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An example output from the Visualize_Backtrace.module, which parses the XDebug traces of Drupal function calls.
Edited Gaia visualization of the best star map of the galaxy yet created. Color/processing variant.
Image source: sci.esa.int/gaia/60169-gaia-s-sky-in-colour/
Original caption: Gaia's all-sky view of our Milky Way Galaxy and neighbouring galaxies, based on measurements of nearly 1.7 billion stars. The map shows the total brightness and colour of stars observed by the ESA satellite in each portion of the sky between July 2014 and May 2016.
Brighter regions indicate denser concentrations of especially bright stars, while darker regions correspond to patches of the sky where fewer bright stars are observed. The colour representation is obtained by combining the total amount of light with the amount of blue and red light recorded by Gaia in each patch of the sky.
The bright horizontal structure that dominates the image is the Galactic plane, the flattened disc that hosts most of the stars in our home Galaxy. In the middle of the image, the Galactic centre appears vivid and teeming with stars.
Darker regions across the Galactic plane correspond to foreground clouds of interstellar gas and dust, which absorb the light of stars located further away, behind the clouds. Many of these conceal stellar nurseries where new generations of stars are being born.
Sprinkled across the image are also many globular and open clusters – groupings of stars held together by their mutual gravity, as well as entire galaxies beyond our own.
The two bright objects in the lower right of the image are the Large and Small Magellanic Clouds, two dwarf galaxies orbiting the Milky Way.
In small areas of the image where no colour information was available – to the lower left of the Galactic centre, to the upper left of the Small Magellanic Cloud, and in the top portion of the map – an equivalent greyscale value was assigned.
The second Gaia data release was made public on 25 April 2018 and includes the position and brightness of almost 1.7 billion stars, and the parallax, proper motion and colour of more than 1.3 billion stars. It also includes the radial velocity of more than seven million stars, the surface temperature of more than 100 million stars, and the amount of dust intervening between us and of 87 million stars. There are also more than 500 000 variable sources, and the position of 14 099 known Solar System objects – most of them asteroids – included in the release.
A complementary image showing Gaia's density map of the stars is available here.
Gaia's all-sky view is also available in equirectangular projection (suitable for full-dome presentations) here.
Acknowledgement: Gaia Data Processing and Analysis Consortium (DPAC); A. Moitinho / A. F. Silva / M. Barros / C. Barata, University of Lisbon, Portugal; H. Savietto, Fork Research, Portugal.
Copyright: ESA/Gaia/DPAC
Visualizing our bug system, using code_swarm with COLORS!
Red: Case opened
Green: Case closed
Blue: Talking about the case
Orange: Reassigned
All other actions show up as gray.
Illustrative Visualization of a german climate change adaption research network – using processing and a metaball force field fpr moving agents
Ascent Penthouse
Client: Mr Dung - IAM Architecture
---
@ Long Nguyen & Thu Nguyen
Architecture - Interior Design & 3D Visualization
0979 962 864, Ho Chi Minh City
advlongnguyen@gmail.com
The Cheesy Animation Is Best Architectural 3D Animation And 3D Rendering, Architectural Visualization Company In India, Gujarat, Ahmedabad, Mumbai.
By December 1863, much of Louisiana was occupied by the Union army. Ninety-five schools serving over 9,500 students--including almost half of the black children in Louisiana--were running under its auspices. But keeping these schools up and running would require ongoing financial support.
Toward this end, the National Freedman's Association, in collaboration with the American Missionary Association and interested officers of the Union Army, launched a new propaganda campaign.
Five children and three adults, all former slaves from New Orleans, were sent to the North on a publicity tour. A drawing of them was printed in the 30 January 1864 issue of the popular Harper's Weekly, bearing the intriguing caption: "EMANCIPATED SLAVES, WHITE AND COLORED." The authors of this campaign were pursuing a surprising, and quite effective, strategy for arousing sympathy for blacks--they portrayed them as white.
