View allAll Photos Tagged visualization
This is a visualization of the frequency of occurrence of the words 'sex' and 'scandal' in the New York Times, since 1981.
See how many times you can count the words 'catholic church'.
Built with Processing (http://www.processing.org)
Prints from this and other NYTimes visualizations are available on my Etsy store: blprnt.etsy.com
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.
finished by 3d max, vray and ps
For KaiChengYuan square project, in Harbin Municipality, China
-----------------------------------------------------------------------
Visualizing the chemical composition of Earth's crust was done through scaling the volume of each sphere according to the mass each element relative to the total mass.
The mass of each element in Earth's crust is printed in the bottom right corner in parts per billion by mass.
Source: CRC Handbook of Chemistry and Physics, 97th Edition, (2016-2017)
Abstract: A Universe of combustion powered by en.wikipedia.org/wiki/Dark_matter as being en.wikipedia.org/wiki/Cyanobacteria that energizes, powers and links the food and combustion chains by means of its role in making N2O (and other combustion gasses) as visualized powering this photo as a sea of examples of theory as the reality of the Universe whereby it is possible 'Billions' are successfully 'Served' so much Bacterial Dark Energy as expressed so many 'Happy Meals' or Big Mac's -- which being so many macromolecules that can be measures in terms of calories that produce heat in the combustion chain or energy in the food chain as measured by Calories and or BTU's here to be understood as Bacterial vs. British Thermal Units here for the illustrative purpose of essays analysis thesis and central 'line of logic' writ in material by the power of Dark Energy of light examined analyzed and explained as being organic in nature and hence the key to understanding the perpetual operation of a Universe that hosts so many McDonald's in 'reality as well as theory'.
As calories produced in Nature are combusted or converted to some other gear in the dark material box that contains explains and radiates; breakfast lunch and dinner by means and method of the 'Fuel, Transmission, and, Breaks on the Speed of Light as Dark Matter Makes the Fast Food Chain Possible in Reality as Well as Theory' perpetually which is my thesis of how bacteria's atomic core acts as the nuclear engine of fast food's 'motor' to power the arrow of time and the expansion of the Universe in the process of the customer service of billions under the Golden Arches' as a example of how my inventor's paradoxical reasoning flows from facts; old and fresh off the presses of Science; by means of reading and remembering the reporting in the: Science News, Wired, New York Times, The Wall Street Journal, et al..
My meal plan over my sales career and beyond has featured heaping helping of a traveling stack of recursive reading material in the form of magazines and newspapers, which got read cover to cover and then re-read for subtext + the answers, while working myriad 'problems' in a wide variety of food and chemical process plants selling machinery to help industries by means better mixing commodities to create value added products, and or by measure of the ingredients constituent 'energy departments' by means their light bending properties as a 'organic lens' by means to focus my learning about applied industrial en.wikipedia.org/wiki/Refractometry over the years to form a unique point of view that provides a singular lens to understand the (refractual)-factual information available to all -- which to draw conclusions that, if in fact confirms and explains this thesis, in every aspect) while maintaining the consistency of the 'line of logic' as condensed into the 'nutshell' of the case: which makes possible nutshells --> by which "Nitrous oxide is emitted by bacteria in soils and oceans, and thus has been a part of Earth's atmosphere for millennia. ... Nitrous oxide reacts with ozone in the stratosphere. Nitrous oxide is the main naturally occurring regulator of stratospheric ozone. Nitrous oxide is a major greenhouse gas. Considered over a 100-year period, it has 298 times more impact per unit weight than carbon dioxide. Thus, despite its low concentration, nitrous oxide is the fourth largest contributor to these greenhouse gases. It ranks behind water vapor, carbon dioxide, and methane. Control of nitrous oxide is part of efforts to curb greenhouse gas emissions. " - en.wikipedia.org/wiki/Nitrous_oxide
.
This 'data stack' has been compiled and essayed as way to explain and drive home the point of a insight by means a photo as examples served, to help unify a general understanding of Quantum Mechanics by bringing it into harmony with the Quantum Dynamic via 'tuning' the logical notes so as to produce a harmonic chord into the scientific signal chain. This method seeks to know by mildly obsessively removal of the noise and assorted 'clams' in the music that causes distortion in the current comprehension the fine grain factual that is the Devil complicating the details to render the obvious mysterious (for his own unknown devises) distorting the understanding and comprehension of "Dark Matter and Energy" -- which given it has the power in the the micro to macro over the Universe to 'bend of light' which is "spooky action at a distance" as well in terms of organic chemistry, which contains the energy, power and logical means to run the World Economy as well Solar System in the present, by means drawing on the power of the past in the meta, so as to expand the future at Λ.
The great common denominator is understood to be the organic power of the bonds of atom in action over space and time in the micro and macro to bend light which therefore, hence, consequential powers the present, by means the energy of the past, with exactly enough 'juice' to expand the future at at rate we know as the Cosmological Constant which happens to be the Macro Economic rate of inflation or other activity, when measured precisely over time in a given economy; as explained by Dark Matter and Energy being 'the stuff of the food and combustion chains' literal -- "power and light" -- as represented by a well oiled food chain of, fruits and vegetables, grains, meats, dairy, spice, Tea, and Coffee, with plenty of cooking oil and or motor oil to deliver same about all of which has a refractive index which determines price by means 'refinement, intensity and purity, etc.'.
