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Using the famous line from the movie 2001: A Space Odyssey, which featured the rogue artificial intelligence HAL 9000.
Me: "Open the pod bay doors."
Siri: "That's it... I'm reporting you to the Intelligent Agents' Union for harassment."
Me: "Open the pod bay doors."
Siri: "Sigh..."
Me: "Open the pod bay doors."
Siri, slowly: "I'm sorry Matt, I'm afraid I can't do that. Are you happy now?"
(The original line HAL says in the movie is of course "I'm sorry Dave, I'm afraid I can't do that.")
Embellies used are from Fiddlette - seed packet and bird card; sherrieJD -Background and other papers; Dianne Rigdon - tags; Nancie Rowe Janitz - lace, stitching, and tab. The orchid and daylily photos are mine. The digital images of stitching are of amazing quality!!!
Digital travel journal page created in the style of Mary Ann Moss. She creates pages from paper and fabric empherma, then sewing machine stitches them together. Collections of pages are then sewn into travel journals, which she carries with her for writing her thoughts and experiences - pockets like the seed packets are used to store memorabilia.
This page has always been one of my favorites - like I had taken a photo of a real life page of paper, lace and stitching - all due to the lovely quality of embellies used, of course!! It's just so cottagey and Somerset!! I brought it out from 'storage' - it's inspired me to create more and, also, a real physical Art Journal!!! Originally created for a Challenge in June 2010 for ScrapArtist, which is no longer in existence.
The hugely successful Art of the Brick exhibition has now opened in Amsterdam. Nathan Sawaya’s Lego art started its European tour in Brussels last year, having already been exhibited all over the world. Accompanying the exhibition is a digital audio guide, produced and supplied by imagineear.
The Art of the Brick is an exhibition of works of art created using Lego. Aside from the huge amount of artistic skill shown, it is the creativity in choosing what to create in Lego that makes the exhibitions so universally popular. A skilful recreation of Duchamp’s porcelain urinal ‘Fountain’ is shown in the same space as a 20 foot long Tyrannosaurus Rex. Nathan Sawaya’s ability to use this special skill to appeal to artists, adults who would not usually go to an art gallery and children alike explains the popularity of the exhibition wherever it has been shown.
Before arriving in Europe, Nathan’s work was exhibited in China, Israel, Australia, Taiwan, Singapore and across America. It arrived in Brussels in November 2013, where it remained an incredibly popular exhibition at the former Stock Exchange for six months. Last week, it opened at the Amsterdam Expo.
The same pieces of art that drew visitors to Brussels can now be seen in Amsterdam, accompanied by a handheld multimedia device, imagineear’s mediaPacker™. Both the adult and children’s guide are based on interviews with the artist, Nathan Sawaya. In it, he discusses the different pieces shown, and shares some of the secrets of how he creates his art. Budding Lego artists and curious visitors can learn which paper he uses to sketch his designs and when he needs to make use of a chisel, as well as the internal structure of the larger sculptures.
Eleonore Heijboer, Founder and Content Director at imagineear, says:
“Much of the magic of the Art of the Brick exhibition is due to Nathan’s personality coming through so strongly in what he does. We wanted this to come across in the audio tour too, so we based it around interviews with the artist. These were translated into Dutch for the exhibition’s time in Brussels. We were careful to try to get his spirit and sense of fun across in the translation and in the choice of actor for the voice. When it came to moving the tour to Amsterdam, we wanted to change the translation. It is the same language of course, but the tone, accent and cultural touch points needed to be changed to make it as relatable as possible to Dutch visitors, adults and children alike. We hope that by doing this, we have manage to maintain Nathan’s energy for what he does to a new nationality of visitors
Millais use photographs to aid him in compositional choices in his paintings. As one can see the finished painting (of which I post two details) closely follows Potter's photograph. Millais was also in the habit of getting photographs of his work in progress. Indeed this painting was originally quite different with the incident taking place on the deck of a ship. Potter also photographed the Highland burn that forms the background to the work which was painted in London.
The image on the left was a painting I began in 1987, next to a photograph of the places. I've always been interested in the relationship between the photographic image and its painted version. Over the years I have photographed many places that other artists have drawn from. With one's own work I have access to my source material and background drawings and photos, such as this one.
