For the challenge theme 'image association', which is like word association but with images. Juan very kindly gave me a photo of his (very nice-looking) tool set to follow, so I took the easy way out and did a macro shot! At least Mike will now have plenty of time to get a fruit salad together ;-)

Used import from Japan, still has a Yanase logo on the rear hatch.

This is the shelf in our bedroom. I made the bunting, and bought lots of things that are on this shelf. (August 18th 2008)

 

(see notes on the photo itself for details)

I took out my rarely used Pentax 6x7 to give it a bit of use and afterwards got to thinking I should have a look back at some of my images from long ago. I came across this negative from August 1990 shot on medium format 120 roll film Ilford FPS B&W film. This was back in my Ansel Adams period. It shows the forest floor in part of the east section of the land along the Gorge of the Forty Mile Creek in Grimsby, Ontario. The reason I took it was the lovely beam of sunlight that nicely lit up the leaves. This negative had been sitting in my files neglected for some 28+ years and it seemed like a good idea to try a scan of it. As I processed the image I was reminded of why I really don’t miss film all that much. Regardless of how careful you are, dust and debris litter the image and force you to spend inordinate amounts of time cloning out the imperfections. I will never curse a few sensor dust spots again. That said, there are some nice image buried in my files so I may just do this again once in a while - JW

 

Date Taken: 1990-08

 

Tech Details:

 

Taken using a Tripod-mounted Pentax 6x7, 90mm Super-Multi-coated Takumar/6x7 1:2.8/90 leaf shutter lense, exposure data not recorded, Ilford FP4, developed in D76, scanned using an Epson V500 at 3200dpi using Vuescan to TIFF file. Base adjustment done using free Open Source RAWTherapee: reduce exposure slightly, adjust tone curve 2 to get blacks to go black and recover/preserve as much highlight detail as possible, save. PP in free Open Source GIMP: Adjust the tone curve to fine tune the overall tonality, slightly increase overall contrast, engage in some really tedious dust spotting using the clone tool, sharpen slightly, save, scale to 6000px wide, sharpen slightly, save, add fine black-and-white frame, add bar and text on left, save, scale image to 2048 wide for online posting, sharpen slightly, save.

    

The Phoenicians founded bases in Portugal from 1000 BC. They and later the c are said to have called the site "Alis Ubbo" and used it as the only large natural harbor on the Iberian Atlantic coast. According to Pliny the Elder, Lisbon was later regarded as a foundation of Odysseus.

 

Under Roman rule, from around 205 BC, the city was initially called Olisipo. Julius Caesar succeeded in breaking the last resistance of the local tribes in 60 BC. Under Caesar, Roman veterans were settled here to control the area. The town was granted Roman city rights in 48 BC and subsequently became a larg town in the province of Lusitania. From 409 A.D. onwards, barbarian tribes advanced into the Iberian Peninsula. Alans, Suebi, Vandals and Visigoths attempted to occupy Lisbon. In 468, the Roman city commander surrendered the city to the Suebi, but shortly after the earthquake of 472 the Visigoths began to rule.

 

In 719, Lisbon was conquered by Muslim Moors and later became part of the Emirate of Córdoba. After this, the city experienced its first major boom. Although Alfonso II conquered the city for a short time in 798,[ Lisbon soon fell to the Moors again. During the Caliphate of Córdoba, the city was one of the most important ports, while Christian Galicians and Leonese repeatedly attempted to conquer it. Vikings devastated the city and the surrounding area in 844.

 

In the 11th century, Lisbon belonged to the Emirate of Badajoz. From 1093, Raymond of Armous, a son of William I of Burgundy, was given the rule of Galicia. From there, he undertook campaigns against the Moors in the south. He succeeded in temporarily entering Lisbon after the Muslim ruler of Badajoz had submitted to King Alfonso, but even this conquest was was not permanent, nor was the occupation of Lisbon by Norwegian crusaders under Sigurd in 1108.

 

Even when Alfonso I came to power, the south of the Iberian Peninsula was still held by the Moors. However, in 1147, the siege of Lisbon finally led to the capture of the city. External support for the attackers was decisive: the successful siege of the city by an army of crusaders from the Second Crusade secured Alfonso I the basis for his rule over the entire surrounding area.

 

An earthquake struck on the morning of 1 November 1755.Along with a major fire and a tsunami, the Lisbon earthquake destroyed the Portuguese capital almost completely. With 30,000 to 100,000 deaths of the 275,000 inhabitants, this earthquake is one of the most devastating natural disasters in European history. About 85 percent of all Lisbon's buildings were destroyed.

 

The Jerónimos Monastery replaced the previous church on the same site, which was dedicated to Santa Maria de Belém and in which the monks of the military-religious Order of Christ assisted sailors passing through.

 

In 1502, King Manuel I laid the foundation stone for the monastery, which became a highlight of Portuguese architecture. The construction period lasted over seven decades and thus outlasted Portugal's heyday. Five architects were responsible. Nevertheless, the entire building appears unified. The complex was planned to be much larger, but the hall church, the two-storey cloister with refectory, chapter house and sacristy as well as the 193 m long west wing,were built.

 

Until 1834, the monastery housed the Hieronymites, the order of St. Jerome, who also gave the monastery its name. The building survived the earthquake of 1755 without major damage.

 

The ceiling of the nave

  

In 1983, the Mosteiro dos Jerónimos was declared a UNESCO World Heritage Site.

  

Please don't use this image on websites, blogs or other media without my explicit permission. If you wish to use this image, please, contact me through flickrmail or at vicenc.feliu@gmail.com. © All rights reserved...

 

I just found this blog, http://sabreur76.wordpress.com/, offering my material for commercial sale. The person doing this is using a gmail account: sabreur76@gmail.com. This is not me, please, don't support this person. I have locked down access to my photostream until he or she takes down the blog. Thanks!

 

The soldiers who stand guard at the Tomb of the Unknown Soldier are hand picked and rigorously trained. They have come from every state in the union, every walk of life. There are men and women. For some this is their first unit in the Army, others are veterans of many years. Over the years there have been Regular Army and Draftees.

 

The duty is not for everyone. Over 80% of the soldiers who tryout for this duty do not make it.

 

Each soldier must have strong military bearing, discipline, stamina and present an outstanding soldierly appearance. Each Sentinel must be able to flawlessly perform seven different types of walks, honors and ceremonies. They must retain vast amounts of knowledge concerning the Tomb, Arlington National Cemetery, the United States Army and their unit.

 

One of the first reactions of visitors at the Tomb, is to comment on how tall the soldiers are. While you might not notice the difference in height, a Tomb Guard can tell what Relief is working . . . . just based on their height.

 

There are three Relief's assigned to the Tomb Guard Platoon, each consisting of 9 enlisted soldiers (they use the same break-down as a Light Infantry Squad). The heights are equal on each Relief, with the tallest assigned to the 1st Relief.

 

1st Relief 6'2" to 6'4"

2nd Relief 6' to 6'2"

3rd Relief 5'11" to 6'

 

Each Relief is commanded by a Staff Sergeant (E-6) and has two "Teams", each consisting of an Assistant Relief Commander (E-5) and 4 Sentinels (E-4 and below), for a total of 9 soldiers per Relief. The Headquarter (HQ) Relief consists of the Sergeant of the Guard, Assistant Sergeant of the Guard, the Primary Trainer and a Driver.

 

If you have ever watched the Changing of the Guard, you will have noticed that not all Guards do the same thing. The Tomb is completely run by Non-Commissioned Officers (NCO). There are six different levels of responsibility at the Tomb:

 

Sentinel:

This soldier has the hardest job - to stand watch at the Tomb. They do this in one hour shifts, 24 hours a day, 365 days a year. These soldiers typically have the rank of Private First Class (PFC) through Specialist (SPC) and the average age is 22. The sentinels do not wear rank insignia on their uniforms so that they do not outrank the Unknowns, whatever their rank may have been. Soldiers serving in other roles, like Relief Commander and Assistant Relief Commander, do wear insignia of their rank when changing the guard only. They have a separate uniform worn when they actually guard the Unknowns or are "Posted".

 

Assistant Relief Commander (ARC):

An NCO with the rank of Corporal (CPL) or Sergeant (SGT), this is the Relief Commander's right hand. Each Relief Commander has two ARC assigned. The average age for an ARC is 24.

 

Relief Commander (RC):

An NCO with the Rank of Staff Sergeant (SSG). The RC has the greatest responsibility on a day-to-day basis. The RC is not only responsible for conducting the Changing of the Guard, but also for the welfare and morale of the Relief as a whole. In the absence of the Sergeant of the Guard, the RC is responsible for everything that happens at the Tomb. The RC typically has served in two different units in the Army, and the average age is 27. In this photo you see the RC (on the left) with the Relief Sentinel at the hourly Changing of the Guard.