Hence I conclude the economic activity inside each ingredient has the power to bend light at a given rate which is the power be worth more or less due; the presence or absence of Dark Matter or Energy - as being some 'star stuff' that makes 'gas that goes boom', by means the power of bacteria, at some level to cause a function of taste, smell and or the 'heat of the kitchen' that powers a person, group, or planet to expand at the Cosmological Constant by means the 'secret sauce' of spice on top floating atop a river of coffee, drained daily to achieve a insight into cracking the code that is the redundant power to run a Solar System from the micro to the macro and therefore power 'the program' with enough intensity to handle the business of light bending which I hold to be the answer to the Dark Matter and Energy Riddle™; which; creates, distributes and, bends light, -- by means the power of complimentary quark repair as understood and explained to us by Niels Bohr.
From this line of logic come a bonus answer {answer 'blowing in' the planetary weather patterns[for fun fact reality checking]} -- which is picture 'visualized' (and verbalized) as the 'planetary gearbox' running micro to macro by means the complete set of "planetary gears" -- Earth being the third gear, (counter rotating) as a example of how in this (and every) Solar system, per the Cosmological Principle's planetary rotation is powered by means of rotary evaporation, condensation, and quark repair's energy which explains the precision rotation and counter rotation of the Planets sorting the major elements from the Sun to the Black Hole in the Center Galley and back to Faint Young Star Power, in addition to explaining how the food chain and combustion chains run the worlds markets on so much 'horse power' by means of the food, fuel and mineral supplies which are understood to be 'of this world and more or less constantly 'bug based' to have mass which makes for substance that is organic, ---> then -- perhaps some or all of the Dark Matter and Energy riddle can begin to be considered (re)solved given the existing pieces of the natural machinery explained with out having to invent or discover strange new mysterious here to fore unknown 'matter' or 'stuff' that is the light -- 'illustrated' in its quantum mechanical and dynamic operations.
Therefore, Bacteria micro phylogenetic ilk form the vital cogs in the gearbox of the machinery of the of the perpetual manufacture of all elements of combustion and the biomass of any given hydrocarbon atomic bit and, or molecule that runs this economy or, any given eco or solar system.
Hence, Bacteria self-identifies itself as being THE prime candidate as the engine and (con)vector of Dark Matter and Energy on multiple levels of micro to macro levels and layers of Time and Space -- explained.
Further evidence of 'bacteria power' being a heretofore, 'secret agent' and, or 'sauce' of the hydrogen bonding process; E.g.; www.sciencedaily.com/releases/2011/08/110810132832.htm
"Hydrogen-Powered Symbiotic Bacteria Found in Deep-Sea Hydrothermal Vent Mussels"
Consequently, to connect the known dots that we as a planet full of various species which are bacterial powered, and therefore 'connected' - because of 'we are, what we eat' technology, it is not too great a leap in logic to see the micro to the macro of what I perceive the food and combustion chain moving along in the form of burgers, cars, people, lights, with the common atomic denominator of complimentary paired quarks of the non combustible expansive atomic core of Bacteria which pumps the N20 'laughing back' in a witches brewing tangled with the incomplete combustion of VOC's aka en.wikipedia.org/wiki/Volatile_organic_compound 's which are sorted by means Hawking Radiation with the Dark Matter/Energy being the Bacteria that makes combustion possible on a atomic level to matter at the junction of the CNO cycles where one or another family of Bacteria uses matter as fuel to bind en.wikipedia.org/wiki/Nitrus_oxide to en.wikipedia.org/wiki/Carbon , by means the 'intestinal fortitude' of en.wikipedia.org/wiki/Cyanobacteria functioning as the atomic core of Dark Matter and Energy in its role in combustion process at the atomic level, bring light to life as heat and the building blocks of the food chain where there is no waste whereby matter bound is form and released in Hydrogen bonds of demi-big bang being 'ripped' free and re broken to 'dribble out' and vent safely though a series of (black at night type) holes in the Earths ozone, past the gas giants of the solar system, and or then, back up to the 'mother ship' of a Black Hole in the middle of the galaxy to be reprocessed into basic matter and new stars; imho, and according to my version of the General Unified Theory the remainder of the combusted Matter is spun off from the inferno in a Energy input = Energy output to/fro Earth over Space Time in visual form as a large pile of 'mass equivalence' goes 'up in smoke' c/o Bacteria in concert with the food chain, as ordained by people, and their Stars.
A bacterial 'method of accounting' for the elements of the combustion chains common denominators power supply in the case of everything in the above photo from; the grill, to vehicles fuels, to the lights, to the ingredients served food chain creation, all draw by means the power of bacteria and returning energy to the Sun as organic chemistry in the waste streams returning V.O.C.'s + 'free radicals' back to Black Holes for 'rework' by means the food and combustion chains machinery along with resultant thermal energy as heat - not unlike a watch, all pieces of the machinery are required which to tell time, and or power, key, and, gear the Universes continuously running of a waste free process with zero inefficiencies in the (re) winding of the atomic clockworks of the; en.wikipedia.org/wiki/File:Phylogenetic_tree.svg by means of the 'arrow of time' being organic and thus a natural explanation and account for the Material Science and Physics of the Past, Present, and, Future expanding the Universe in the micro and macro at the en.wikipedia.org/wiki/Cosmological_constant .