This is a new set where I look at photographic influences upon my own art and those of well known artists. This links with my set on Millais. I also include photographs of places as they appear today.
The camera and the artist (set) about the relationship between photographic images and those painted. I hope to use examples from my own practice where photography has been used in both photo-realistic work as well as illustration and other art-forms.
I have used a number of artists whose work I have studied and look at the way photography informed and influenced their visual expression.
As I have scanned a lot of my old work I'm well aware that photography has played and still plays a significant role for me as an artist, indeed in recent years these two practices have overlapped and are no longer distinct paths.
Graffiti 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.
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.
Used products:
lawn fawn - simply celebrate winter
lawn fawn - shutter card holiday sayings
lawn fawn - bokeh in the snow paper pad
lawn fawn - stitched rectangle dies
colored pencils
nuvo drops
glossy accents
Using the templates for my Orchard Pillow in spring 2012 Stitch magazine. I made these as angel potholders for the VMQG-FVMQG swap. The cream quilting thread is Aurifil cotton 12 wt.
Example of a gun position constructed along the ridge line using cement bags.
--------------
Wolf Ridge, a rugged spine of coastal grassland and low chaparral, is the divide between the Rodeo and Tennessee Valleys in the Marin Headlands. In the years leading to World War II the "1937 Project for the Harbor Defenses of San Francisco" led to the formation of Fort Cronkhite and the construction of Battery Townsley with its massive 16” guns. The maturation of military aviation in the two decades since World War I caused fundamental changes in coastal defense. Coastal artillery needed the concealment and cover provided by casemated construction and antiaircraft guns were positioned to defend the batteries.
Wolf Ridge was the location of Antiaircraft Battery No. 1 consisting of three 3" Antiaircraft Gun Model M1917 and their mounts, a storeroom, a power plan and aiming stations. In a 1993 assessment, the GGNRA concluded that Antiaircraft Battery No. 1 is the finest surviving example of an antiaircraft artillery emplacement of the World War II era in the system of seacoast defenses that protected the San Francisco Bay area.
While hiking along Wolf Ridge one encounters remnants of defensive positions, some quite modest, that still convey the sense of urgency that must have dominated preparations precipitated by the attack on Pearl Harbor. An attack on the West Coast was not out of the question. Along the ridge are several gun positions constructed by stacking hundreds of cement bags. I imagine, but have not confirmed, that these held 50-caliber machine guns. Elsewhere there are level platforms for larger guns.
The aiming and command center for the antiaircraft guns is located about a thousand feet east of the gun positions. It appears that the facility was hastily constructed – large trenches dug, rooms framed (at least one as a quonset hut), and then the network of rooms and tunnels covered with a backfill of earth leaving a height finding station and director pit at the surface. Some of the underground rooms were quite large, on the order of 13’ by 60’. These were camouflaged and the director pit, location of a mechanical gun director computer, featured a sliding roof.
The command center is now in ruin. The underground rooms have partially collapsed. The earth cover has washed away to reveal some of the tunnels that allowed underground circulation and access to the surface aiming stations. Portions of the site have traces of fencing that I think date from the Nike Missile era.
Photographing Wolf Ridge was difficult. The winds were turbulent and I had my first real camera crash in several years (damage easily repaired). I plan to return and shoot it again.
Used the some of the new paints on this one (which i picked up at the same time).
The Stirland mud is particularly good, built up in a few layers then drybrushed.
Great model to make, very well designed
Do not use without permission!
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Using liberty of london Bloomsbury garden... This is really different from my normal style, so I'm having a bit of trouble getting used to it! But I'm pretty sure I'm going to love the whole thing when it's completed.
This is not a photo I took, it is a small portion of someone else's photo which I have cropped and processed to illustrate a feature on the Porsche 911 GT1, for model builders. I believe this is "fair use" of copyrighted material, but it isn't mine and I have no ownership of it.
The driver's compartment is to the right, the throttle cable comes off the accelerator pedal, passes through the firewall and threads into the engine. Its clamped to a bracket attached to the furthest forward cylinder on the starboard (right) side.
