity includes heavy logging equipment such as feller bunchers, skidders, and loaders. The ultimate goal of the timber sale is to improve forest health and reduce the potential for high-intensity wildfires that could threaten lives, property, and natural resources. The Four Forest Restoration Initiative seeks to increase resilience in the fire-adapted ponderosa pine forest by reducing tree stand densities to a more historical level, which eventually reduces the potential for uncharacteristic wildfire. This work also offers greater protection for residents living in and adjacent to the wildland-urban interface, where developments and forested areas merge.
USDA Photo by Lance Cheung.
For more information please see:
@usda
@forestservice
The U.S. Department of Agriculture (USDA) Forest Service (FS) Kaibab National Forest, Williams Ranger District's Cougar Park Task Order has âTimber Tomâ Dauenhauer, a timber sale administrator for the Kaibab National Forest, visiting restoration work site, in Arizona, on December 4, 2018. The 1,342-acre Cougar Park Task Order is part of the broader Four Forest Restoration Initiative, which is intended to treat more than 2.4 million acres of ponderosa pine forest across northern Arizona. The work within the Cougar Park timber sale, located south of Bill Williams Mountain, is about 60 percent complete. Current activity includes heavy logging equipment such as feller bunchers, skidders, and loaders. The ultimate goal of the timber sale is to improve forest health and reduce the potential for high-intensity wildfires that could threaten lives, property, and natural resources. The Four Forest Restoration Initiative seeks to increase resilience in the fire-adapted ponderosa pine forest by reducing tree stand densities to a more historical level, which eventually reduces the potential for uncharacteristic wildfire. This work also offers greater protection for residents living in and adjacent to the wildland-urban interface, where developments and forested areas merge.
USDA Photo by Lance Cheung.
For more information please see:
@usda
@forestservice
The sky becomes yellowish due to the thick smoke of peat land fires. Palangka Raya, Central Kalimantan.
Photo by Aulia Erlangga/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Coronation Aerial Post
On 9th September 1911, Gustav Hamel took off from Hendon Aerodrome in his frail Bleriot monoplane to inaugurate the first United Kingdom aerial post and landed in Windsor 12½ minutes later. The flight was organised to carry special mail celebrating the Coronation of George V.
Within a few years airmail services became well established and between 1930 and 1938 special blue post boxes like this commemorative one were used for posting air letters.
The service was suspended at the outbreak of WW2 and never reintroduced.
Stamp vending machines were withdrawn from use in 1980.
Oh, and the regular post box is out of use too...
Relics from the past in Windsor High Street.
Name aside, one of the odd things about Mavic-sponsored racers this year is that several mountain goats have been using both the R-Sys and CCU at the same time. Both Saunier-Duval's Gilberto Simoni and Barloworld's Mauricio Soler have paired an R-Sys front to a CCU rear in climbing stages. We saw this and were surprised. The CCU should be lighter and more aero than the R-Sys, and yet they chose the R-Sys. Our contacts at Mavic tell us that these riders prefer the R-Sys in front for its prowess in tacking technical descents. The racers can move it around better going fast and setting up for corners.
Mavic introduces 'Tracomp' concept with new R-SYS road wheelset
R-SYS uses carbon spokes laced radially on the non-driveside
Photo ©: James Huang
With very few exceptions (anyone remember the Black Hole?), modern spoked bicycle wheel design has always involved a rim connected to a hub using tensioned spokes… that is, until now. The new R-SYS wheels from French wheel giant Mavic symbolizes "the third generation of wheel design" by virtue of an intriguing new Tracomp (Traction Compression) technology.
Using its extensive in-house testing facility, Mavic determined that the fundamental flaw of a traditional wheel is that lateral loads tend to cause some spokes to lose tension (or become detensioned completely). More specifically, typical wire spokes are apparently too easy to stretch and offer little to no structural support when placed in compression.
In seeking that elusive "third generation", Mavic designers and engineers identified spoke stiffness and flange spacing as the biggest contributors to a wheel's lateral rigidity, while rim stiffness, spoke length, hub flange diameter, and spoke lacing patterns all are said to offer little significant influence. More surprisingly, Mavic also claims that spoke tension has a negligible influence, and increasing the spoke tension actually reduces overall lateral rigidity (although it does delay the onset of complete spoke detensioning).
One of Mavic's giant wheel testing machines
Photo ©: James Huang
Mavic's new Tracomp technology is built upon a 4mm-diameter hollow tubular carbon fiber spoke that is substantially stiffer than other spoke materials in tension, but more importantly, can also operate in compression ('tension' is also referred to as 'traction', hence the nomenclature). Citron-anodized (it's back!) aluminum ends are permanently bonded to either end of the spoke, which is radially anchored at the rim thanks to the direct threading of Mavic's FORE system, and at the hub courtesy of a new Tracomp ring that is pressed into the end of the hub shell.