 

Assistant Sergeant of the Guard (ASOG):

The ASOG is typically the senior Staff Sergeant (SSG) in the Platoon. The ASOG has the primary duty of conducting the daily administrative duties, to include oversight of the initial training phase for new Sentinels. The ASOG assumes the duties and responsibilities of the Sergeant of the Guard in his absence.

 

Sergeant of the Guard (SOG):

The buck stops here! The SOG is the Platoon Sergeant for the Tomb Guards , and holds the rank of Sergeant First Class (SFC). The primary duties and responsibilities of the SOG include Presidential Wreath Ceremonies, as well as the overall responsibility for the conduct and actions of the Platoon. The SOG has served in many different leadership positions in the Army, and typically has been a Platoon Sergeant once before. The SOG is the most experienced NCO in the Platoon, and has the added responsibility of mentoring and developing the junior NCO's. The average age of the SOG is 30.

 

(Technical note: I have to confess that the DoF and bokeh here are nothing more than Photoshop trickery. There is no way anyone could get this kind of blur at a f/6.3. Sorry if I misled you. Best; V)

     

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.

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foto: Lucan Piai

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.

Using a Leitz Summicron-C 40 mm

Using Olympus STF-8 flash unit.

For your Art only, not for Sale on a Cd

I used to wonder, got an expensive camera, so many friends from flickr shoot amazing pictures with such beautiful colors, when would i get a shot like that.

 

Do i have to live like this or should i attend some class to go to the next level.

 

Then during my vacation to Goa, i was taking so many shots to get one decent shot. This is not an exaggeration but into the world of Photography ( 7 months young) took about 9000 + shots.

 

Here is the result to get a descent one.

Thanks for your patience to read all these lines. ha haha.

 

Sam

 

Feel free to shoot a mail get a copy with my signature on corner.

John Mills Himself building

© All rights reserved. Use without permission is illegal in Italy.

Amo la fotografia di strada, nella maggior parte dei casi non chiedo il permesso di fotografare perché probabilmente cambierei le immagini che cerco di ottenere. Queste foto obbediscono sempre ad un intento culturale, estetico, artistico e documentaristico e in nessun caso hanno lo scopo di mostrare a nessuno una situazione che potrebbe lederne l'immagine, minacciare la loro dignità o ottenere un beneficio economico.

Se ti riconosci in una delle mie fotografie e questo ti infastidisce, devi solo farmelo sapere e la cancellerò immediatamente. Se vuoi una copia della tua immagine su carta o in un formato che ti permetta di stamparla tu stesso , ovviamente è tua.

Use a criatividade e aplique onde quiser!

Use what talents you possess, the woods would be silent if no birds sang there, except those that sang the best..

~ Henry Van Dyke~

Buffalo Games Inc. 17051

750 pieces, used and complete

24x18in

61x46cm

includes bonus poster

 

I wasn't too enthusiastic about this Buffalo Games jigsaw: a brooding sky and all that stonework seemed a daunting prospect, but as Mike liked it I was willing to go along with him. It turned out to be surprisingly easy and actually a pleasure to assemble after all. A (small) poster was included as the box lid image was rather small. The pieces weren't very thick but were sturdy enough and fit together well. Complete.

 

2021 piece count: 19502

Puzzle 23

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Francisco Aragão © 2014. All Rights Reserved.

Use without permission is illegal.

 

Attention please !

If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.

Many images are available for license on Getty Images

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Catalan

Catalunya (Catalonha en occità) és un país europeu de la Mediterrània occidental constituït com a comunitat autònoma d'Espanya. És situat a la costa nord-est de la Península Ibèrica limitant al nord amb Andorra i França, a l'oest amb Aragó, al sud amb el País Valencià i a l'est amb el mar Mediterrani. Catalunya és la part més extensa del territori històric i cultural del Principat de Catalunya i de tot el conjunt de terres de parla catalana o els Països Catalans. Per diferenciar-la del territori històric, sovint es denomina comunitat autònoma de Catalunya. Amb un estimat de 7.546.522 d'habitants del 2013, és la segona comunitat autònoma més poblada d'Espanya, i agrupa el 51,55% de la població total de les comunitats on el català és llengua pròpia.

Catalunya va ser una possessió de l'imperi Romà que va passar a mans dels gots i els alans el segle V. Els musulmans la van conquerir el 712, però en van ser expulsats de la riba nord del Llobregat a finals del mateix segle i el començament del següent amb el suport de Carlemany. Amb el temps, els comtes francs van convertir Catalunya en un domini independent i es van confederar el 1137 amb la Corona d'Aragó, acabant la conquesta dels territoris musulmans de Catalunya el 1154. La Corona d'Aragó es va unir a la Corona de Castella el 1476 i va conservar les seves institucions autònomes de govern fins a l'acabament de la Guerra de Successió Espanyola el 1714, uns anys després del seu desmembrament per la cessió al Regne de França del comtat del Rosselló i part del de la Cerdanya. El 1978, va recuperar autonomia i es va constituir com a comunitat autònoma del Regne d'Espanya.

El Parlament de Catalunya, recollint el sentiment i la voluntat de la ciutadania de Catalunya, ha definit Catalunya com a nació d'una manera àmpliament majoritària en el Preàmbul de l'Estatut d'autonomia. Tanmateix, la Constitució espanyola, en l'article segon, reconeix la realitat nacional de Catalunya com a nacionalitat.

En l'actualitat, Catalunya és una de les comunitats més riques i pròsperes d'Espanya. La capital és Barcelona. La població de Catalunya el 2012 7.570.908 d'habitants, en un total de 947 municipis. Dos terços de la població viuen a la regió metropolitana de Barcelona.

 

English

Catalonia /kætəˈloʊnjə/ (Catalan: Catalunya; Occitan: Catalonha; Spanish: Cataluña) is an autonomous community of Spain, designated a "nationality" by its Statute of Autonomy. Catalonia comprises four provinces: Barcelona, Girona, Lleida, and Tarragona. The capital and largest city is Barcelona, the second largest city in Spain, and the centre of one of the largest metropolitan areas in Europe, and it comprises most of the territory of the former Principality of Catalonia, with the remainder now part of France. Catalonia is bordered by France and Andorra to the north, the Mediterranean Sea to the east, and the Spanish regions of Aragon and the Valencian Community to west and south respectively. The official languages are Catalan, Spanish and Aranese (an Occitan dialect).

In the 10th century the eastern counties of the March of Gothia and the Marca Hispanica became independent from the Frankish kingdom, uniting as vassals of Barcelona. In 1137 Barcelona and Aragon formed the Crown of Aragon, and Catalonia became a maritime power and the main base for the Crown of Aragon's naval power and expansionism in the Mediterranean. Medieval Catalan literature flourished. Between 1469 and 1516, the King of Aragon and the Queen of Castille married and ruled together their kingdoms, retaining all their distinct institutions, Courts, Constitution. During the Reapers' War (1640–52), Catalonia rebelled against the presence of Castillian army in its territory, becoming a republic under French protection. Under the terms of the Treaty of the Pyrenees in 1659, which ended the wider Franco-Castillian war, Castille agreed with France to cede it the northern parts of Catalonia, mostly incorporated in the county of Roussillon. During the War of the Spanish Succession (1701–14), the Crown of Aragon sided against Philip V of Spain, whose subsequent victory led to the abolition of Catalan institutions and the imposition of the Castillian ones, and the replacement of Catalan with the Spanish language in public life.

Despite the Napoleonic and Carlist Wars, Catalonia experienced economic growth and industrialisation. During the second half of the 19th century, the region saw a cultural renaissance coupled with incipient nationalism, while several workers movements appeared. In 1913, the four Catalan provinces formed a Commonwealth, and with the advent of democracy during the Second Spanish Republic (1931–39), the Generalitat of Catalonia, was restored. After the Spanish Civil War, the Francoist dictatorship enacted repressive measures, abolishing Catalan institutions and banning the official use of the Catalan language again. During the 1950s and 1960s, Catalonia saw significant economic growth and became an important tourist destination, drawing many workers from across Spain and making Barcelona one of Europe's largest industrial metropolitan areas. Since the Spanish transition to democracy (1975–82) Catalonia has recovered political and cultural autonomy and is now one of the most economically dynamic regions of Spain. The Catalan government has announced its intention to hold a referendum on possible independence from Spain in 2014.

 

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El Gòtic

El Gòtic, també conegut com el barri Gòtic, és un dels quatre barris que formen el districte de Ciutat Vella de la ciutat de Barcelona. És el nucli més antic de la ciutat i el seu centre històric. El cardo i el decumanus romans són els eixos d'urbanització històrics del barri en la seva part més alta, l'antic mont Tàber (actual plaça de Sant Jaume).