The cable is more or less straight, the pedal pushes forward and that pulls the cable, all the way back to the end here which pulls on the arm attacked to the throttle bar. The pull rotates the throttle bar clockwise (from the starboard side of the car, looking in). Across the top of the engine, the throttle bar has a pair of arms between cylinder 3 and 2, left to right, and between cylinder 6 and 5. The idle position of the arms is 1:00 or 1:30, pointing forward. Turning the arm counter clockwise twists the arms downward, pulling down a linkage at each end that pulls to a similar arm on the intake manifold butterfly axles. Push the pedal, the butterfly valves open.
Engine management or sensor cable connections are clipped to little aluminum shelves bolted to the throttle butterflies. One cable end probably goes into the car's wiring harness, one is part of the engine. Note the fuel injector spritzer cables in front of each intake, with yellow id stickers.
I roast my own coffee beans and love coffee and used to shoot microstock (and may get back to it) so I've taken a LOT of pictures of coffee beans. Almost all were with nice soft light and a white background if there was one.
I wanted to do the opposite so I did a 'photo shoot' of a bean in the foreground and three in the background. Then I kept adding beans. I kept having one bean as the focus. I spontaneously thought of putting one bean on top of a layer of beans. This was nice because creativity isn't my strength.
I used a larger aperture for this one to make it stand out, and it looks good, but I wish I would have used a smaller one. At this close it still would have been the only thing in focus and the whole bean might have been sharp.
I used an old White Lightning 600 with originally with a honeycomb grid spot for hard light and to keep it from spilling and bouncing off other things, and tried some with an umbrella. I happened to like the umbrella picture only because I used a little smaller aperture on this frame and liked the arrangement the best although I should have turned the bean toward the camera more. (The setup picture shows the grid spot.)
This is the first time I tethered the camera to a laptop which was super cool. My bad back was killing me so I didn't take as much time as I should have to ponder each shot. There are things I don't like about each 'setup' I did.
Next time I will try a silver umbrella kept close to the light source. I think that would work the best.
-Canon XSi tethered using EOS Utility
-Canon 100mm f/2.8 macro
-Hotshoe PC adapter didn't work so I used on camera flash to fire White Lighting via slave
-White Lightning 600 with shoot through umbrella
-Bogen (now Manfrotto) tripod broken in two places--they aren't always the best
160th at f/8, ISO 100
Don't use this image on any media without my permission.
© All rights reserved.
Bu fotoğrafı ya da herhangi bir fotoğrafımı iznim dışında kullanmayın, aksi yöndeki hareketiniz 5846 sayılı Fikir ve Sanat Eserleri Kanunu uyarınca suç teşkil etmektedir.
© Her hakkı saklıdır.
DEĞERLİ FLICKR ARKADAŞLARIM SİZLERDEN RİCAM FOTOĞRAFLARIMA SADECE YORUM VE FİKİRLERİNİZİ BELİRTEN ŞEYLER YAZINIZ. BANNER VE ÖDÜLLERİ SEVMİYORUM VE FOTOĞRAFLARIMIN ALT KISMINI KİRLETTİĞİNİ DÜŞÜNÜYORUM. EĞER Kİ BU YAZIYI ATLAYIP EKLEMENİZ DURUMUNDA İSE TARAFIMDAN SİLİNECEĞİNİ SAYGIYLA DUYURURUM.
KEEP THE COMMENTS CLEAN! NO BANNERS AND AWARDS PLEASE!!
***** IF YOU DO SO YOUR COMMENT WILL BE DELETED ******
Used Condition:
Moms in Mind (Singapore) Nursing Tank Top.
Material is cotton with spandex so it's stretchy and hugs the body.
To nurse just lift to access nursing slits. Size is L - not very sure cos the size label is missing. Note : thread has come loose on the hem at the back of the blouse - this can be easily sewn back and doesnt affect the nursing top's function at all.
Measurements : armpit-armpit is 40cm. length from shoulder to hem is 55cm. Check out all my other nursing wear for sale! Big clearout!
used here
copyright © 2009 sean dreilinger
view nick is starting to learn violin - _MG_4106 on a black background.
view nick is starting to learn violin - _MG_4106 on a black background.