The new R-SYS road wheelset is the first product to integrate the Tracomp concept: radially-laced carbon spokes are used throughout the front wheel and on the non-driveside of the rear wheel, and the non-driveside spoke flange has been pushed out by 4mm (thinner bladed Zicral spokes in a two-cross pattern are used on the driveside instead of the fatter carbon spokes in order to keep that flange as close to the cassette as possible).
Aluminum is used for the 22mm-deep front and 25mm-deep rear rims for durability, reliability, and predictable braking. Contrary to Mavic's prior stance on the subject, the rear rim is also asymmetrically drilled to help even out the spoke tension. The hubs incorporate Mavic technologies introduced last year. Thankfully, the use of fairly standard construction and components means that the R-SYS will remain as user-serviceable as the current Ksyrium line.
Gilberto Simoni inspecting a new R-SYS wheel.
Photo ©: Mavic
Mavic says the new R-SYS wheel is both 10% lighter and 30% stiffer than the current Ksyrium ES. The carbon spokes and their aluminum ends weigh only 5g apiece (Mavic's Zicral spoke and nipple are about 7g each), and since the entire wheel is built with lower tension, the hub and rim can use less material without compromising durability (an R-SYS clincher rim is said to be under 400g). Claimed weight for a complete clincher pair is just 1355g (570g front, 785g rear, without skewers); the tubular version shaves another 25g a set.
We sampled the new R-SYS on a brief ride around Lake Annecy, France near Mavic's main headquarters. Although initially skeptical, our brief 60km (40mi) of rolling terrain left us with excellent initial impressions on the new wheel's ambitious rigidity claims. The R-SYS is noticeably more responsive than the Ksyrium ES, especially when climbing out of the saddle and sprinting. Moreover, the increased wheel rigidity also had a surprising effect on our test bike's handling characteristics, turning our normally fairly docile LeMond Tête de Course into an almost twitchy machine.
Mavic says the new R-SYS is also substantially more vertically compliant than the Ksyrium ES. On the contrary, we actually thought it felt more rigid, although the carbon spokes seem to lend some damping effects. We can, however, vouch firsthand for Mavic's weight claims: our clincher test set was 560g for the front wheel and 810g for the rear, or just 15g heavier than advertised overall (we'll take that any day). Suggested retail for the pair is US$1400, including skewers and wheel bags.
Mavic offered up little information on future products that would incorporate Tracomp technology, but suggested that it was looking into other applications. It did say, however, that the Ksyrium ES will be replaced for 2008 with the Ksyrium SL Premium, which will be functionally identical but dressed in a more subdued black-and-grey color scheme. More significantly, though, both it and the standard Ksyrium SL will also incorporate the new offset rear rim.
The Palatine Hill
Rome has its origins on the Palatine. Excavations show that people have lived in the area since the 10th century BC. Excavations performed on the hill in 1907 and again in 1948 unearthed a collection of huts believed to have been used for funerary purposes between the 9th and 7th century BC approximating the time period when the city of Rome was founded.
Pallantium (Ancient Greek: Παλλάντιον) was an ancient city near the Tiber river on the Italian peninsula. Roman mythology, as recounted in Virgil's Aeneid for example, states that the city was founded by Evander of Pallene and other ancient Greeks sometime previous to the Trojan War. In addition, Dionysius of Halicarnassus writes that Romans say that the city was founded by Greeks from Pallantium of Arcadia, about sixty years before the Trojan war and the leader was Evander. The myth of the city's origin was significant in ancient Roman mythology because Pallantium became one of the cities that was merged later into ancient Rome, thereby tying Rome's origins to the ancient Greek heroes. Other cities in the area were founded by various Italic tribes.
Virgil states that Evander named the city in honor of his ancestor, Pallas, although Pausanias as well as Dionysius of Halicarnassus say that Evander's birth city was Pallantium, and thus he named the new city after the one in Arcadia. Dionysius of Halicarnassus also mention that some writers, including Polybius of Megalopolis, say that the town was named after Pallas, who was the son of Heracles and Lavinia, the daughter of Evander, and when he died his grandfather raised a tomb to him on the hill and called the place Pallantium, after him.
According to Livy, after the immigration of the Sabines and the Albans to Rome, the original Romans lived on the Palatine. The Palatne Hill was also the site of the ancient festival of the Lupercalia.
Many affluent Romans of the Republican period (c.509 BC – 44 BC) had their residences there.
From the start of the Empire (27 BC) Augustus built his palace there and the hill gradually became the exclusive domain of emperors; the ruins of the palaces of at least Augustus (27 BC – 14 AD), Tiberius (14 – 37 AD) and Domitian (81 – 96 AD) can still be seen.