A més del Palau Episcopal, hi ha els edificis de les principals institucions de govern: el Palau Reial, la Casa de la Ciutat, el Palau de la Generalitat, el Palau del Lloctinent, i hi havia hagut el Castell del Veguer i la Taula de Canvi.

Està compost, al seu torn, per diferents parts o barris històrics que conserven la seva pròpia personalitat:

Els que quedaven dintre del recinte murallat romà, que pren com a centre la plaça de Sant Jaume:

El barri de la Catedral, al voltant de la Catedral, delimitat pels carrers del Bisbe, Jaume I, Tapineria, Via Laietana i avinguda de la Catedral.

El barri del Call i Sant Felip Neri, que comprèn l'antic Call (entre la plaça de Sant Jaume, Ferran, Avinyó i Banys Nous, la baixada de Santa Eulàlia i Bisbe), i els voltants de l'església de Sant Felip Neri i l'església de Sant Sever fins al carrer de la Palla.

El barri de Sant Just, al voltant de l'església de Sant Just i Pastor, delimitat pels carrers de Jaume I, Ciutat, Regomir, Correu Vell i Sotstinent Navarro.

El barri del Palau, entorn de l'antic Palau Reial Menor, delimitat pels carrers de Ferran, Avinyó, Comtessa de Sobradiel, Regomir i Ciutat.

Els que quedaven entre el segon cinyell de muralles, fins a la Rambla, el mar, la plaça de Catalunya i la Via Laietana:

El barri del Pi, al voltant de Santa Maria del Pi, entre la Rambla, el barri del Call i Sant Felip Neri i els carrers de Ferran i Portaferrissa.

El barri de Santa Anna, centrat per Santa Anna i el Portal de l'Àngel, entre la plaça Catalunya, la Rambla, el carrer de Portaferrissa, Boters, avinguda de la Catedral, Via Laietana i Fontanella.

El barri de la Mercè, al voltant del carrer Ample i la basílica de la Mercè, entre el mar, la Via Laietana, la Rambla i els barris del Palau i Sant Just.

L'estructura del barri va arribar intacta fins al segle XIX, període que portà a grans transformacions en l'estructura i morfologia del Gòtic, com la transformació de cementiris parroquials en places públiques, el buidat de grans edificis amb el seu consegüent canvi d'ús i l'enderrocament de les muralles.

 

Wikipedia

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"SAO LUIS DO MARANHAO - 400 ANOS"

 

Portuguese

São Luís é um município brasileiro, capital do estado do Maranhão localizado ao norte do estado, fundada por franceses no dia 8 de setembro de 1612 posteriormente, foi invadida por holandeses mas terminou por ser colonizada por portugueses. Localiza-se em uma ilha Upaon-Açu, no Atlântico Sul, entre as baías de São Marcos e São José de Ribamar. Quando em 1621 o Brasil foi dividido em duas unidades administrativas - Estado do Maranhão e Estado do Brasil - São Luís foi a capital da primeira unidade administrativa.

A capital maranhense tem um desenvolvido setor industrial por conta de grandes corporações e empresas de diversos áreas que se instalaram na cidade pela sua privilegiada posição geográfica entre as regiões Norte e Nordeste do país, seu litoral estrategicamente localizado bem mais próximo de grandes centros importadores de produtos brasileiras como Europa e EUA que permite economia de combustíveis e redução no prazo de entrega de mercadorias provenientes do Brasil pelo Porto de Itaqui que é o 2º mais profundo do mundo e um dos mais movimentados, sofisticados e bem estruturados para o comércio exterior no Brasil. Tudo isso aliado a ligação por linha férrea da capital São Luís ao interior do estado, e aos estados vizinhos do Pará, Tocantins e Piauí o que facilita e barateia a escoação agrícola vinda do interior do país para o porto de Itaqui, sendo que com a conclusão de Ferrovia Norte-Sul a cidade vai estar interligada a todas as regiões brasileiras (NO, NE, CO, SE e S) por ferrovias, por rodovia a ilha já é servida pela BR-135 que a liga ao continente, e por ar conta com o Aeroporto Internacional Marechal Cunha Machado com capacidade de atender mais de um milhão de passageiros por ano, e que já opera com demanda quase saturada pelo movimento intenso de passageiros não somente da cidade de São Luís mais também por servir como porta de entrada por ser o maior e mais movimentado aeroporto próximo ao Parque Nacional dos Lençóis Maranhenses.

O clima em São Luís é geralmente quente e abafado, tropical e semi-úmido. Isso se deve ao fato da cidade esta localizada proxima a Zona de Convergência Intertropical (ZCIT). A cidade apresenta grande quantidade de coqueiros e muita vegetação litorânea. A também pedaços da Floresta Amazônica na cidade protegidas por Parques Ambientais. Pequenos rios nascem na cidade, o Rio Bacanga é um dos mais importantes pois é muito util para a pesca.

Em 2010 o Instituto Brasileiro de Geografia e Estatística (IBGE) contou a população em 1,027,098 o que a torna o décimo-quinto município mais populoso do Brasil entre os 5 565 municípios brasileiros, 13° entre as capitais, 4º da região Nordeste e 1° do Maranhão. Sua área é de 831,7 Km², e desse total 157,5656 Km² estão em perímetro urbano. O município faz parte da Mesorregião do Norte Maranhense e Microrregião da Aglomeração Urbana de São Luís localizada a norte do estado do Maranhão. O Índice de Desenvolvimento Humano do municipio é de 0.778, alto comparado ao IDH do Maranhão.

 

English

São Luís (Portuguese pronunciation: [sɐ̃w luˈis], Saint Louis) is the capital of the Brazilian state of Maranhão. The city is located on São Luís island in the Baía de São Marcos (St Marcus Bay), an extension of the Atlantic Ocean which forms the estuary of Pindaré, Mearim, Itapecuru and other rivers. Its coordinates are 2.53° south, 44.30° west. The city proper has a population of some 986,826 people (2008 IBGE estimate). The metropolitan area totals 1,227,659 (ranked as the 16th largest in Brazil).

São Luís is the only Brazilian state capital founded by France (see France Équinoxiale) and it is one of the three Brazilian state capitals located on islands (the others are Vitória and Florianópolis).

The city has two major sea ports: Ponta da Madeira and Porto do Itaqui, through which a substantial part of Brazil's iron ore, originating from the (pre)-Amazon region, is exported. The city's main industries are metallurgical with Alumar, and Vale do Rio Doce. São Luís is home of the Federal University of Maranhão.

São Luís was the home town of famous Brazilian samba singer Alcione, Brazilian writers Aluísio Azevedo, Ferreira Gullar and Josué Montello, Belgian-naturalised soccer player Luís Oliveira, the musician João do Vale and Zeca Baleiro, a Música Popular Brasileira (MPB) singer.

Originally the town was a large village of the Tupinambá tribe. The first Europeans to see it were the French, in 1612, who intended to make it the centre of a French colony named Equinoctial France. They built a fort named Saint Louis after St Louis, King of France, as a compliment to his successor King Louis XIII. The settlement was conquered for Portugal by Jerônimo de Albuquerque in 1615, when it was renamed São Luís. There had been little time for the French to build a city. This has led to some controversy as to the actual date of the founding of the city, whether by the French or the Portuguese. In 1641, the city was invaded by the Dutch. They stayed until 1645 and did not manage to influence the city's architecture or to leave any sign of their invasion, mainly because they were kept too busy with the challenges to their occupation. In 1677, the city was made the seat of the new Roman Catholic Diocese of São Luís do Maranhão.

Only when those invasions ceased permanently did the colonial government decide to create the state of Grão-Pará e Maranhão, independent from the rest of the country. By that time, the economy was based on agriculture, particularly the exportation of sugar cane, cacao and tobacco. Conflicts amongst the local elites would lead to the Beckman's Revolt.

Soon after the outbreak of the American Civil War, the region started to provide cotton to Great Britain. The wealth generated by this activity was used to modernize the city; to bring religious men to come and teach in its schools; and supplement the water supply. The city came to be the third most populous city in the country. By the end of the 19th century, agriculture was in decay and since then the city's population has been searching for other ways to make a living.

Nowadays, São Luís has the largest and best preserved heritage of colonial Portuguese architecture of all Latin America. The island is known as the "Island of Love" and as "the Brazilian Athens", due to its many poets and writers, such as Sotero dos Reis, Aluísio Azevedo, Graça Aranha, Gonçalves Dias (the most famous), Ferreira Gullar, among others.

The ancestral composition of São Luís, according to an autosomal DNA study, is 42% European, 39% Native American and 19% African.