Of the eight slaves sent north from New Orleans, four children--Charley, Augusta, Rebecca, and Rosina (Rosa)--looked white. As the article accompanying the group portrait in Harper's Weekly affirmed, they were "perfectly white;" "very fair;" "of unmixed white race". Their light complexions contrasted sharply with those of the three adults, Wilson, Mary, and Robert; and that of the fifth child, Isaac--"a black boy of eight years; but none the less intelligent than his whiter companions".
Accompanied on their tour by Col. George Hanks of the Corps d'Afrique (the 18th Infantry, a corps of colored soldiers), the group posed for photographs in New York and Philadelphia.
The portraits were produced in the format of cartes de visite (CDVs), albumen prints the size of a calling card, and sold for 25 cents each. The proceeds of the sale were directed to Maj. Gen. Nathaniel P. Banks in Louisiana, where the money would be "devoted to the education of colored people," as the verso of each photograph explains.
Of the "Emancipated Slaves from New Orleans" series, at least 22 different prints remain in existence today. The bulk were produced by New York photographers Charles Paxson, and Myron H. Kimball, who took the initial group portrait later reproduced as a woodcut in Harper's Weekly.
In "Visualizing the Color Line," Carol Goodman notes that much of the power of the photographs stemmed from allusions to physical abuse. When paired with a related article in the same issue of Harper's Weekly, the allusions in the portrait of white slaves to the white masters' sexual exploitation of their female slaves is clear. The most grievous sin of slavery, the editor of Harper's Weekly contends, is that it permits slaveholding "'gentlemen' [to] seduce the most friendless and defenseless of women". Moreover, two of the four black slaves included in the publicity tour bear the marks of abuse on their skin--Wilson has a brand upon his forehead; Mary, as she is described in Harper's Weekly, has more than 50 rawhide-scars on her arm and back.
If the US had a FICO score, what would it be?
Client work: www.creditloan.com/blog/uncle-sams-credit-score/
A fun chart comparing the use of three terms for scary stuff, over time: terror, horror, Gothic.
Man, this is automatically teachable. And provocative.
Built using Google's NGram.
This image visualizes the discovery of asteroids from 1801 to 1950. The Solar System is shown in a logarithmic scale to allow both the main asteroid belt and Kuiper objects to be shown. Asteroids are shown in the position of their perihelion. This makes it easier to separate the various families.
I also plotted the histogram of how many minor planets were discovered each year, the semi-major axis, and excentricity on the right panels. The left panels show the excentricity and inclination as a function of semi-major axis, this is again to show how the various asteroid families were defined based on their orbits.
Data source: www.minorplanetcenter.net/
Youtube visualization: youtu.be/QOdrRX-IScc
A tour of the newly renovated EVEREST visualization theater at the Oak Ridge Leadership Computing Facility.
Social network graph of #slaname tweet replies October 14, 2009 to December 11, 2009. In color.
The more lines you have, the more @replies to different people you sent. If you don't appear on the graph, but know that you sent out @replies, it's because the person you sent your @reply to never sent out an @reply and so that person won't appear on the graph and unfortunately, you can't either!
Based on the code of eskimoblood.
Created using Processing with data from the #slaname Twapper Keeper archive setup by iBraryGuy.
David Cook, Chief Clinical and Operating Officer, Jiahui Health, People’s Republic of China capture during the Session: "Visualizing Disease" at the World Economic Forum - Annual Meeting of the New Champions in Dalian, People's Republic of China 2017. Copyright by World Economic Forum / Sikarin Fon Thanachaiary
Ascent Penthouse
Client: Mr Dung - IAM Architecture
---
@ Long Nguyen & Thu Nguyen
Architecture - Interior Design & 3D Visualization
0979 962 864, Ho Chi Minh City
advlongnguyen@gmail.com
Ascent Penthouse
Client: Mr Dung - IAM Architecture
---
@ Long Nguyen & Thu Nguyen
Architecture - Interior Design & 3D Visualization
0979 962 864, Ho Chi Minh City
advlongnguyen@gmail.com
Fresh House | Visualization Project
Project : L.A Apartment
Co-op with the company in Norway
Visualized by Fresh House
See how it's easier than ever to build maps and analyze spatial data using the latest features in Tableau, join the IoT revolution, and learn how to bring the magic of Kepler GL into Tableau with extensions.