Augustus also built a temple to Apollo here.
The great fire of 64 AD destroyed Nero's palace, the Domus Transitoria, but he replaced it by 69 AD with the even larger Domus Aurea over which was eventually built Domitian's Palace
From the 16th century, the hill was owned by the Farnese family and was occupied by the Farnese Gardens, still partially preserved above the remains of the Domus Tiberiana.
At the top of the hill, between the Domus Flavia and the Domus Augustana, the Villa Mattei was built in the 16th century, then purchased around 1830 by the Scot Charles Mills who turned it into an elaborate neo-Gothic villa. At the end of the 19th century the villa was converted into a convent. This was partially demolished from 1928 to allow excavations and in the surviving part of the building the Palatine Museum has been installed.
The Roman Forum
The Roman Forum, also known by its Latin name Forum Romanum (Italian: Foro Romano), is a rectangular forum (plaza) surrounded by the ruins of several important ancient government buildings at the center of the city of Rome. Citizens of the ancient city referred to this space, originally a marketplace, as the Forum Magnum, or simply the Forum.
For centuries the Forum was the center of day-to-day life in Rome: the site of triumphal processions and elections; the venue for public speeches, criminal trials, and gladiatorial matches; and the nucleus of commercial affairs. Here statues and monuments commemorated the city's great men. The teeming heart of ancient Rome, it has been called the most celebrated meeting place in the world, and in all history. Located in the small valley between the Palatine and Capitoline Hills, the Forum today is a sprawling ruin of architectural fragments and intermittent archaeological excavations attracting 4.5 million or more sightseers yearly.
Many of the oldest and most important structures of the ancient city were located on or near the Forum. The Roman Kingdom's earliest shrines and temples were located on the southeastern edge. These included the ancient former royal residence, the Regia (8th century BC), and the Temple of Vesta (7th century BC), as well as the surrounding complex of the Vestal Virgins, all of which were rebuilt after the rise of imperial Rome.
Other archaic shrines to the northwest, such as the Umbilicus Urbis and the Vulcanal (Shrine of Vulcan), developed into the Republic's formal Comitium (assembly area). This is where the Senate—as well as Republican government itself—began. The Senate House, government offices, tribunals, temples, memorials and statues gradually cluttered the area.
Over time the archaic Comitium was replaced by the larger adjacent Forum and the focus of judicial activity moved to the new Basilica Aemilia (179 BC). Some 130 years later, Julius Caesar built the Basilica Julia, along with the new Curia Julia, refocusing both the judicial offices and the Senate itself. This new Forum, in what proved to be its final form, then served as a revitalized city square where the people of Rome could gather for commercial, political, judicial and religious pursuits in ever greater numbers.
Eventually much economic and judicial business would transfer away from the Forum Romanum to the larger and more extravagant structures (Trajan's Forum and the Basilica Ulpia) to the north. The reign of Constantine the Great saw the construction of the last major expansion of the Forum complex—the Basilica of Maxentius (312 AD). This returned the political center to the Forum until the fall of the Western Roman Empire almost two centuries later.
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Centro antigo de Sao Paulo
456 anos da cidade de São Paulo: Um momento para refletir
Na próxima segunda-feira, 25, a cidade de São Paulo irá completar 456 anos. Nesta época, a mídia costuma fazer dossiês e oferecer opções para a população comemorar o nascimento da metrópole. No entanto, de uns anos para cá, inclusive em 2010, pode-se perceber que o “romantismo” que algumas pessoas apresentavam pela cidade de São Paulo está um pouco abalado.
Prova disso é o resultado de uma pesquisa divulgada nesta semana, onde foi constatado que 57% dos paulistanos deixariam a cidade se pudessem. O estudo encomendado pelo Movimento Nossa São Paulo revela que problemas como a constante violência, a precariedade dos serviços públicos e a falta de conscientização de certos individuos para questões que afetam a todos, fazem com que São Paulo seja uma cidade de dificil convivência.
Os problemas não param por ai. Nas últimas semanas estamos nos deparando com uma cidade sem infra-estrutura para lidar com chuvas e sem perspectiva de melhoras. Nos acostumamos a ver os rios Tietê e Pinheiros transbordarem. Cada vez mais, notícias anunciando número de mortos, em decorrência de chuvas torrenciais se tornam mais constantes nos veículos de comunicação.
Sabemos que São Paulo não é a única cidade brasileira que sofre com problemas como esses, mas acredito que essa data é importante para refletirmos sobre os rumos que a cidade está tomando. Só reclamar não adianta. Por isso que eu venho aqui no Respostas e pergunto a vocês o que os paulistanos têm feito pela cidade? Será que é um momento apenas para comemorar ou para refletir sobre o que pode ser feito para melhorar a qualidade de vida de quem vive aqui?