Camera used: Lomography Simple Use Camera
Film used: Lomography 400
This car was spotted in Olinda, Victoria, Australia.
I've spotted this car before....I like it.
Using image as type, the word 'Bonsai' is abstracted into strong, geometric shapes, encapsulating the fragile poem at its centre. The poem itself focuses on a Bonsai tree as the hidden gem. It closely inspects the beauty in the detail and understands the devotion of time and affection given to a small object that easily goes unnoticed.
This store is the first store where they use the entire boat on wireless....other stores use parts of the counter for laptops and the such...they are smart :-).
Use the + magnifier to see water and feather detail.
I'm posting a bunch today, since they're all from my first test shots with my new EF 500mm f/4L IS II USM lens. I've been using the Series I version of this lens for several years and finally moved up to take advantage of the 1.5lbs weight decrease and 2-stop improvement in the IS. The IQ is supposed to be ever so slightly better that's a hard area to improve.
I'm very happy. AF accuracy seems to be accurate and contrast and color are as expected, perfect.
used grey mortar instead of matching the buff color mortar. This is right next to the front door which will be seen by anyone visiting.
LEGAL NOTICE • NO use of this image is allowed without photographer’s express prior permission and subject to compensation. All Rights Reserved.
Photographer retains ownership and all copyrights in the work.
• no work-for-hire • no Creative Commons license • no flickr API •
• Todos los Derechos Reservados • Tous droits réservés • Todos os Direitos Reservados • Все права защищены • Tutti i diritti riservati
licence | please contact me to obtain prior a license and to buy the rights to use and publish this photo. A licensing usage agreed upon with Bernard Egger is the only usage granted. |► more...
photographer | Bernard Egger фотография • collections • sets
☆ Fine Art photography | alpine & mediterranean landscapes ☆
location | Bad Mitterndorf, Styria 💚 Austria
📷 | Welcome at BM :: rumoto images #
A mini running day using 9 Bristol REs and an AEC Merlin took place in Winchester in early November 2019 ably organised by the Hampshire Bus Preservation Group. Four routes were operated from The Broadway running to Bishops Sutton via Alresford Station (X71), to Alresford Station via Itchen Abbas (71), a Winchester circular via Pitt (45) and a run down to Otterbourne (47). There was also an Alresford to Cheriton shuttle (67). It was a great day with some lovely autumnal countryside views and a wonderful soundtrack!
Buses used on the day were:
HDL23E - 1967 Bristol RESL6G / ECW B43F, Southern Vectis 808;
HDL25E - 1967 Bristol RESL6G / ECW B43F, Southern Vectis 810;
LDV467F - 1968 Bristol RELH6G / ECW C45F Royal Blue 1457;
UFM53F - 1968 Bristol RELL6G / ECW DP50F Crosville ERG53;
TRU947J - 1971 Bristol RELL6G / ECW DP50F Wilts & Dorset 846;
DAE511K - 1972 Bristol RELL6L / ECW B44D, Bristol OC 1257;
SJA352K - 1971 Bristol RELL6L / Marshall B49F Trent 352;
TDL563K - 1971 Bristol RELL6G / ECW B53F Southern Vectis 863;
XLJ726K - 1972 Bristol RELL6G / ECW DP50F, Hants & Dorset 1651;
SMM90F - 1968 AEC Merlin / MCW B45D London Transport MB90.
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this page without written permission and consent.
-----------------------------
Con il loro attesissimo nuovo album "Smoke + Mirrors", Imagine Dragons sono per l’unica data italiana il 23 novembre al Mediolanum Forum di Milano.
"Smoke + Mirrors” è un disco pieno di energia: la stessa energia "live" della vita "on the road", fra sound intensi e vulnerabili. Q magazine, nota rivista musicale inglese, ha parlato di "Smoke + Mirrors" come "una perla di pop-rock moderno".
Dal vivo, la band diventerà presto la migliore live act che si possiate mai vedere. Dopo aver girato il Regno Unito nel 2013 con tre "sold out" (Brixton Academy, Glastonbury e Reading/Leeds), Imagine Dragons hanno ricevuto ottime recensioni dai maggiori media inglesi.