Mapbox SF Office
50 Beale Street
San Francisco, CA 94105
Wednesday, April 24 2019
5:30pm
SPEAKERS
Kent Marten, Tableau
Kent is a geographer, with BES from the University of Waterloo, MBA from the University of Redlands, and a GIS diploma from the Centre of Geographic Sciences. Kent has spent his entire career building mapping software products, first for Esri and now for Tableau. This will be Kent’s 7th time speaking at a Tableau User Group event, always about maps.
Shan He, Uber
Shan is a senior data visualization engineer at Uber. She is a coder, a designer, and a data artist. Shan is the founding member of Uber’s data visualization team and creator of kepler.gl
Ryan Baumann, Mapbox
Ryan has a BS in Mechanical Engineering from the University of Wisconsin - Madison. He built the first half of his career in product development at Trek Bikes and Caterpillar, before joining as the first Solutions Engineer at Mapbox in 2016. Now he leads a team of 15 solutions engineers that help customers solve complex problems using location intelligence. Outside of work, Ryan is a is a lifelong cyclist and founder of the athletics design website Athletedataviz. This is his third time speaking at a Tableau User Group event.
Chris DeMartini, Visa
Chris DeMartini came to the Tableau community through his work in network graphing. He has focused on incorporating dynamic aspects to his visualizations as well as working with the Tableau JS API, often blogging about these techniques on DataBlick. Some of his past work includes the likes of jump plots, hive plots, and even his family tree.
--- About Mapbox ---
Mapbox is a live location data platform for mobile and web applications and experiences. Anyone can use Mapbox APIs and SDKs to build live, fully customized interactive maps, game environments, navigation experiences, and data visualizations for consumer apps, business intelligence and logistics platforms, on-demand services, asset tracking, and more. Add your own data layers and build now for web, iOS, Android, Unity 3D, and Qt.
Start building today: www.mapbox.com
Ascent Penthouse
Client: Mr Dung - IAM Architecture
---
@ Long Nguyen & Thu Nguyen
Architecture - Interior Design & 3D Visualization
0979 962 864, Ho Chi Minh City
advlongnguyen@gmail.com
Graffiti is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (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
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.
Stunning visualization of death over space and time. Turn up the volume too.
Fresh House | Visualization Project
Project : L.A Apartment
Co-op with the company in Norway
Visualized by Fresh House
via Cancer Mesothelioma Lawyer - Attorneys, Stages and treatments ift.tt/2CuOI2o
In medicine, "mesothelioma" is a rare tumor that represents less than 1% of all oncological diseases and affects the "mesothelium", the thin tissue that covers most of the internal organs.
The most frequent form (almost 80% of cases) is pleural mesothelioma, i.e. that which affects the pleura, while the peritoneal mesotheliomas and the testicles' mesotheliomas are rarer.
The pleura is a membrane that covers the lung, composed of two sheets: the visceral one (that covers the lung) and the parietal one (that covers the inside of the thoracic cavity), divided by a space called "pleural cavity", which contains pleural fluid.
The pleura is especially important to allow the expansion and flow of the lung during inhalation.
Pleural tumors can be of four types:
malignant pleural mesothelioma;
solitary fibrous tumor;
lymphomas;
metastasis
Mesothelioma and pleural cancer
Commonly the terms "mesothelioma" and "pleural cancer" are used as synonyms, but in reality, this is a mistake for at least two reasons.
First, because, as we have seen, a mesothelioma can affect other organs and not just the pleura so it would be more correct to speak of "pleural mesothelioma" when referring specifically to pleural mesothelioma. Secondly, using "pleural mesothelioma" as a synonym for "pleural cancer" is also a mistake because, as we have seen, not all pleural cancers are necessarily mesotheliomas.