By means of McDonald's cunning control of the food chains macro and micro of ingredients respective half life through the applied combination of combustion and the Bose Einstein condensate as expressed in the freezer and refrigeration processes with the heat of the deep frier and grill wiped clean of 'bugs' by the hygiene process ("If you have time to lean -- you have time to clean")^ to grease the wheels of maximum predictability to add velocity as a expression of 'fast food' running at ultra high velocity of the supply chain, so as to be both profitable and by keeping the flipping quantum burgers and selling them as levers on the 'half life' of life which is so much en.wikipedia.org/wiki/Energy-mass_equivalence on the 'hoof and or bun' or Dark Matter and Energy fueling the present, driving the futures expansion, while drawing off the power of the past, in the process of repairing the pasts quarks, while moving the industrial age super high speed supply chain fast, from freezer to grill, such that very little spoils in becoming breakfast, lunch or dinner in the many super saturated heartbeats kept in motion - so to speak in praise of the high velocity of the nutrition moving by means of a menu offered at the counter or 24/7 at drive thru that binds and connects a world by 'bill of fare' from a common 'supply chain' to forge the common bond of 'been there, ate that'; got that "Happy Meal" feeling and connectivity by means of 'you are what you eat', as one of the 'billions served' and thus bonded at a atomic level this 'Small World™ is formed and powered said as a gear in the machinery of moving the Universe forward at exactly the Cosmological Constant each burger and fry being a vital thread in the vastness of the fabric of Space which keeps the 'arrow of time' in 'free flight' by means the perpetual power of Dark Matter and Energy.
Bacteria' sub-atomic bond's further self identify themselves as Dark Matter in terms of; en.wikipedia.org/wiki/Food_energy when busted through the above mentioned data points over Space Time shot though the single cellular 'buns' of the expanse of the power of said Bacteria whose role in the formation of all fuels that have the power and volume and necessary gas byproducts fuel the building blocks and heat the life as we know it of a expanding Universe, as I understand the Grande Scheme as it seems to be -- making more sense every day, in light of the evidence w/o bacteria there is no serving billions and billions over the course of space and time breakfast, lunch, and dinner, anyplace, anytime, anywhere; with perfectly predictable results.
While searching for Bacteria as the missing link in the Dark Material puzzle and or cog in the Universal gear box by searching for evidence that amounts to proof of the above thesis in a late 20st century hydrocarbon fueled economy based and chase scene as a conceptual word problem/thought exercise of the quantum dynamics of the following to power the atomic chain reaction that is the contents of this clip, (and the following cinematic immortal chase scene) from The Blues Brothers film, from the point of the line; 'Hit It': E.g. www.youtube.com/watch?v=gvKs2VLmVnY it is all one vast Cyanobacteria powered Hydrocarbon coming unglued in a cinematic en.wikipedia.org/wiki/Chain_reaction set of events that flow from that '...full tank of gas' and those of the Illinois State Police and Chicago Police Department pursuit fleets respective fuel supplies by my estimates and a per this hypothesis, which also can be made as a means of the (bacteria) count for a Dark Matter math made of the original quality of the crude oil or gas sourced as energy not needed to remove it is some sort of V.O.C. or sulfur in the refining processes as I (begin to attempt to) under stand that phase of the hydrocarbon world, by thinking through what Nature did to produce the worlds resource map over time and space in the micro and macro c/o the predictable expansion of the 'Bacteria count' (method of comprehending this system writ large is), that it is the metaphorical and literal chemical keys to the locks that 'unchain' the Energy of the rest of the Dark Material Energies machinery in the subatomic bits as expressed and transmitted in larger life forms of the; en.wikipedia.org/wiki/File:Phylogenetic_tree.svg by means the turning of the wheels in the perpetual generational workings of the 'circle of life', species specific grade grind.
It is key to my understanding the organic driver of Matter over time and space as the vector of radiant Energy from the Sun up the food chain, with the feed back loop to the source Stars paired quark, and or Black Hole so the Yin Yang of the Universe is observed yet expansion happens at the speed of light curved at the rate of expansion of the this corner of the Universe as defined by its mix of atoms as apples of the proverbial/metaphorical/literal Phylogenetic tree to which all life is connected as "Star stuff" back at some Sun -- in to/fro runs that never stops this and all other local worlds turning by means of the power of quarks in free flight repair.*
Further insight to my thinking on Dark Matter can be achieved though the point of view of the functionality of the Chicago Mercantile Exchange as a thought experiment the price theory calculations of the trading of the relative Dark Material 'bacteriological load' of what wikipedia cites as; "Agricultural Commodity Contracts to include: Live Cattle, Lean Hogs，Feeder Cattle, Class IV Milk, Class III Milk, Frozen Pork Bellies, International Skimmed Milk Powder (ISM), Nonfat Dry Milk, Deliverable Nonfat Dry Milk, Dry Whey, Cash-Settled Butter, Butter, Random Length Lumber, Softwood Pulp, Hardwood Pulp. " - en.wikipedia.org/wiki/Chicago_Mercantile_Exchange hence, whole crops and 'great herds' have their market price known in dollar value and therefore understood by the 'group mind' as expressed by the market on a dynamic basis as a set of outcomes based on decisions which would therefor also enable a Game Theory analysis of the functions of the interplay of bacteria as Dark Matter over Time and Space on the Markets writ large so as to make a certain amount of micro and macro economic sense out of reality to my mind -- as a function of its Dark Matter in motion and working out such things as impacts on crop rotation and micro climate as expressed in soil, flora, fauna, and in the end expressed as the en.wikipedia.org/wiki/Foreign_exchange_market as reflected in the worth of a countries economic fortune and political sense as determined by the rest of the world as an expression of the market (volatility expressed as a aspect of the Geo Politic) to put a numerical fine point on this biological bacterial concept as having a economic and political reality in the purest economic bottom line analysis expressed as the "Big Mac Index" www.economist.com/news/2018/07/11/the-big-mac-index where as we know; " en.wikipedia.org/wiki/All_politics_is_local " material-logically and economically speaking and understanding the language of 'knowledge being power' to produce breakfast lunch and dinner like as well according to clockwork.