São Paulo é uma cidade linda, multicultural, repleta de possibilidades e oportunidades. Inspiração para muitos artistas de diversas esferas. Um lugar com identidade própria e o que caracteriza essa identidade, é o fato de ter todas as caras ao mesmo tempo. Um lugaronde a neurose urbana e a pressa constante fazem com os que aqui habitam vivam em um estressante, mas indipensável, ritmo frenético.
Impossível falar da cultura paulistana sem citar o samba paulistano. Berço de compositores como Adoniran Barbosa, Paulo Vanzolini e Eduardo Gudin entre outros. Eles que tantas vezes se inspiraram em São Paulo para criarem letras que foram batucadas em caixinhas de fósforo, mas que se eternizaram fazendo com que a chama do nosso samba permanecesse acesa até hoje. O que nossos sábios mestres do samba diriam se vissem os rumos que a cidade está tomando? Será que eles se sentiriam inspirados com a realidade de São Paulo ou entrariam nas estatísticas daqueles que desejam migrar daqui?
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.
in the LOOP 5 shopping center near Frankfurt you will find these nice ladies on the toilet - untouchable behind glas.
here it's in use..................
Designer: Qi Shuyan, Political Work Group of the Revolutionary Committee of the Railroad Factory Collective Work, (戚墅堰，铁路工厂革命委员会政工组供稿)
1971, March
Use and study Chairman Mao's glorious philosophical thought in a big way
Daxue dayong Mao zhuxi guanghui zhexue sixiang (大学大用毛主席光辉哲学思想)
Call nr.: BG E13/706 (Landsberger collection)
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" No Surrender " 1985 Film - A seedy night club is double booked by The Orange Lodge and Catholics in fancy dress .
No Surrender is a dark humour Alan Bleasdale film.
Set in Liverpool in the 1980's, it has many sub plots going on at the same time involving 2 sets of pensioners (one Catholic and the other Protestant), a band who can't play, a magician who can't do magic, an underworld gangland boss torturing the previous manager, a group of very old mentally handicaped patents and enough bad language to make a Chubby Brown show look PG!!!!
A normal night out these days.
www.youtube.com/watch?v=wkxnDSjF0jo
www.youtube.com/watch?v=zpv0zNozIG4&feature=related People more than old enough to know better !
en.wikipedia.org/wiki/Orange_Order
forums.icnorthwest.co.uk/viewtopic.php?f=29&t=14740&a... Do you think the Orange Lodge should pay for the July 12 policing costs?
thathideousman.blogspot.com/2011/03/book-notes-orange-ord...
www.southportvisiter.co.uk/southport-news/southport-south... Southport Orange Parade organisers given a clear message after 16 people were arrested
www.qlocal.co.uk/southport/news_list/Orange_Lodge_March_I...
www.liverpoolecho.co.uk/liverpool-news/local-news/2011/07... See Comments
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Hemoglobinometer, an instrument used to determine the hemoglobin content of the blood by spectrophotometric measurement, by Haden - Hausser. Container is a rectangular prism with a smooth black coating. Centered on the lid is relatively small gold text reading, "Haden - Hauusser / Hemglobinometer / Clinical Model". Inside contains black painted wood and plastic to create compartments for various tools, including glass measurement tools, a rubber tube, a lens, and small slides. One glass measurement tube contains the text, "U.S. Pat. 1676540 / No. 19835 / A.H.T. Co. Philada. U.S.A. / Germany-A". Embossed on the bottom of the deepest compartment are the following in small, all-caps text: "Makers C.A.Hausser & Son, Philada.PA.", "Patented", "Distributors Arthur K. Thomas. Co., Philada.PA." Box measures 7 3/4" x 4 3/4" x 2 7/8".Belonged to Dr. Mila E. Rindge or her doctor father, Milo. Learn more about her at www.madisonhistory.org/doctor-in-the-house/. Purchased at a local antique store as a collection inside classic doctor’s bag by MHS Director Jennifer Simpson in October 2020
ACC# 2020.118.007
See other medical related items in the MHS museum at flic.kr/s/aHsmTm2Swj
(Photo credit - Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
Use PC version of flickr to download full files. Credit www.instagram.com/waterbloggged -- photos are for athletes, parents, coaches, schools
Use for stock photography available on: www.lightstock.com/users/anilynn-photography
used; Canon EOS 60D, photoshop CS5.
© Rogier Coppejans. All of my photographs are Copyrighted and All Rights Reserved.
They may not be used or reproduced in any way without my written permission.
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