Pleural mesothelioma, life expectancy
Causes
Generally, the tumor develops due to genetic alterations in the mesothelial cells, which lead to uncontrolled growth of the cells themselves. The cause of this process has not yet been clarified, but there are known risk factors that increase the risk of mesothelioma.
Risk factors
The most important risk factor for mesothelioma is exposure to asbestos: most of these cancers affect people who have come into contact with this substance, at home or at work, or who live with people who work with it.
Asbestos is a mineral that, due to its particular resistance to heat, has in the past been widely used for covering and insulating roofs (in a material known as Eternit), ships and trains; in construction (tiles, floors, paints...); in firefighters' suits; in cars (mechanical components and paints) and in other sectors.
When this mineral is fragmented, for example during the process of mining or removal of the insulating material, a dust is produced which, if inhaled, can damage mesothelial cells, in some cases causing cancer, even decades after exposure. Other risk factors for mesothelioma are:
a monkey virus, SV40, used in polio vaccinations between 1955 and 1963;
a radioactive substance, thorium dioxide, used between the 1920s and 1950s;
radiation to the chest and abdomen;
cases of mesothelioma in the family.
Diagnosis
Mesothelioma is often difficult to diagnose because its symptoms are similar to those of many other diseases. It often begins with the appearance of breathing difficulties associated with the presence of a spill, which in some cases may be accompanied by chest pain. The diagnostic approach should include the collection of information about possible exposure to asbestos in previous years and then instrumental examinations such as chest x-ray, CT and thoracentesis.
Thoracentesis
If a liquid is present in the thoracic cavity, it is possible to take a sample by introducing a thin needle into the intercostal space: a cytological examination thus determines the possible presence of neoplastic cells. If there is an abundance of liquid present, this procedure can also be used to remove sufficient liquid to improve the patient's breathing.
Histological diagnosis
In order to obtain a certain histological diagnosis of mesothelioma, it is necessary to take tissue samples using different methods and depending on the extent of the disease:
Video-assisted thoracoscopy (VATS): Under general anesthesia, a micro-camera is introduced through a small incision in the thorax to visualize the pleural surface and take tissue samples. In case of pleural effusion, it is possible to carry out the total aspiration of the liquid in order to induce the adhesion of the mesothelium (pleurodesis or talcage), thus preventing the formation of new fluid.
Guided CT biopsy: In case of advanced disease or in patients with anesthetic contraindications a sample for histological examination can be obtained using the TAC guide, under local anesthesia.
Once the material for histological diagnosis has been obtained, the anatomopathological ascertains the type of tumor, its extent, and biological aggression.
Staging
Once the diagnosis is made, the physician determines the extent (staging) of the tumor using CT and PET with FDG in order to locate the site and activity of the tumor within the body and to select the most effective treatment.
Read also:
Cable, liquid and pleural effusion: physiology and pathology
Pleura: anatomy, functions, and pathologies at a glance
Inflamed pleura: symptoms, contagion, and pain in pleurisy Therapies
The treatment of mesothelioma depends on the location of the tumor, the stage of the disease, the age and the overall health of the patient. Standard treatment options include surgery, radiotherapy, and chemotherapy. In selected cases, these treatments can be combined to increase therapeutic efficacy (trimodal treatment).
Surgery
Mesothelioma surgery is complex and should, therefore, be performed in highly specialized centers. Surgery with curative intent should be performed as part of multimodal treatments (chemotherapy, surgery, radiotherapy). The techniques used are:
total pleurectomy: total removal of the pleura (both parietal and visceral pleural leaflets); extrapleural pneumonectomy: removal not only of the pleura but also of the lung, pericardium, and diaphragm.
Extrapleural pneumonectomy is an extremely demolishing operation and is reserved for the most advanced cases of the disease.
Radiotherapy
Radiotherapy for mesothelioma is administered by means of external beams, with volumetric intensity modulation technique (IMRT), as part of trimodal treatment (chemotherapy, surgery, radiotherapy) after surgery with curative intent. Radiotherapy can also be used for palliative purposes, in advanced forms, on areas that cause pain.