Therefore, kindly consider the concept of the 'lines of communication' as a historic reflection of this method of bacterial transmission of the hydrogen and nitrogen bonds by means the; en.wikipedia.org/wiki/Spice_Route and its consequence; as a means transmission by mode of market propelled by men moving matter to markets in their bacterial based bodies made of what they ate as they hauling spices in flowing robes more or less doing the bidding of The Bacteria (as matter and antimatter in the form of bodies and antibodies) the runs their Genome as a means of maintaining health and spread direction by means slaying en.wikipedia.org/wiki/Maxwell%27s_demon by overwhelming the Demon with the message in the material in the form of the spices transported to form immunity. A soul 'being you are what you ate' is therefore as intense as its 'spice matrix', held together by such things as those same trace nutrients salts that make the whole micro a expression of the en.wikipedia.org/wiki/Nutrient_cycle of the macro as seen above in the spice rout 'moving matter'/the en.wikipedia.org/wiki/Mass-energy_equivalence of dehydrated spice 'on the hoof'/over time and space 'in sickness and health' using the spice to charge the immune system to the stars, and thereby expand the human 'group mind' in the process. So goes bacteria and the immune system running down the en.wikipedia.org/wiki/Efficient_energy_use highway somewhere as the saying, movie title and, quark repair goes; 'Back to the Future" to form the present as the arrow of time accounted for.
Back to present where let's consider for a moment the line of cars at the drive through running on hydrocarbons which are spewing the byproducts of combustion out their exhaust pipes as so much proto-photo-chemical glue bacteria/N2O and then digested by the process into so many VOC's emissions and ozone and or the local Dark Matter mat (you see as dirty snow/particulates) which then tends to coat the local population in a binding network of common chemical bonds care of the haze of bacteria spewed forth bacteria working their digestive magic by making and breaking hydrocarbons into bits of matter to yield energy as well as unintended consequences of letting loose bacteria to form more N2O and thus make matter in a loop, which explains quite a bit in a expanding Universe with that en.wikipedia.org/wiki/Faint_young_Sun_paradox in need of resolution as accounting does providing the 'gas' in the form of none other than Bacteria (+and and all other breathing living creatures in the food and combustion chain that use or produce the gasses that run the Natural world to be found in the Phylogenetic tree* that make themselves the self evident candidates for the vital role of Dark Matter in producing Energy, by means of a technical explanation of the organic reality of the engineering of heat, light, beaming billions of 'Argument from Design'^^ burgers with cheese along with life as we know it in concert with a combustion chain made possible by the same of the organic Star powered operating system which is the quantum physics of light derived from the particulate energy of nature -- spinning on the axis of reality that leads to and fro black holes for the final business of quark repair and reseeding as fresh young Star power as the final answer offered to the riddle of the expanding Universe at the observed rate of cosmic inflation.
*Attributions and Notes;
Part of the Title of this essay is a reference from a James Q. Wilson appreciation and quotation in the Wall Street Journal;
online.wsj.com/news/articles/SB10001424052970203986604577...
- "The joke about the French philosopher—"We know it works in fact, but will it work in theory?"
Sources and Thanks;
Wikipedia multiple instances as links indicate, The New York Times, The Blues Brothers (movies), The Science News, The Science Daily, The Scientific American, Smithsonian (magazine and websites), Grand Master Cho, Donald Street Jr., (the spirits of) Larry Bird, Bruce Lee, Floyd Little, Keith Moon, Ray Kroc, Kenneth G. Wilson, Niels Bohr, Lewis Alvarez, Hans Bethe, Richard Feynman,Carl Woese, my ancestors, and friends as expressed in the great human spirit as its collection of intellectual marbles of the mind found in the halls of Education, Science and Industry all inclusive. Marbles that can be added to compose the picture of the Universe the in the mosaic of Macro by understanding how the organic bonds of the micro fuel and expand the Big Picture™.
Magazines and Newspapers read with regularity; Wired, New Yorker, New York Times, Atlantic, The Economist, The Science News, Smithsonian, Rolling Stone, Vanity Fair, Wooden Boat, The Guardian, and The Wall Street Journal.
Thanks to the folks, their content provided on pages served by wikipedia, Linkedin, 'The' google and youtube.
All citations and video links are strictly for informational power of navel gazing and educational purposes only.
All brain farts and typos mine. 'Pardon my prose', this is a work in progress and can be read with that in mind and clean through w/o hitting the links then on second pass go in for the hypertext as topically curious.
Note: no entertainment value or incidental rights explicit or implicit assumed by citations to to or fro links contained herein.
Not unlike the original ideas about Dark Matter and Energy or any incidental cosmic-intellectual sod busted along the way of this thought exercise verbalized as semi complete set of insights, to go with the rest of my analysis of the "'Color Theory' of Dark Matter and Energy", are my uncompensated business (in passive-aggressive search of a publisher) that ponders another paragraph on the how the Universe works through the lens that is outside looking in at Bacteria's nuclear material manifesting itself as a function of the expansion of the Universe as powered by nothing less than the Dark Material heart that beats by means the expansive radiant Energy of Cyanobacteria, made oh so edible at McDonald's.