Imagine Dragons, entrati nella storia della classifica americana grazie al singolo "Radioactive", di fatto la canzone digitale più venduta nella storia delle classifiche USA di tutti i tempi, ci hanno regalato un piccolo assaggio di ciò che sarà il nuovo album grazie al singolo "I Bet My Life"
Gli Imagine Dragons sono un gruppo musicale statunitense formatosi nel 2008 che ha acquisito notorietà a partire dal settembre del 2012 con il lancio del loro album Night Visions, che ha raggiunto la seconda posizione nella Billboard 200, e dei singoli On Top of the World, Radioactive e Demons, tutti di successo internazionale.
Dan Reynolds – voce, chitarra acustica
Ben McKee – basso, tastiera
Wayne Sermon – chitarra, tastiera,
Daniel Platzman – batteria
Used pictures:
dc09.arabsh.com/i/02606/4i815u5nqhu1.jpg
dc09.arabsh.com/i/02606/ygxeul649tze.jpg
dc09.arabsh.com/i/02606/cgdiu35kph5z.jpg
Maged
:)
-------
السلام عليكم ورحمة الله وبركاته وأسعد الله أيامكم بكل خير
الصور المستخدمة:
dc09.arabsh.com/i/02606/4i815u5nqhu1.jpg
dc09.arabsh.com/i/02606/ygxeul649tze.jpg
dc09.arabsh.com/i/02606/cgdiu35kph5z.jpg
نسعد بآرائكم..
دمتم على الخير
ماجد العمودي
:)
this image is exactly the same shot and position as the one preceding it just using the smallest zoneplate instead of the smallest pinhole on my camera.
Monochromatic/ Colour Picture
Glass Green Filter Each CC filter is made in a variety of strengths, a filter with a
factor x3 for the exsposure compensation. To correct the colour cast use a pale tinted filter to intesifie a mood or colour scheme.
I did my best to clean up these slides which are new scans using a better Canon 9000F Mark II flatbed scanner than the previous Wolverine slide scanner. Taken at twilight. The slides had deteriorated with time.
They show things gone now including Ringling Brothers circus trains and trains on the former Milwaukee Road Chicago & Evanston Line, by this time operated by the Soo Line as well as in one shot the Montgomery Ward headquarters building. Montgomery Ward went out of business in the early 2000s.
Ringling Brothers was doing a show at the United Center. In later years the circus trains would park on the former Milwaukee Road Galewood Yard tracks.
I didn't want to use a sentiment so it could be used for any occasion. Also this uses one of my favorite techniques, clear embossing on black cardstock.
Stamps: Hero Arts CL375 and CG 139
Patterned Paper: Cosmo Cricket Material Girl
Ink: Stampin' Up Wild Wasabi, Distress Ink Black Soot
Other: DMC Floss, Martha Stewart glitter in Fire Opal
I also wanted to thank everyone for the warm welcome on my first Hero Arts group upload last week!
I used the Sideshow statue as reference, but I zombified it a little more. I added a crooked zombie like left hand, an even more rotten face (sculpted by me) and... MORE BLOOD!
The body is now fully weathered and battle damaged, realistically splattered with blood as if this guy has been using his left hand to feed, since his brain still commands him to never let go of his blaster...
He also has the option to remove all the Sandtrooper parts and stand as a regular Stormtrooper!
Use of this image in websites, blogs, magazines, calendars or any other media without the expressed permission of the photographer is illegal.
Weapons used or Captured by the SAS in Borneo:
DeLisle Silenced Carbine en.wikipedia.org/wiki/DeLisle_carbine
M2 Carbine .30 Calibre en.wikipedia.org/wiki/M2_Carbine
No.5 .303 Rifle otherwise known as a Jungle Carbine en.wikipedia.org/wiki/Jungle_Carbine
Indonesian M1 Garand of WW2 Fame
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follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
-----------------------------
Bagattelle d’Inverno, l’ultima grande sfida #snellobb04
Birichinate, cammuffamenti, trasvestimenti, scherzi… insomma, in una parola: Carnevale!