Chemotherapy
Chemotherapy is a form of pharmacological therapy that can be administered by intravenous infusion (IV). It can be used, in selected cases, to reduce the disease, favoring the radical surgical approach (trimodal treatment); alternatively, to block the growth of the disease and promote the improvement of symptoms related to it.
Prevention
There are no specific ways to prevent the disease from occurring, but the risk of developing it can be reduced by avoiding the main risk factor, namely exposure to asbestos.
Pleural cancer: can it be cured?
Although it is a very serious type of cancer, it is possible to heal from pleural mesothelioma, but the chances of recovery are strongly conditioned by various subjective parameters:
age of the patient;
the general condition of the patient;
possible pathologies (arterial hypertension, diabetes, heart disease...);
staging at diagnosis (diffusion, lymph node involvement, the presence of metastases);
timeliness of the diagnosis;
response to therapies;
surgeon's skill set.
Prognosis, survival, life expectancy by stage
The survival time and life expectancy after mesothelioma diagnosis (which usually occurs about 15-30 years after exposure to asbestos) is unfortunately on average 12-18 months or less in the absence of therapy or in the case of late diagnosis at an advanced stage. One of the main factors influencing life expectancy, beyond the parameters listed above, is the staging of the disease:
Stage I: In the initial phase, the mesothelioma is located on a layer of the pleura and the tumor may have spread to the pericardium or diaphragm.
The life expectancy of the patient with first stage mesothelioma is about 2 years (21 months). Studies show that 50% of patients diagnosed with mesothelioma can live another 5 years with aggressive treatment.
Stage II: In the second stage, the involvement of both layers of the pleura is observed, only on one side of the body. Life expectancy at this stage may be about 1-2 years after diagnosis.
Stage III: In the third stage, cancer spreads to the chest wall, esophagus and lymph nodes on one side of the body. The life expectancy for this phase can be about 16 months.
Stage IV (last stage, terminal tumor): In the fourth stage of pleural mesothelioma, there is spread to other organs of the body and bone metastases are formed, to the liver, lymph nodes, brain or other areas of the body. At the fourth stage of mesothelioma, life expectancy is less than 12 months.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1RDlf6w
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Beautiful and cute by @murka.art tag your art #arts_visualization for a possible feature. #instaartist #art #artist_4_shoutout #blvart #art_spotlight #art_collective #art_empire #artextreme #imaginationarts #artistic_support #artistic_nation #worldofartists #phanasu #mizu_art#worldofpencils #drawing_feature#drawings #drawing#mixedmedia #artsanity#pencildrawing#artoftheday#cute#beautiful #amazing by @arts_visualization bit.ly/1SabdFW
Germans, Goose, Gypsy Guitar, Gymnastic Girl - 1. Die Deutschen, 2. Paparazzi........... To get out .... being away, 3. greg ruby with favino, 4. bee happy :) - sent to my group www.flickr.com/groups/abc-visualized
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The same query as in the previous image, only 42 hours after launch...
More info here: postspectacular.com/work/socialcollider/start
Part of the official Google Chrome collection of original experiments demonstrating the superior JavaScript performance of Google's browser, the Social Collider reveals cross-connections between conversations on Twitter.
With the Internet's promise of instant and absolute connectedness, two things appear to be curiously underrepresented: both temporal and lateral perspective of our data-trails. Yet, the amount of data we are constantly producing provides a whole world of contexts, many of which can reveal astonishing relationships if only looked at through time.
This experiment explores these possibilities by starting with messages on the microblogging-platform Twitter. One can search for usernames or topics, which are tracked through time and visualized much like the way a particle collider draws pictures of subatomic matter. Posts that didn't resonate with anyone just connect to the next item in the stream. The ones that did, however, spin off and horizontally link to users or topics who relate to them, either directly or in terms of their content.
The Social Collider acts as a metaphorical instrument which can be used to make visible how memes get created and how they propagate. Ideally, it might catch the Zeitgeist at work.
Credits
Karsten Schmidt - concept, design & programming
Sascha Pohflepp - concept, design
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