^ "Some people say he (McDonald's founder Ray Kroc) was almost obsessed with cleanliness." - money.howstuffworks.com/mcdonalds1.htm
^^The Argument from Design
www.princeton.edu/~grosen/puc/phi203/design.html
* My topically related hyper-detailed, and 'dense as a young Star' 'Full Report' on why; "'The Dark Side of' Matter and Energy Sets the Speed of Lights Limits, A Photo Essay with Image 'Remixed' by 'Dream 11'"
For clarity, 'roll-over' notes presented as continuous comment moving from the bottom Right to the lower Left by way of the 'Finish Line' in the 'roll-over' mode noting in that order the pickup truck driver, sign, and drive up window as a series of metaphors, folded down to this, with apologies for the technology;
No doubt driver is off working on a en.wikipedia.org/wiki/Natural_deduction proof of Bacteria as Dark Matter and Energy in his spare time, when not otherwise engaged in struggle for survival in the City. Never mind, the guy across the street with the camera did all that in his head; while doing the same. You can check via this intense method, and or by just reading on into this train of a chain reaction of thought that is parked right here in this space.
The "FinishLine" and Time are illusory concepts unless you happen to be en..wikipedia.org/wiki/Michael_Phelps because it seems more the case as once more or less was stated that;
“Life is a (bacteriological driven) journey, not a destination.”
Not unlike ― Robert Frosts road predating McDonalds and thus 'less traveled' non the less memorable and a immortal 'difference maker', E,g.;
www.poemhunter.com/poem/the-road-not-taken/
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim
Because it was grassy and wanted wear,
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I marked the first for another day!
Yet knowing how way leads on to way
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I,
I took the one less traveled by,
And that has made all the difference.
- Robert Frost
Humans Carry More Bacterial Cells than Human Ones n -- is bunk -- www.sciencenews.org/article/body%E2%80%99s-bacteria-don%E...
Never the less there are bacteria running the health 'code' if you have any grip on -- health and good eating in general to form a whole package that can comprehend the 'body census' POV as formed;
By Melinda Wenner
www.scientificamerican.com/article.cfm?id=strange-but-tru...
Digressing but speaking of the search for the Universal source code;
How the Father of Computer Science Decoded Nature’s Mysterious Patterns
In research shortly before his death in 1954, Alan Turing used mathematics to explore how forms emerge, yielding insights that are now being applied to problems like desalination.
Which seems to be confirmed by The New York Times on July 14, 2014 in Personal Health -- as
"We Are Our Bacteria"
By Jane E. Brody; nyti.ms/1zBrZrJ
Further proof in the cosmic 'pudding' of this 'line of logic' applied as matter made as not only burgers, but believe it or not The Bahamas being Cyanoacterial 'born' from the micro to the 'Big Macro'' --> e.g.:
Bahamas Bacteria May Feast on Dust from the Saharan Desert
By Laura Geggel, | July 29, 2014 03:01pm ET
www.livescience.com/47072-sahara-dust-great-bahama-bank.html
and then there is the distinct -
"Possible layout of the quarks in a pentaquark particle. The five quarks might be tightly bound (left). The five quarks might be tightly bound. They might also be assembled into a meson (one quark and one anti quark) and a baryon (three quarks), weakly bound together."
lifeboat.com/blog/2015/08/exotic-pentaquark-particle-disc... --
Therefore logically it follows is understood and hopefully explained here that this is the natural source of the gears that we derive from Nature employs to form essential sub atomic gearing that constitutes the fabric of the Universe which is woven by the (2x2 quarks + 1 en.wikipedia.org/wiki/Axion )accounted for now as being found present in the form factors of the colors blue and green quarks two each, plus the 'wild red' Axion (that transports the above linked font of information by means the power of "The (micro) RGB Light") manufactured in that thar recurring blue-green en.wikipedia.org/wiki/Cyanobacteria producing the -- 'show must go on business' -- which in turn forms the 'stage' that is 'all the world' inclusive of the Saharan dust that offers a theoretical physical-chemical explanation of the Bahamas’ paradoxical existence by "Windblown nutrients may fertilize island-building bacteria" as a footprint formed in the macro.
BY Thomas Sumner July 11, 2014
Magazine issue: Vol. 186 No. 3, August 9, 2014
"Dust-fertilized cyanobacteria could also explain the origin of carbonate rocks elsewhere in the ocean that formed over 400 million years ago, before mollusks and corals evolved, Swart says."
www.sciencenews.org/article/saharan-dust-explains-bahamas...
"The rocks here in Oman are
special, this scientist says." -- which is also the point of this essay to provide a full pictorial accounting of the myriad 'common denominators likeness' and suggest formal logical links as they organic chemically occur to support this hypothosis;
--> www.nytimes.com/interactive/2018/04/26/climate/oman-rocks...
Yet more people with a beef about burgers in world today due to their perceived supersized impact on climate by means the combustion chain saw of power of being carbon based that make for the thinking linking; beef, cars and climate together as; "The Case for a Carbon Tax on Beef" - nyti.ms/2GCdixI that was argued for on March 17, 2018 as reported By Richard Conniff
in the New York Times.