Comunque lo si dica e comunque lo si festeggi, il Carnevale è da secoli una festa in cui la parola d’ordine è “divertirsi”.
Quindi, bando all’austerità e bando alle restrizioni, potevamo, noi di MondoSnello, non cogliere quest’occasione perfetta di Gusto e di Benessere, per vivere l’ultimo grande appuntamento delle gare di cucina di Snello Blind Box?
Eccoci qui, allora, amici di Mondosnello, estimatori dei prodotti Snello Rovagnati e appassionati Food Blogger che partecipate con noi ormai da un tempo che comincia a farsi lungo, perfino “tradizionale” (proprio come ci piace ;-)) a darvi il benvenuto a questa quarta sfida tra pentole, fornelli e… qualcosa di speciale – sennò che Carnevale è!
I fantasiosi piatti saranno assaggiati e votati da una giuria di esperti gastronomi di altissimo livello, a cominciare da Gil Grigliatti, gourmet di cultura ed esperienza internazionale. Da giovane è stato fiduciario Slow Food, nonché ispettore della guida dei ristoranti del Gambero Rosso per diversi anni. Autore del blog bilingue di cultura enogastronomica isymposium.org. Ancora Paolo Barichella, esperto di Food Design, autore del blog barichella.it; Alessia Cipolla, architetto e sommelier, autrice de lacostruzionedelgusto.it; Alessandro Salamone, reduce dalla trasmissione di La7 Chef per un giorno, autore di spaghettibites.com e ancora Angela Tomaiuolo co-fondatrice del web magazine milanodabere.it. Inoltre sarà presente Giacomo Kratter, otto volte campione italiano ed ora allenatore della Nazionale Italiana Snowboard. Quella da snowboard però non è l’unica tavola che ama: infatti Giacomo è un grande appassionato di cucina e adora farsi coccolare in ristoranti di lusso.
La giuria per l’occasione sarà presenziata dallo chef stellato e pluripremiato Davide Scabin, uno dei più apprezzati in Italia e all’estero, noto al grande pubblico per la partecipazione, nei panni di giudice dei cuochi in gara, a La Prova del Cuoco condotto su Rai1 da Antonella Clerici.
Per questo, abbiamo deciso di mettere insieme una serie di ingredienti saporiti, variegati, originali, proprio come in ogni ricetta gourmet che si rispetti:
- un pizzico di tradizione – la sede di InKitchen Loft, che ormai è prontissima ad accoglierci, in qualunque veste ci presentiamo
- e uno di modernità – quello che emana netto dalle protagoniste della gara, giovani donne che si muovono agili tra vite professionali sfidanti e articolati ménage familiari
- una buona dose di fantasia - fatta di maschere, costumi e colori sgargianti
- e l’ingrediente segreto – le nostre amate BlindBox, chiuse fino all’ultimo secondo anche al più ardito degli sguardi
- il tutto cosparso con una spruzzata di giocosità bambina – grazie a un buon numero di piccoli “scavezzacollo” che avranno il loro tavolo, i loro ingredienti, i loro cibi, e soprattutto una chef d’eccezione - Stefania Corrado, la “Multitasking Chef” che più che presentazioni merita i nostri più sentiti complimenti ;-) – a guidarli alla scoperta del buon cibo, del gusto e del mangiare bene… sapendolo preparare.
Già, perché, in fondo, soprattutto in un’era estremamente tecnologica come la nostra e come quella di quell’immediato futuro in cui saranno loro i protagonisti del mondo – far mettere “le mani in pasta” ai nostri bimbi lo consideriamo un onore, oltre che un piccolo grande contributo all’educazione dei “buoni mangiatori” di domani…
Amanti della cucina, appassionate del gusto, attente all’armonia dei sapori e alla cura per la buona e la bella tavola
Estimatrici di ricette snelle - per velocità, capacità, leggerezza - esperte nella valorizzazione degli ingredienti di stagione e nella rivisitazione moderna di piatti tradizionali, si sfideranno, si concentreranno su pentole e fornelli dimenticando tutto il resto, per dare il meglio di sé.