Portuguese is the official national language, and thus the primary language taught in schools. But English and Spanish are part of the official high school curriculum.

 

Wikipedia

Free to use in your Art only, Not for SALE or REDISTRIBUTION on a Collage Sheet or a CD

I use old brood comb frames to light the wood burning stove (they are superb for this function).

 

This one is now burnt. It shows the trails of the larvae through the old comb. I think any moth larvae that were there are probably dead as it was kept all winter in a shelter that is dry but exposed to the frosts.

 

Just decided to take a quick photo for the workbook I am currently doing for my beekeeping course prior to it going into the wood burner!

 

Cocteau Twins - When Mama Was Moth

www.youtube.com/watch?v=uO8_e4aUf-A

 

Used an iPad app called Artomaton to transform my image into a “painting”.

Deutschland / Nordrhein-Westfalen - Tagebau Hambach

 

seen from Viewpoint Berrendorf / Forum terra nova

 

gesehen vom Aussichtspunkt Berrendorf / Forum terra nova

 

The Tagebau Hambach is a large open-pit coal mine (German: Tagebau) in Niederzier and Elsdorf, North Rhine–Westphalia, Germany. It is operated by RWE and used for mining lignite.

 

The mine is on the site of the ancient Hambach Forest which was purchased by RWE in 1978. They then cut most of it down and cleared it to mine. Only 10% of the forest area remains. RWE plans to clear half of the remaining area of the forest between around 2018 and 2020; this plan was met with massive protests in autumn 2018, and was temporarily stopped in October 2018 by the supreme administrative court of North Rhine–Westphalia (Oberverwaltungsgericht für das Land Nordrhein-Westfalen).

 

Begun in 1978, the mine's operation area currently (as of end of 2017) has a size of 43,8 km2, with the total area designated for mining having a size of 85 km2. It is the deepest open pit mine with respect to sea level: the bottom of the pit with up to 500 metres (1,640 ft) from the surface is 299 metres (981 ft) below sea level, the deepest artificially made point in North Rhine–Westphalia.

 

The open pit operator RWE, then known as Rheinbraun, initiated the permitting process for open pit mining in 1974 and was able to commence operations in 1978. The first excavator began its work on 15 October 1978. This was accompanied by the resettlement of local villages and towns and the largest forest area in the region, the Hambach Forest, was largely cleared. On 17 January 1984, the first brown coal was mined.

 

Hambach is the largest open pit mine in Germany with an area of 3,389 hectares (as of 2007) with an approved maximum size of 8500 hectares. About 40 million tons of lignite are produced annually in this mine. It has recently been estimated that 1772 million tons of lignite are still available for mining. The lignite was created from extensive forests and bogs, which developed in the Lower Rhine Bay between 30 and 5 million years ago. The geology of the Lower Rhine Bay is characterized by long-lasting subsidence movements in the last 30 million years, which led to the deposition of up to 1300 m thick sediment layers through the North Sea and many rivers, which today consist of lignite seams up to 100 m thick.

 

At 299 m below sea level, the deepest point of the Hambach open-pit mine forms the deepest artificial depression in North-Rhine Westphalia.

 

Since 1995, the giant bucket-wheel excavator Bagger 293 is used to remove the overburden. It hold several Guinness records for terrestrial vehicles.

 

The opencast mine annually produces a spoil amount of 250 to 300 million m³. The ratio of overburden to coal is 6.2:1. The extracted lignite is transported via the Hambach industrial spur to Bergheim - Auenheim and from there transported via the North–South industrial spur to the power stations Niederaussem, Neurath, Frimmersdorf and Goldenberg near Hürth-Knapsack. The overburden was until 16 April 2009 partially transported by conveyor belt to the Bergheim mine, which has run out of coal and therefore been refilled and recultivated. The visible mark of the open pit is the Sophienhöhe spoil tip, which is considered to be the largest man-made hill, towering over the flat landscape by 200 metres.

 

From 2013, the open pit area is to be extended southeast. For this, the villages Morschenich and Manheim must be relocated. The A4 motorway and the Hambach industrial spur, via which the lignite is transported to the power stations, were laid around three kilometres to the south parallel to the Cologne-Aachen railway line. In addition, a small piece of the federal highway 477 was moved east.

 

The open pit mine was put into operation in 1978. Every year about 0.3 cubic kilometres are moved, so that coal and soil with a volume of about 18.6 km³ will be mined by the time the coal runs out in 2040. By April 2009, the overburden, which was hitherto incurred in Hambach is now transported by conveyor belt in the now exhausted Bergheim mine to fill this in again. Now it is tilted exclusively on the western edge of the opencast mine and on the Sophienhöhe. Due to the accumulation of about 1 km³ of material at the Sophienhöhe and the extracted coal, a residual hole is created, which is to be filled up with water after completion of the mining activities.

 

A lake with an area of 4 ha and a depth of up to 400 m is planned. Size and volume depend on whether the west-located open pit Inden after its decarburization as well as the mine Bergheim filled with material from the open pit Hambach or left open. Lake Hambach would then be the deepest and (in terms of volume) after Lake Constance the second largest lake in Germany. How to fill the opencast mine is still controversial. Some voices suggest taking water from the Rur and / or the Erft or even filling the open pit with a pipeline of Rhine water. However this happens, the filling of the open pit mine is expected to take several decades. Thus, a completion of this artificial water is not expected before the year 2100.

 

In addition to the complete flooding is also possible to build a pumped storage power plant. A patent from 1995 states that such a pumped storage plant in the Hambach opencast mine can be realized and can provide a multiple of the pumped storage capacity currently available in Germany. The increased use of renewable energy makes this option more important and is being followed with interest by the Mining Authority.

 

On May 6, 2020, Meyer Burger, a manufacturer of solar cell production machinery, presented its idea for a huge solar park in the Hambach open-cast mine.[9] This would generate electricity with a capacity of around ten gigawatts, which would roughly correspond to the capacity of the Weisweiler, Neurath, Niederaussem and Frimmersdorf coal-fired power plants, which are currently dependent on the open-cast mines. Considerations for a later use of the area of 50 square kilometres include flooding to form a lake landscape. According to Meyer Burger CEO Gunter Erfurt, it would be conceivable to cover Lake Hambach with solar modules. Up to 50 million solar modules with a capacity of 10 gigawatts could be installed - as a floating solar park, as has already been realised in other parts of the world.

 

According to Meyer Burger CEO Gunter Erfurt, the construction of a state-of-the-art plant for cell and module production is currently being evaluated. In an interview with Radio Rur, Uwe Rau replied that such an idea was feasible, as a major advantage of the Hambach opencast mine was the power transmission lines already in place due to the power plants, which could thus continue to be used.

 

RWE Power AG announced in May 2020 that photovoltaic projects for the Sophienhöhe are conceivable.

 

Andreas Pinkwart, Minister for Economic Affairs, Innovation, Digitisation and Energy of North Rhine-Westphalia, also expressed his support for the project.

 

Since around 2012, an area within the remaining part of the Hambach Forest has been occupied by environmentalists to prevent its planned destruction by RWE.

 

The occupation involves a settlement with around two dozen tree houses and numerous road barricades. The barricades were erected to prevent mining company and police vehicles from entering.

 

In November 2017, environmentalists entered the mine and temporarily halted operations. They were met with police using horses and pepper spray.

 

In 2004, Greenpeace activists demonstrated against climate damage in the Hambach mine due to power generation using lignite. They flew over the open pit with a hot air balloon, occupied an excavator for several days and painted it partly pink. On 13 May 2009, the joint action of the local action group of citizens' initiatives against the relocation of the A4 and Friends of the Earth Germany (BUND) failed before the Federal Administrative Court. The plaintiffs tried to stop the relocation of the A4, which was deemed necessary for the planned extension of the open pit mine and justified this, inter alia, with feared noise pollution as well as the possible threat to the protected Bechstein bat and other species. In 2009, the construction of the new section of motorway began, in September 2014, it was opened to traffic.

 

Since 2008, there have increasing complaints about possible damage to the hill in the Elsdorf-Heppendorf area; since the burden of proof lies with the complainants, it is difficult to prove the mining operator guilty. The newly formed brown coal committee therefore decided on 16 April 2010, to set up the Bergschaden Braunkohle NRW reclamation service for damage victims in the Rhenish lignite mining area. The former chairman of the Higher Regional Court Hamm Gero Debusmann was appointed chairman of the recourse office. He is already chairman of the conciliation body mining damage in the coal industry. He can be contacted if attempts at reconciliation with RWE Power remain unsatisfactory. The procedure is free of charge for the applicant.

 

In November 2012 and March 2013, the police cleared tent and hut camps of mining opponents in the remaining Hambacher Forst. In 2012, a squatter had to be fetched from a six-metre deep tunnel and the following year two activists were roped off a tree platform. Later, a new camp was built at another location in the Hambacher forest.