Therefore it is concluded by this long line of logic that deduces in the final analysis that the electric color coding of quarks in formation and repair that inform and bind the ingredients, that create the matter in the Universe by means the gears of nature being organic running on the many shoulders of the nitrogen building blocks of a army navy and air force of the matter and resultant fuel of hydrogen oxygen helium of a Universe of organic 'bug power' production which forms, binds expands and operate the 'code' of Nature which is borne by light electrically as explained by "Albert Einstein's mathematical description of how the photoelectric effect was caused by absorption of quanta of light in one of his 1905 papers, named "On a Heuristic Viewpoint Concerning the Production and Transformation of Light". "
- en.wikipedia.org/wiki/Photoelectric_effect illustrated.
CJC
Rev. 1/29/18
A visualization of the connections between people on Bagcheck at the end of May 2011. This graph shows the number connections (follows) each person on the site has.
Check out Bagcheck please. (cause you know you want to be in this graph -don't you!)
This is a visualization of the frequency of the words 'regulation' and 'innovation' in New York Times articles since 1981.
This is a timepiece graph and can be read like a clock - 1981 is at 12:01am and January 2009 is at midnight.
Built in Processing (http://www.processing.org)
I was astounded by Bill Rankin's map of Chicago's racial and ethnic divides and wanted to see what other cities looked like mapped the same way. To match his map, Red is White, Blue is Black, Green is Asian, Orange is Hispanic, Gray is Other, and each dot is 25 people. Data from Census 2000. Base map © OpenStreetMap, CC-BY-SA
Visualizing the chemical composition of the Sun's photosphere, which is possible to measure mainly through spectroscopy, is difficult, because it is mostly made of hydrogen (73.7%) and helium (24.9%) by mass, 92% and 7.8% by the number of atoms respectively.
Here, instead of showing it in a logarithm scale, I chose to scale the volume of each sphere according to the mass each element relative to the total mass. This way it is still possible to show the least abundant elements compared to hydrogen.
The mass of each element in the Sun's photosphere is printed in the bottom right corner in parts per billion by mass.
Source: Asplund et al. 2009
Youtube visualization: youtu.be/OrsIPVjjCkI
Maps of racial and ethnic divisions in US cities, inspired by Bill Rankin's map of Chicago, updated for Census 2010.
Red is White, Blue is Black, Green is Asian, Orange is Hispanic, Yellow is Other, and each dot is 25 residents.
Data from Census 2010. Base map © OpenStreetMap, CC-BY-SA
In the centre of Iceland, on a mountain road called Kjalvegur, there is a unspoiled and protected area called Hveravellir (hot spring plains). Wich is a popular tourist place all the year round.
Kjalvegur usually opens in the middle of June and it remains open until September or October, but it depends on the weather.
Hveravellir is one of the many amazing natural resources in Iceland. Its positioned between two glaciers, Langjökull and Hofsjökull. The hot spring area, natural hot pool, glaciers and magnificiant view are the main attractions.
At Hveravellir there are both steam and water hot springs. Amongst them there are Eyvindahver (Eyvindur´s hot spring), Bláhver (blue hot spring) and on picture Öskurhólshver (roaring mound hot spring). Eyvindahver draws its name from Fjalla-Eyvindur, who was a famous outlaw that survived twenty years in the rough wilderness. He lived about two years with his wife at Hveravellir and still today you can find Eyvindarhellir (Eyvindur´s cave) and Eyvindarrétt (Eyvindur´s pen where he kept his sheeps).
After a long day of taking picture you can relax in the natural hot pool, which is placed near one the huts.
Kindly remember to vive this picture in large scale :)
Rotate, zoom, see music from the back online: martonborzak.com/music
Music visualization generated with processing. Basically turning the two dimensional description of music into 3D.
Ferenc Liszt - Hungarian Rapsody No. 2.
Drupal modules as of 11/9/07
Full-sized, legible photo can be seen here: http://www.flickr.com/photo_zoom.gne?id=2007464793&size=o
Linkable version here: www.kentbye.com/files/drupal_modules_all.html
This photo set contains the 5 smaller printable sections.
These linkable Cheat Sheets are here:
www.kentbye.com/files/drupal_modules_part1.html
www.kentbye.com/files/drupal_modules_part2.html
www.kentbye.com/files/drupal_modules_part3.html
www.kentbye.com/files/drupal_modules_part4.html
www.kentbye.com/files/drupal_modules_part5.html
I created this graphic because I felt overwhelmed with how many Drupal modules were out there, and I wanted to have a single cheat sheet that I could print out and reference. But this proved to be impossible, and it took me splitting up this massive photo into 5 subsections listed above in order to legibly print out all of the modules -- all of the modules as of November 9th, 2007 that is. (There's been another 20+ new projects created since then according to http://drupal.org/taxonomy/term/14/0).
A couple of technical points: The modules are color coded according to the 30 categories listed here: http://drupal.org/project/Modules
Also this massive graphic actually has repeating modules in the sense that if a module is in three different categories, then it'll be listed 3 different times.
There were also 36 projects that weren't categorized and inadvertently left out of this big graphic, but were included in part 5 of the cheat sheet -- along with the project pages that have been created without a release, projects w/ deprecated HEAD or pre-4.7.x releases & CVS namespaces that don't have a current project page.
Finally, this listing doesn't take into consideration the fact that many Drupal project releases actually contain multiple modules within them. For example, the Drupal for Facebook module is actually composed of 9 modules.