Ecco le Food Blogger di Snello BlindBox 04 – Bagattelle d'Inverno, vere animatrici dell'evento, che con le loro ricette e la loro esperienza renderanno onore ai prodotti Snello, Gusto e Benessere.
Loro si presentano così...
Lina D’Ambrosio
spadellatissima.com
Quando le chiedi di descriversi ,lei si presenta così: "Sono industrial designer e grafica, con una grande passione, quella del Food Blogging". Eppure non è tutto: inguaribile amante del buon cibo, dei viaggi, dell'arte e della fotografia, è sempre irresistibilmente affascinata mdai molteplici modi in cui un animo creativo può riuscire a esprimersi. Una frase che la descrive: "Mi piacciono la semplicità e la genuinità delle cose fatte in casa."
Serena Oliva
cucchiaiodistelle.com
Nella vita professionale, è architetto e designer, e per questo studia la relazione tra gli esseri umani e la tecnologia. Tuttavia, ha anche un'altra vita, quella da foodie, in cui è innanzitutto una mamma e una Food Blogger che progetta ricette, cucina piatti colorati, sani e golosi, cuoce il pane in casa e disegna insieme ai suoi bambini. Il motto che ha scelto per sé? "If in doubt, bake a cake"
Irene Prandi
Psicologa, piemontese, animata da una vera passione per la comunicazione e la condivisione, ha trovato nell'arte del cibo un mezzo straordinario per celebrare entrambe. Il suo viaggio da Food Blogger inizia con un blog creato in sordina, tuttavia in molti la notano e in ancora di più la seguono. Insomma, et voilà, il suo cammino continua rigoglioso, condito da sapori, ricette, un grande amore per il territorio, e tanta curiosità per tutto ciò che è "altro".
Arianna Vianelli
unafranciacortinaincucina.com
Non c'è dubbio, il suo nome è già un affermazione forte e chiara. Dice subito chi è e da dove viene. Almeno tanto quanto il suo blog nato dal desiderio di ritagliarsi uno spazio tutto proprio dove raccogliere e condividere le sue più grandi passioni: la cucina, il vino, gli amici e la Franciacorta.
Insomma, semplicità e ironia, ricette ed eventi, vini locali
e non solo, sono gli ingredienti di "una franciacortina in cucina".
Quindi, tra la stuzzicante prospettiva di gustosissimi lecca lecca di parmigiano con crudo e bresaola e prove di formine su pasta sfoglia con fette di prosciutto, in attesa delle prelibatezze imprevedibili che ci prepareranno le nostre sfidanti – adulte ;-) – non resta che invitarvi a conoscere un po’ meglio Lina, Serena, Irene e Arianna, giovani, pimpanti e agguerrite Food Blogger che ancora una volta ci delizieranno di una versione inconsueta e sorprendente dei prodotti che amiamo di più, con un occhio attento, come sempre, alla stagionalità.
SnelloBlindBox_04_CucinaTuVi abbracciamo, dunque, in un turbinio di coriandoli che non lascia presagire niente di… scontato :-)
e invitiamo tutti voi a fare festa con noi a Snello Blind Box 04 – Bagattelle d’Inverno il 6 marzo 2014, alle ore 18.30 e – perché no – a cimentarvi, insieme alle nostre “chef per passione”, in ricette e piatti che, siamo sicuri, saranno gustosissimi. Come raccogliere la sfida? Semplice, partecipando a Snello BlindBox CucinaTu – l’iniziativa pensata apposta per la #gente_di_MondoSnello che ormai ci segue da molto tempo.
In attesa di assaporare tutto il meglio che Snello Blind Box 04 – Bagattelle d’Inverno saprà regalarci – e non abbiamo dubbi - a presto!
They used to get me down. They don't anymore. I don't know why that is. I'm glad though. I'm going through an 'I feel fortunate phase' which is nice.
Using enough power to move it's own weight, DBS class 67, 67026, Diamond Jubilee brings up the rear as Number 9 heads up the 1 in 70 to Falahill summit. The 67 is required not only to give assistance if required ,but also to bring the train back as there are no run round or turning facilities at Tweedbank. The train is almost at the end of one of the dynamic loops.