 

In September 2018, a journalist died after falling from the tree structures built by activists.

 

(Wikipedia)

 

Der Tagebau Hambach ist der größte von der RWE Power AG betriebene Tagebau im Rheinischen Braunkohlerevier. Er betrifft die Gemeinden Niederzier, Kreis Düren, und Elsdorf, Rhein-Erft-Kreis. Der Tagebau Hambach ist aufgrund der mit ihm einhergehenden Abgase der Kohleverbrennung und weiterer Umweltzerstörung, unter anderem der Rodung des Hambacher Forsts, umstritten. Über 1000 Jahre alte Ortschaften wie Manheim müssen dem Tagebau weichen.

 

Der damals noch unter dem Namen Rheinbraun firmierende Tagebaubetreiber leitete 1974 das Genehmigungsverfahren für den Tagebau ein und konnte 1978 mit dem Aufschluss beginnen. Der erste Bagger begann seine Arbeit am 16. Oktober 1978. Damit ging die Umsiedlung von Ortschaften einher und das größte Waldgebiet in der Jülicher Börde, der Bürgewald – bekannter als Hambacher Forst –, wurde weitgehend gerodet. Am 17. Januar 1984 wurde die erste Braunkohle gefördert.

 

Hambach ist mit einer Betriebsfläche von 4.380 Hektar (2017) bei einer genehmigten Maximalgröße des Abbaufeldes von 8.500 Hektar der größte in Betrieb befindliche Braunkohletagebau in Deutschland. Laut RWE lagerten im Geschäftsjahr 1973/74 geschätzte 4.500 Mio. Tonnen Braunkohle in einer Tiefe bis zu 500 Metern. Gegen 2011 standen noch geschätzte 1.772 Mio. Tonnen Braunkohle zum Abbau zur Verfügung und es wurden auf dieser Fläche jährlich etwa 40 Mio. Tonnen Braunkohle gefördert. Die Braunkohle entstand aus weitflächigen Wäldern und Mooren, die sich in der Niederrheinischen Bucht vor 30 bis vor 5 Mio. Jahren entwickelten. Die Geologie der Niederrheinischen Bucht ist gekennzeichnet durch langanhaltende Senkungsbewegungen in den letzten 30 Mio. Jahren, die zur Ablagerung eines bis zu 1300 m mächtigen Sedimentpaketes durch die Nordsee und durch viele Flüsse geführt haben, in dem sich heute bis zu 100 m mächtige Braunkohleflöze befinden.

 

Mit 299 m unter NHN bildet der tiefste Punkt des Tagebaus Hambach die tiefste künstliche Senke Nordrhein-Westfalens.

 

Der Tagebau fördert jährlich eine Abraummenge von 250 bis 300 Mio. m³. Das Verhältnis von Abraum zu Kohle beträgt 6,2 : 1. Die geförderte Braunkohle wird über die Hambachbahn nach Bergheim-Auenheim und von dort aus weiter über die Nord-Süd-Bahn zu den Kraftwerken Niederaußem, in die Kraftwerke Neurath und Frimmersdorf in Grevenbroich sowie nach Goldenberg bei Hürth-Knapsack transportiert. Der Abraum wurde bis zum 16. April 2009 zum Teil per Band zum Tagebau Bergheim befördert, der bereits ausgekohlt ist und deshalb verkippt und rekultiviert wurde. Weithin sichtbares Markenzeichen des Tagebaus ist die Hochkippe Sophienhöhe im Nordwesten des Tagebaus, sie gilt als größter künstlich angelegter Berg, der die ebene Bördenlandschaft um 200 Meter überragt.

 

Seit Oktober 2014 leitet der Bergbauingenieur Thomas Körber den Tagebau.

 

Seit 2013 wird die Tagebaufläche südöstlich erweitert. Dazu werden die Ortschaften Morschenich und Manheim umgesiedelt. Die Autobahn A 4 und die Hambachbahn, über die der Transport der Braunkohle zu den Kraftwerken geschieht, wurden um rund drei Kilometer nach Süden parallel zur Eisenbahnstrecke Köln–Aachen verlegt. Außerdem wurde ein kleines Stück der Bundesstraße 477 Richtung Osten verlegt.

 

Im August 2020 wurde bekanntgegeben, dass an der Abbruchkante ein Brunnen aus dem 2. Jahrhundert ausgegraben werden konnte.

 

Die CO2-Emissionen aus der Verbrennung der 2019 noch verbliebenen Braunkohle würden rechnerisch für eine Erhöhung des natürlichen CO2-Gehalts der Atmosphäre um ca. 0,7 Promille weltweit ausreichen, oder zusammengezogen eine CO2-Verdoppelung auf der Gesamtfläche Deutschlands bewirken, gerechnet mit 4 kg CO2 je m2 und einer Tonne CO2-Emissionen je Tonne Braunkohle. Das entspricht einer Gesamtmenge von 2,4 % des CO2-Budgets (9,9 Mrd. t CO2), welches sich Deutschland bis 2050 gesteckt hat.

 

Der Tagebau Hambach ist an Feinstaub-Emissionen in seinem näheren Umfeld beteiligt. Der Anteil des vom Tagebau herrührenden Feinstaubs wird vom Landesamt für Natur, Umwelt und Verbraucherschutz Nordrhein-Westfalen (LANUV NRW) mit 25 % angegeben.

 

Für das Jahr 2004 wird vom LANUV NRW für Überschreitungen des Feinstaub-Grenzwertes von 50 µg/m³ kein vollständiges Messjahr aufgelistet, der erlaubte Jahresmittelwert von 40 µg/m³ wird jedoch mit 30 µg/m³, der an der Messstation Niederzier festgestellt wird, deutlich unterschritten.

 

Seit Anfang 2005 gelten EU-weit neue Grenzwerte für Feinstaub-Emissionen. Unter Federführung der Bezirksregierung Köln wurde ein Aktionsplan zur Feinstaubminderung in der Umgebung des Tagebaus Hambach erarbeitet, der am 29. September 2005 in Kraft trat. Der Tagebaubetreiber hatte bereits vorlaufend mit der Umsetzung von Maßnahmen zur Feinstaub-Reduzierung begonnen. Im Jahr 2006 wurden in Niederzier 35 Überschreitungen des Grenzwertes verzeichnet, was genau den erlaubten Überschreitungstagen entsprach. Der Jahresmittelwert sank für diesen Zeitraum auf 29 µg/m³.

 

Nach der EU-Richtlinie 1999/30/EG sind ab dem 1. Januar 2005 maximal 35 Überschreitungen des PM10-Tagesmittelwertes von 50 µg/m³ pro Jahr zulässig. Seit dem 1. Januar 2010 darf der einzuhaltende Tagesmittelwert für PM10 weiterhin 50 µg/m³ betragen. Seit dem Jahr 2010 sollte der Jahresmittelwert für PM10 nur noch 20 µg/m³ betragen. Dies ist durch die Richtlinie 2008/50/EG vom 21. Mai 2008 (Anhang XI) wieder entschärft worden, so dass ab 2010 weiter der Jahresmittelwert für PM10 40 µg/m³ gilt.

 

Folgende Maßnahmen zur Bekämpfung von Feinstaub werden laut RWE im Tagebau umgesetzt:

 

Anpflanzen von Bäumen auf der Abraumseite

Grasbewuchs auf brachliegenden Flächen

Straßen werden befestigt und Bandanlagen auf festen Untergrund gestellt, was Staub vermindert

Berieseln der oberen Sohle auf der Baggerseite

Berieseln der Nordwand

Berieseln von Kohlebunker und Kohlebändern

beim Baggern wird Wasser auf den Abraum gesprüht.

 

In Betrieb genommen wurde der Tagebau 1978. Jährlich werden etwa 0,3 Kubikkilometer bewegt, sodass gegen Ende der Auskohlung im Jahr 2040 Kohle und Erdreich mit einem Volumen von etwa 18,6 km³ abgebaut sein werden. Bis April 2009 wurde der Abraum, der bis dahin in Hambach anfiel, zum Teil durch Bandanlagen in den ausgekohlten Tagebau Bergheim geschafft, um diesen wieder zu füllen. Nun wird ausschließlich am westlichen Rand des Tagebaus und auf der Sophienhöhe verkippt. Durch die Anhäufung von rund 1 km³ Material an der Sophienhöhe und durch die entnommene Kohle entsteht ein Restloch, das nach Abschluss der Abbautätigkeiten mit Wasser aufgefüllt werden soll.