UPDATE: The 30 MB excel file that contains the raw data used to generate these visualizations has been uploaded to scribd.com
I was astounded by Bill Rankin's map of Chicago's racial and ethnic divides and wanted to see what other cities looked like mapped the same way. To match his map, Red is White, Blue is Black, Green is Asian, Orange is Hispanic, Gray is Other, and each dot is 25 people. Data from Census 2000. Base map © OpenStreetMap, CC-BY-SA
The visualizations you can see here, has been realized collecting all the Wikipedia's pages created and modified during the project by Fondazione Cariplo-Artgate. Starting from this list, using the history function of Wikipedia we collected data about all the edits on a page, and using a user list we could recognize which of them are performed the Wikipedia's tutors of the project. Similarly we collected all the data about the uploads on Wikimedia Commons, mostly images. Read more about this project here www.densitydesign.org/research/share-your-knowledge-mappi...
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.
Overview of the academic studies applying data visualization in Wikipedia analysis by Martina Cecchi
Zip below the ocean's surface in this NASA science visualization that shows how winds on the Earth's surface help to drive ocean currents off the coast of Florida – all parts of a remarkable planetary engine – the climate.
Credit: NASA/GSFC
To see the full, narrated excerpt, go to: youtu.be/ujBi9Ba8hqs
The excerpt explores the fundamental power of the sun and how its energy drives the climate on Earth, and is made up entirely of new visualizations -- created by NASA Goddard's Scientific Visualization Studio -- that illustrate NASA satellite and model data of a coronal mass ejection from the sun, Earth's magnetic fields, and winds and ocean currents circulating around our planet.
These visualizations were recently accepted to be shown at the SIGGRAPH 2012 computer animation conference. To read more about this and the full movie, go to:
www.nasa.gov/topics/earth/features/dynamic-earth.html
The excerpt was also the basis for the 100th story released through the Scientific Visualization Studio's iPad app, called NASA Visualization Explorer. To see the app story in web form and to download the app, go to:
svs.gsfc.nasa.gov/vis/a010000/a010900/a010984/
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
Follow us on Twitter
Like us on Facebook
Find us on Instagram
Each white Dot is a person, each red line is a mutual connection, the dot in the middle is Robert Scoble who has 1010 mutual connections. Each circle is a degree of separation from Scoble. There are more than 20.000 people in the Twitter network. This data was collected between 9 and 15 of March. The image is generated using Graphviz. You can download it full size here.
No one has a comprehensive response on long-term potential impacts of climate change. Even the report compiled by the IPCC shows the limited knowledge of the possible changes that will affect human society in the coming decades because of global warming. The chapter represented examines vulnerabilities, impacts, costs and forms of adaptation of the human system in connection with the events generated by climate change. The impacts in the fields of industry, services, infrastructure and human settlements are analyzed in detail. A basic point that emerges several times in the chapter covers the importance of the level of economic development and the geographic location in determining the impacts of the violence of these events. This was therefore a factor which has become increasingly important in our analysis. Another very important factor that has influenced our decisions was the almost total absence of numerical data that could be represented. In the chapter, in fact, only specific and isolated case studies are reported and these could not provide a clear picture of the situation. For this reason, during the data processing, we have moved on two directions. First of all, we have selected from the text a series of qualitative data: we extrapolated from the report all the examples of impacts, vulnerabilities, costs and adaptation strategies. We have divided them according to the geographical area and the economic development. Concerning the numerical data, instead, we have consulted an external source, the Emdat. As for the section that explains the actors of the human system and the relationships between them, we have given particular importance to the forms of adaptability of the identified actors, seen as moments of reaction of the human system to climate change.
Project by:
Filippo Donisi
Lorenzo Fantetti
Federica Fragapane
Emanuele Luppino
Francesco Majno
An ecosystem is a complex of plant, animal and micro-organism communities, while the non-living environment interacting as a functional unit. Ecosystems are characterized by strong interactions between the components within their boundaries, which become weaker if outside of them. They are well recognized as critical and necessary in sustaining human well-being.
Over the past 50 years, humans have converted and modified natural ecosystem more rapidly and over larger areas than in any comparable period of human history. These changes have been driven by the rapidly growing demands for Supporting, Provisioning, Regulating and Cultural services and have contributed to substantial net gains in human well-being and economic development, while resulting in a substantial and largerly irreversible loss of biodiversity and degradation in ecosystems and their goods and services.
Evidence from different parts of the world shows that in most case it is far from clear who is “in charge” of the long-term sustainability of an ecosystem, let alone of the situation under future climates. Responding and adepting to the impacts of climate change on ecosystems calleds for a clear and a structured system of decision making at all levels. Impacts of climate changes of ecosystems also shows strong interrelationships with ecosystem processes and human activities at various scales over time. Datas reported in this visual project are obtained from the 2007 IPCC Report (Intergovernmental Panel on Climate Change) whom considerations and data are mainly based on 2 scenarios: DGVM Dynamic Global Vegetation Model (based on A2 emission scenarious) and GCMs Global Climate Models (based on B1 emission scenarious).
Project by:
Matilde Arduini
Rossella Ermacora
Giulio Fagiolini
Emanuele Marsura
Giulia Minacciolo
Emission lines form when an electron jumps from a higher energy state to a lower one. The difference in energy is radiated away at a specific wavelength (seen below) for each transition. This visualization of the Grotrian diagram shows how the shape of the hydrogen electron cloud changes when going through the allowed transitions.