 

Als Bergbaufolgelandschaft ist ein Tagebausee mit einer Fläche von 4200 ha, einer Tiefe bis 400 m und einem Volumen von 3,6 Mrd. m³ geplant. Größe und Volumen hängen davon ab, ob der westlich gelegene Tagebau Inden nach dessen Auskohlung ebenso wie der Tagebau Bergheim durch Material aus dem Tagebau Hambach verfüllt oder offen gelassen wird. Der See Hambach wäre dann der tiefste und (nach Volumen) nach dem Bodensee der zweitgrößte See Deutschlands. Wie der Tagebau befüllt werden soll, ist noch umstritten. Einige Stimmen schlagen vor, Wasser aus der Rur und/oder der Erft zu entnehmen oder gar den Tagebau über eine Pipeline mit Rheinwasser zu füllen. Wie dies auch geschieht, die Füllung des Tagebaus wird voraussichtlich einige Jahrzehnte in Anspruch nehmen. Somit ist mit einer Fertigstellung dieses künstlichen Gewässers nicht vor dem Jahr 2100 zu rechnen.

 

Am 6. Mai 2020 stellte zudem Meyer Burger, ein Hersteller von Solarzellen-Produktionsmaschinen, seine Idee für einen Solarpark vor. Dadurch würde Strom mit der Leistung von etwa zehn Gigawatt erzeugt, was in etwa der Leistung der heute von den Tagebauen abhängigen Kohlekraftwerke Weisweiler, Neurath, Niederaußem und Frimmersdorf entspreche. Überlegungen für eine spätere Nutzung des Gebietes mit einer Fläche von 50 Quadratkilometern sehen die Flutung zur Seenlandschaft vor. Gemäß Meyer Burger CEO ist es denkbar, den Hambacher See mit Solarmodulen zu bedecken. Bis zu 50 Millionen Solarmodule mit einer Leistung von 10 Gigawatt könnten installiert werden – als schwimmender Solarpark, wie er in anderen Teilen der Welt bereits realisiert wurde.[14] Gemäß Uwe Rau ist ein wesentlicher Vorteil des Braunkohletagebau Hambach, dass Stromübertragungsleitungen aufgrund der Kraftwerke bereits vorhanden seien und genutzt werden könnten.

 

Gemäß RWE Power AG ist ein Photovoltaik-Projekte für die Sophienhöhe vorstellbar.

 

Unterstützend äußerte sich auch der Minister für Wirtschaft, Innovation, Digitalisierung und Energie von Nordrhein-Westfalen, Andreas Pinkwart.

 

Neben der vollständigen Flutung des Tagebaurestloches besteht auch die Möglichkeit, ein Pumpspeicherkraftwerk zu errichten. Ein Patent von 1995 führt aus, dass ein solches Pumpspeicherwerk im Tagebau Hambach realisierbar ist und ein Vielfaches der aktuell in Deutschland verfügbaren Pumpspeicherkapazität zur Verfügung stellen kann.[18] Durch die zunehmende Nutzung erneuerbarer Energien gewinnt diese Option an Bedeutung und wird vom Bergamt mit Interesse verfolgt.

 

Die RWE Power AG gab im Mai 2020 bekannt, dass ein Pumpspeicherwerk zumindest für die Sophienhöhe keine Lösung sei, da dort die Anlage eines Obersees nicht möglich sei. Hingegen seien Photovoltaik-Projekte vorstellbar.

 

Es gibt ein weiteres Konzept zur Speicherung von elektrischer Energie. Dabei soll aus dem Restloch des Tagebaus Wasser nach oben gepumpt werden und bei Strombedarf wieder an Turbinen vorbei nach unten gelassen werden. Abhängig von der Größe der realisierten Anlagen sind dort gemäß Konzept Speicherkapazitäten von einigen 100 bis einigen 1000 GWh möglich, die Speicherkosten sollen bei 1 bis 2 ct/kWh liegen.

 

An Pfingsten 2004 demonstrierten Greenpeace-Aktivisten im Tagebau Hambach gegen die Klimaschädigung durch die Braunkohleverstromung. Sie überflogen den Tagebau mit einem Heißluftballon, hielten mehrere Tage einen Bagger besetzt und strichen diesen zum Teil rosa an. Am 13. Mai 2009 scheiterte die gemeinsame Klage der lokalen Aktionsgemeinschaft der Bürgerinitiativen gegen die Verlegung der A 4 und des BUND vor dem Bundesverwaltungsgericht. Die Kläger versuchten, die zur geplanten Erweiterung des Tagebaus notwendige Verlegung der A 4 zu stoppen, und begründeten dies u. a. mit befürchteten Lärmbelastungen sowie der möglichen Bedrohung der unter Naturschutz stehenden Bechsteinfledermaus und andere Arten. 2009 wurde mit dem Bau des neuen Autobahnteilstücks begonnen, im September 2014 wurde es dem Verkehr übergeben.

 

Seit 2008 werden vermehrt Beschwerden wegen möglicher Bergschäden im Bereich Elsdorf-Heppendorf laut; da die Beweislast bei den Beschwerdeführern liegt, ist der Nachweis gegenüber dem Bergbautreibenden schwierig. Der neugebildete Braunkohlenausschuss beschloss deshalb am 16. April 2010 die Einrichtung der Anrufungsstelle Bergschaden Braunkohle NRW für Betroffene von Bergschäden im rheinischen Braunkohlenrevier. Zum Vorsitzenden der Anrufungsstelle wurde der ehemalige Präsident des Oberlandesgerichts Hamm, Gero Debusmann, berufen. Er ist bereits Vorsitzer der Schlichtungsstelle Bergschäden im Steinkohlenbergbau. Er kann angerufen werden, wenn Einigungsversuche mit RWE Power unbefriedigend geblieben sind. Das Verfahren ist für den Antragsteller kostenfrei.

 

Im November 2012 und März 2013 räumte die Polizei Zelt- und Hüttenlager von Tagebaugegnern im verbliebenen Hambacher Forst. 2012 musste ein Platzbesetzer aus einem sechs Meter tiefen Erdversteck geholt und im Folgejahr zwei Aktivisten von einer Baumplattform abgeseilt werden. Später entstand ein neues Camp an einer anderen Stelle im Hambacher Forst.

 

Am 23. Oktober 2016 fand eine Demonstration im Hambacher Forst statt, um das letzte Stück des Waldes zu schützen. Es nahmen laut Polizeiangaben über 1000 Personen teil, die sich in Rot kleideten, um eine rote Linie auf der alten A4 bei Buir zu bilden. Sie wollten mit der Aktion ein Zeichen gegen die Abholzung des letzten Stückes des Hambacher Forstes setzen.

 

Am 5. November 2017, einen Tag vor Beginn des Weltklimagipfels in Bonn, besetzten rund 3.000 Aktivisten Teile des Tagebaus, um darauf aufmerksam zu machen, dass wenige Kilometer vom Konferenzort entfernt mit dem rheinischen Braunkohlerevier die ihren Angaben zufolge größte CO2-Quelle Europas liegt.

 

Die Hambach-Gruppe war eine 1977 gegründete Initiative von jungen Wissenschaftlern der RWTH Aachen, die sich kritisch mit Braunkohleabbau und dessen Folgen beschäftigte; beispielsweise dem Aufkauf und Abriss von Ortschaften durch den Tagebau und somit der Vertreibung der dort ansässigen Bewohner. Von 1984 bis 1985 war der spätere Politiker Rüdiger Sagel Geschäftsführer dieser Bürgerinitiative in Aachen. Ihre Aktivitäten endeten vor 1990.

 

Die Aktionsgemeinschaft der Bürgerinitiativen gegen die Verlegung der Autobahn A4 war ein von 1992 bis 2013 aktiver Zusammenschluss von sechs örtlichen Bürgerinitiativen der Ortschaften Arnoldsweiler, Buir, Manheim, Merzenich und Morschenich gegen den Tagebau Hambach und die Verlegung der Bundesautobahn 4. Der Aktionsgemeinschaft gelang es erstmals, die enormen und irreversiblen Umweltschäden des Tagebaus Hambach in groß angelegten Aktionen darzulegen und so den betroffenen Bürgern vor Augen zu führen, dass Widerstand möglich ist. Die Aktionsgemeinschaft hat viele Widerstandsformen – wie z. B. regelmäßige Waldspaziergänge – erfunden, um auf das Abbaggern des Hambacher Forstes aufmerksam zu machen.

 

(Wikipedia)

 

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This primitive campground and day use area offers a scenic view of the San Francisco Peaks in the cool aspen trees that surround Lockett Meadow. This is a terrific campground for those who cherish a real mountain camping experience and love to hike wilderness trails. There is a small day use area, making this a beautiful place to have a picnic and enjoy the meadow and Peaks views.

 

The Inner Basin Trail ascends from Lockett Meadow into the caldera of the San Francisco Peaks, an extinct volcano and home of the tallest peaks in Arizona. The first 1.7 miles of the trail winds through the extensive aspen forest flanking the upper reaches of the Peaks, joining the Waterline Trail briefly before following a jeep road into the caldera. The trail starts at an elevation of 8665 feet, gaining approximately 1200 feet over 2 miles on its way into the Inner Basin. The trail continues another 2 miles, gaining an additional 600 feet or so to join up with the Weatherford Trail.

 

Photo by Deborah Lee Soltesz, September 28, 2015. Source: U.S. Forest Service, Coconino National Forest. See Lockett Meadow Campground and Inner Basin No. 29 for information about this area of the Peaks on the Coconino National Forest website.

using LR2/Mogrify

 

This plug in looks very interesting but I have, as yet to figure out how can I create a Watermark with transparent background.

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.

Used a Lee Big stopper, and a 0.9 ND hard grad for the sky

Free to use in your Art only, not for Sale on a Collage Sheet or a CD

Flickr Group Roulette 2.0: Six Word Story

 

Large and on Black

 

Used on The Consumerist

Used more to store farm items than anything else,there are still a few interesting details to be found in the Spring Green,WI. abandonment.

 

And some signs that life still lives on there....

Used in a personal blog post for the day. dennissylvesterhurd.blogspot.com/2024/09/our-final-full-d...

Using a macro lense

The Wheel of Fortune, or Rota Fortunae, is a concept in medieval and ancient philosophy referring to the capricious nature of Fate. The wheel belongs to the goddess Fortuna, who spins it at random, changing the positions of those on the wheel - some suffer great misfortune, others gain windfalls. Fortune appears on all paintings as a woman, sometimes blindfolded, "puppeteering" a wheel.Origins[edit]

The origin of the word is from the "wheel of fortune" - the zodiac, referring to the Celestial spheres of which the 8th holds the stars, and the 9th is where the signs of the zodiac are placed. The concept was first invented in Babylon and later developed by the ancient Greeks. The concept somewhat resembles the Bhavacakra, or Wheel of Becoming, depicted throughout Ancient Indian art and literature, except that the earliest conceptions in the Roman and Greek world involve not a two-dimensional wheel but a three-dimensional sphere, a metaphor for the world. It was widely used in the Ptolemaic perception of the universe as the zodiac being a wheel with its "signs" constantly turning throughout the year and having effect on the world's fate (or fortune). Ptolemaic model of the spheres for Venus, Mars, Jupiter, and Saturn with epicycle, eccentric deferent and equant point. Georg von Peuerbach, Theoricae novae planetarum, 1474.

Vettius Valens, a second century BC astronomer and astrologer, wrote. There are many wheels, most moving from west to east, but some move from east to west.

Seven wheels, each hold one heavenly object, the first holds the moon... Then the eighth wheel holds all the stars that we see... And the ninth wheel, the wheel of fortunes, moves from east to west, and includes each of the twelve signs of fortune, the twelve signs of the zodiac. Each wheel is inside the other, like an onion's peel sits inside another peel, and there is no empty space between them.[this quote needs a citation] In the same century, the Roman tragedian Pacuvius wrote: Fortunam insanam esse et caecam et brutam perhibent philosophical, Saxoque instare in globoso praedicant volubili: Id quo saxum inpulerit fors, eo cadere Fortunam autumant. Caecam ob eam rem esse iterant, quia nihil cernat, quo sese adplicet; Insanam autem esse aiunt, quia atrox, incerta instabilisque sit; Brutam, quia dignum atque indignum nequeat internoscere. Philosophers say that Fortune is insane and blind and stupid, and they teach that she stands on a rolling, spherical rock: they affirm that, wherever chance pushes that rock, Fortuna falls in that direction. They repeat that she is blind for this reason: that she does not see where she's heading; they say she's insane, because she is cruel, flaky and unstable; stupid, because she can't distinguish between the worthy and the unworthy.

—Pacuvius, Scaenicae Romanorum Poesis Fragmenta. Vol. 1, ed. O. Ribbeck, 1897

The idea of the rolling ball of fortune became a literary topos and was used frequently in declamation. In fact, the Rota Fortunae became a prime example of a trite topos or meme for Tacitus, who mentions its rhetorical overuse in the Dialogus de oratoribus. Fortuna eventually became Christianized: the Roman philosopher Boethius (d. 524) was a major source for the medieval view of the Wheel, writing about it in his Consolatio Philosophiae - "I know how Fortune is ever most friendly and alluring to those whom she strives to deceive, until she overwhelms them with grief beyond bearing, by deserting them when least expected. … Are you trying to stay the force of her turning wheel? Ah! dull-witted mortal, if Fortune begin to stay still, she is no longer Fortune."

The Wheel was widely used as an allegory in medieval literature and art to aid religious instruction. Though classically Fortune's Wheel could be favourable and disadvantageous, medieval writers preferred to concentrate on the tragic aspect, dwelling on downfall of the mighty - serving to remind people of the temporality of earthly things. In the morality play Everyman (c. 1495), for instance, Death comes unexpectedly to claim the protagonist. Fortune's Wheel has spun Everyman low, and Good Deeds, which he previously neglected, are needed to secure his passage to heaven. Geoffrey Chaucer used the concept of the tragic Wheel of Fortune a great deal. It forms the basis for the Monk's Tale, which recounts stories of the great brought low throughout history, including Lucifer, Adam, Samson, Hercules, Nebuchadnezzar, Belshazzar, Nero, Alexander the Great, Julius Caesar and, in the following passage, Peter I of Cyprus. O noble Peter, Cyprus' lord and king,

Which Alexander won by mastery, To many a heathen ruin did'st thou bring; For this thy lords had so much jealousy,

That, for no crime save thy high chivalry, All in thy bed they slew thee on a morrow. And thus does Fortune's wheel turn treacherously And out of happiness bring men to sorrow.

~ Geoffrey Chaucer, The Canterbury Tales, The Monk's Fortune's Wheel often turns up in medieval art, from manuscripts to the great Rose windows in many medieval cathedrals, which are based on the Wheel. Characteristically, it has four shelves, or stages of life, with four human figures, usually labeled on the left regnabo (I shall reign), on the top regno (I reign) and is usually crowned, descending on the right regnavi (I have reigned) and the lowly figure on the bottom is marked sum sine regno (I am without a kingdom). Dante employed the Wheel in the Inferno and a "Wheel of Fortune" trump-card appeared in the Tarot deck (circa 1440, Italy). The wheel of fortune from the Burana Codex; The figures are labelled "Regno, Regnavi, Sum sine regno, Regnabo": I reign, I reigned, My reign is finished, I shall reign

In the medieval and renaissance period, a popular genre of writing was "Mirrors for Princes", which set out advice for the ruling classes on how to wield power (the most famous being The Prince by Niccolò Machiavelli). Such political treatises could use the concept of the Wheel of Fortune as an instructive guide to their readers. John Lydgate's Fall of Princes, written for his patron Humphrey, Duke of Gloucester is a noteworthy example. Many Arthurian romances of the era also use the concept of the Wheel in this manner, often placing the Nine Worthies on it at various points....fortune is so variant, and the wheel so moveable, there nis none constant abiding, and that may be proved by many old chronicles, of noble Hector, and Troilus, and Alisander, the mighty conqueror, and many mo other; when they were most in their royalty, they alighted lowest. ~ Lancelot in Thomas Malory's Le Morte d'Arthur, Chapter XVII.[3] Like the Mirrors for Princes, this could be used to convey advice to readers. For instance, in most romances, Arthur's greatest military achievement - the conquest of the Roman Empire - is placed late on in the overall story. However in Malory's work the Roman conquest and high point of King Arthur's reign is established very early on. Thus, everything that follows is something of a decline. Arthur, Lancelot and the other Knights of the Round Table are meant to be the paragons of chivalry, yet in Malory's telling of the story they are doomed to failure. In medieval thinking, only God was perfect, and even a great figure like King Arthur had to be brought low. For the noble reader of the tale in the Middle Ages, this moral could serve as a warning, but also as something to aspire to. Malory could be using the concept of Fortune's Wheel to imply that if even the greatest of chivalric knights made mistakes, then a normal fifteenth-century noble didn't have to be a paragon of virtue in order to be a good knight. The Wheel of Fortune motif appears significantly in the Carmina Burana (or Burana Codex), albeit with a postclassical phonetic spelling of the genitive form Fortunae. Excerpts from two of the collection's better known poems, "Fortuna Imperatrix Mundi (Fortune, Empress of the World)" and "Fortune Plango Vulnera (I Bemoan the Wounds of Fortune)," read: Sors immanis et inanis, rota tu volubilis, status malus,

vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Fortune rota volvitur; descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam.Fate - monstrous and empty, you whirling wheel, status is bad,

well-being is vain always may melt away, shadowy

and veiled you plague me too; now through the game

bare backed I bear your villainy. The wheel of Fortune turns;