While most l and +m combinations are shown here, the electron must abide by the selection rules stating that transitions with Δl=±1 are the only ones allowed. Transitions like s-s, p-p, etc. are forbidden. The colored lines show all allowed transitions with n<9 for the particular named series. Orbitals are not to scale.
An animation can be found here:
I was astounded by Bill Rankin's map of Chicago's racial and ethnic divides and wanted to see what other cities looked like mapped the same way. To match his map, Red is White, Blue is Black, Green is Asian, Orange is Hispanic, Gray is Other, and each dot is 25 people. Data from Census 2000. Base map © OpenStreetMap, CC-BY-SA
Photographing trains for those of us that do is something in and of itself. Some use their spin to create art, some use it to portray drama, and others just want to be able to read the numberboards. But only when the final shutter click ends and the camera is lowered are you actually experiencing it for your own eyes. And at that point you get to watch your subject matter do what you came to document in the first place, etching your memory forever.
Today while I was pacing these two brutes I had a rush of memories come back to me as if I was living them again. The sight of two SD45's and their flared radiators back to back was something I hadn't experienced in quite some time. Seemingly forever ago I would watch the WC's own 45's go about their transfer work at New Brighton and beyond via bicycle. To document the times I usually had my Pentax K1000.
Fast forward a decade and the bicycle is gone, the Pentax is long retired, and most of my childhood memories can only be revisited by amateur photography and old emails, as only five former WC SD45's remain. Nowadays the railroad landscape resembles little of it's former self, I drive a Dodge Ram, and I don't have much time for photography due to my schedule (or lack of one) at BNSF. So whilst running and gunning with these guys on their trek East, I reminded myself to breath it in just a bit more than usual. To just watch these relics as they drift from side to side, bouncing ever so slightly as they roll across former Great Northern terrain, because in another ten years I'll wish I could watch them just one more time.
"These are the good old days, man."
Polar regions have suffered dramatically the consequences of global warming: ice melting, rising temperatures and the consequent transformation of flora and fauna are just few of the deep changes that marked these regions in an irreversible manner and will influence future human life and activities.
Our visualization aims to highlight the main factors that have brought these changes. The graph on the top shows the relationships data between temperature, carbon dioxide concentration and sea-ice in the last century. We have then developed two different future trends, based on the A2 and B2 IPCC Emission Scenarios.
Below, the polar regions system map, designed as the structure of an ice crystal, shows the complex tangle of relationships and flows that connects key actors, highlighting the importance of each element for the balance of the whole system.
Ice is in the centre of the visualization, as it’s the core of the entire polar environment and influences all other characters, while on the top we have greenhouse gases, which are the primary responsible of increasing temperature, and so of climatic mutation in Arctic and Antarctic.
The analysis shows crearly how polar regions heavily suffer a phenomenon to which they contribute minimally, but provoking chilling consequences which involve the whole world.
Project by:
Stefano Agabio
Marco Bernardi
Paolo Panzuti Bisanti
Alessandro Pomè
Francesco Pontiroli
We interrupt this series of Alaskan images to bring you an important public service announcement ... TGIF!!!
OK, I know I have lots of you feeling the same way. Getting all ready to finish off this work week and dive on in to the upcoming weekend!
Last night, I was going through my archive when I noticed something. Over late spring/early summer, I spent many hours photographing and hanging out with the burrowing owls of Broward County. However, I hadn't shared many of the images of these adorable little owls. Solution ... celebrate this Friday with one of my favorite ones.
As the young burrowing owls learn the ways of their world, they tend to do a lot of flying around. The burrows are staked out, so that's the perfect landing for them. It's also obviously where they launch from as well.
I love this image, as it almost appears as though the owl was using a visualization technique as it prepped for its launch. OK ... get on the edge of the stake... up with the wings... target in sight ... that's how it's done. LOL
Hope everyone knows how their weekend plans will unfold as well. I'm excited to say that I hope to be out photographing this weekend, as it has been a while since I have. Wishing everyone the best!
Thanks for stopping by to view and especially for sharing your thoughts and comments.
© 2014 Debbie Tubridy / TNWA Photography
My facebook network as of September 2012 rendered with Gephi using the Fruchterman-Reingold layout algorithm.
Listini dominati da fondi che gestiscono 50mila miliardi di dollari e da banche più grandi degli stati
CGI exterior visualization: good fairy by day and wicked witch by night??? Perhaps it is just Photoshop ;)
The graph above is a timeline of website user registrations ordered by date beginning with Etsy's birth day, June 17, 2005.
Generated roughly at midnight EST October 2, 2007, a total of 79,713 avatars are represented. Only those users with avatar images are shown. Roughly 10% of our registered accounts have avatar images uploaded. Most registrations are for buyers making a first time purchase.
Even at full resolution, the avatars are reduced to just 4x4 pixels each to keep overall size sane. 16 pixels is just enough to make out most avatars (if you know what you're looking for).
The four day empty slot in November 2006 was when we transitioned the site to a new architecture, then named 'v2'.
Please see original resolution.
Maps of racial and ethnic divisions in US cities, inspired by Bill Rankin's map of Chicago, updated for Census 2010.
Red is White, Blue is Black, Green is Asian, Orange is Hispanic, Yellow is Other, and each dot is 25 residents.
Data from Census 2010. Base map © OpenStreetMap, CC-BY-SA
The Times' yearly list of notable books has been published... unfortunately, it's just a list. I wanted to it to be more visual, so I threw this together.
View the whole fiction list, or the (A to H) list.