I go down, demeaned; another is carried to the height;

far too high up sits the king at the summit - let him beware ruin! for under the axis we read: Queen Hecuba. Later usage:

Fortune and her Wheel have remained an enduring image throughout history. Fortune's wheel can also be found in Thomas More's Utopia. Wheel of fortune in Sebastian Brant`s Narrenschiff, woodcut by A. Dürer William Shakespeare in Hamlet wrote of the "slings and arrows of outrageous fortune" and, of fortune personified, to "break all the spokes and fellies from her wheel." And in Henry V, Act 3 Scene VI[4] are the lines: Bardolph, a soldier who is loyal and stout-hearted and full of valour, has, by a cruel trick of fate and a turn of silly Fortune's wildly spinning wheel, that blind goddess who stands upon an ever-rolling stone—

Fluellen: Now, now, Ensign Pistol. Fortune is depicted as blind, with a scarf over her eyes, to signify that she is blind. And she is depicted with a wheel to signify—this is the point—that she is turning and inconstant, and all about change and variation. And her foot, see, is planted on a spherical stone that rolls and rolls and rolls. Shakespeare also references this Wheel in King Lear.[5] The Earl of Kent, who was once held dear by the King, has been banished, only to return in disguise. This disguised character is placed in the stocks for an overnight and laments this turn of events at the end of Act II, Scene 2:Fortune, good night, smile once more; turn thy wheel! In Act IV, scene vii, King Lear also contrasts his misery on the "wheel of fire" to Cordelia's "soul in bliss". Shakespeare also made reference to this in "Macbeth" throughout the whole play. Macbeth starts off halfway up the wheel when a Thane, but moves higher and higher until he becomes king, but falls right down again towards the end as his wife dies, and he in turn dies.

In Anthony Trollope's novel The Way We Live Now, the character Lady Carbury writes a novel entitled "The Wheel of Fortune" about a heroine who suffers great financial hardships.

Selections from the Carmina Burana, including the two poems quoted above, were set to new music by twentieth-century classical composer Carl Orff, whose well-known "O Fortuna" is based on the poem Fortuna Imperatrix Mundi.

Jerry Garcia recorded a song entitled "The Wheel" (co-written with Robert Hunter and Bill Kreutzmann) for his 1972 solo album Garcia, and performed the song regularly with the Grateful Dead from 1976 onward. The song "Wheel in the Sky" by Journey from their 1978 release Infinity also touches on the concept through the lyrics "Wheel in the sky keeps on turnin' / I don't know where I'll be tomorrow". The song "Throw Your Hatred Down" by Neil Young on his 1995 album Mirror Ball, recorded with Pearl Jam, has the verse "The wheel of fortune / Keeps on rollin' down". The term has found its way into modern popular culture through the Wheel of Fortune game show, where contestants win or lose money determined by the random spin of a wheel. Also, the video game series character Kain (Legacy of Kain) used the wheel of fate. Fortuna does occasionally turn up in modern literature, although these days she has become more or less synonymous with Lady Luck. Her Wheel is less widely used as a symbol, and has been replaced largely by a reputation for fickleness. She is often associated with gamblers, and dice could also be said to have replaced the Wheel as the primary metaphor for uncertain fortune. The Hudsucker Proxy, a film by the Coen Brothers, also uses the Rota Fortunae concept and in the TV series Firefly (2002) the main character, Malcolm Reynolds, says "The Wheel never stops turning, Badger" to which Badger replies "That only matters to the people on the rim". Likewise, a physical version of the Wheel of Fortune is used in Mad Max Beyond Thunderdome, a film by George Miller and George Ogilvie. In the movie, the title character reneges on a contract and is told "bust a deal, face the wheel." In the science fiction TV series Farscape, the fourth episode of the fourth season has main character Crichton mention that his grandmother told him that fate was like a wheel, alternately bringing fortunes up and down, and the episode's title also references this. Unlike many other instances of the wheel of fortune analogy, which focus on tragic falls from good fortune, Crichton's version is notably more positive, and meant as a message of endurance: those suffering from bad fortune must remain strong and "wait for the wheel" of fortune to turn back to eventually turn back to good fortune again. Ignatius J. Reilly, the central character from John Kennedy Toole's novel A Confederacy of Dunces, states that he believes the Rota Fortunae to be the source of all man's fate. In the Fable video game series, the wheel of fortune appears twice, somehow perverted. The Wheel of Unholy Misfortune is a torture device in Fable II. It is found in the Temple of Shadows in Rookridge. The Hero can use the wheel to sacrifice followers to the shadows. In Fable III, Reaver's Wheel of Misfortune is a device that, once activated, sends to The Hero a round of random monsters. The Wheel of Fortune is featured in a Magic: the Gathering card by that name that forces all players to discard their hands and draw new ones.

en.wikipedia.org/wiki/Rota_Fortunae

Wheel of Fortune is R.O.T.A or TARO and TORA all 3 are born in same meaning :the workings of a social engine ROTARY'S WHEEL EMBLEM

 

A wheel has been the symbol of Rotary since our earliest days. The first design was made by Chicago Rotarian Montague Bear, an engraver who drew a simple wagon wheel, with a few lines to show dust and motion. The wheel was said to illustrate "Civilization and Movement." Most of the early clubs had some form of wagon wheel on their publications and letterheads. Finally, in 1922, it was decided that all Rotary clubs should adopt a single design as the exclusive emblem of Rotarians. Thus, in 1923, the present gear wheel, with 24 cogs and six spokes was adopted by the "Rotary International Association." A group of engineers advised that the geared wheel was mechanically unsound and would not work without a "keyway" in the center of the gear to attach it to a power shaft. So, in 1923 the keyway was added and the design which we now know was formally adopted as the official Rotary International emblem. www.icufr.org/abc/abc01.htm

www.rotaryfirst100.org/history/history/wheel/

The most popular symbol is the All seeing eye, and most popular hand signs are the Horn and the 666. Any study of Music and ... Circle (Rotary symbol)

[These are the symbols used by the Reptilian proxy group, the Reptoids (Illuminati, & Freemasons), collectively are known as Satanists or Luciferians. The signs of Evil. The most popular symbol is the All seeing eye, and most popular hand signs are the Horn and the 666. Any study of Music and Movies will find all the usual suspects (proving Satanic control), along with some symbols for mind control. If you want a symbol to use stick with the heart, the exact opposite of Evil. They like to cut them out and offer them to Lucifer, see Blood sacrifice. All the worshiped 'Gods' are a few Anunnaki/Reptilians going under various names down the years such as: Nimrod/Anubis/Horus/Osiris/Baal/Shamash/Janus/Quetzalcoatl/Baphomet/Lucifer/Moloch etc, hence all the snake and horn symbols. The symbols are their secret language, and you can see the connections down the years by the use of the same symbols, e.g. Freemasonry, the US Government, and Communism with the Hidden hand, the hidden hand of history.]

www.whale.to/b/symbols_h.html

I used to shoot sunrises/sunsets quite frequently with my 18-135. Then I went to different lenses and my interests changed. Walking down to the lake this morning, I decided to see what I could come up with....capturing a pre-sunrise with my 100-400. Decidedly not as good as with the 18-135 on a tripod with remote RF trigger.....but decent.

Using a Canon 5D Marl II + Canon 35mm f2

Photograph using a super-wide-angle lens [Voigtlander 15mm] so there is some distortion.

 

Quote from Wikipedia "The Park boasts a number of interesting items including a memorial upon a giant pillar to Thomas Spring Rice, a 19th century Bandstand, an ornate drinking fountain (one of only two on the island of Ireland) and two gazebos". I have photographed three Victorian fountains in Ireland - One in Belfast, One In Limerick and one in Dun Laoghaire (which does appear to be of different design).

 

The Richard Russell fountain, which had been overseas for many months undergoing restoration, was returned to the People's Park November 2009.

 

The fountain was originally erected in 1877 to mark the gratitude of Limerick for Richard Russell, a highly regarded employer. The official unveiling of the restored fountain, which was attended by some one hundred people, was undertaken by the mayor of Limerick, Kevin Kiely.

 

The restoration process, which retained the original red colour of the fountain, was carried out in Britain at a total cost of €80,000. Two plaques on the structure give due recognition to Richard Russell.

Wet on rainy day

Usei as linhas multicoloridas da Lucia e tentei copiar as flores rendadas da verachita www.flickr.com/photos/verachita/5102079626/. Uma ótima quinta florida para vocês!!!

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