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A handy tunnel below stairs for the butler and servants to head around the underneath of Ham House, and to get to the rooms they needed to be without being seen.
The Milano Sophia leotard without stones.
Isn´t it a perfect wear for sports and leisure for men too?
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved.
Elgol, view Loch Scavaig and The Cuillin, Strathaird peninsula, Isle of Skye, Scotland.
Elgol (Scottish Gaelic: Ealaghol) is a village on the shores of Loch Scavaig towards the end of the Strathaird peninsula in the Isle of Skye, in the Scottish Highlands.
It has a population of approximately 150 people.
In the 2011 census, 31% of the residents were reported as speaking Gaelic.
The single track road B8083 to Torrin and Elgol wends its way slowly around the landscape, demanding a very relaxed driving style. Visitors are encouraged to use the passing places to let local (faster) drivers pass. The passing places are frequently also be used to gasp at the scenery while trying to capture its magic, magnitude and stark beauty on camera.
Elgol perches attractively on a steep hillside with the road hair-pinning down to the pier.
The scenic beauty of the Cuillin has led to it being designated a national scenic area.
The Assumption of the Blessed Virgin, Ufford, Suffolk
Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle. You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses. In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage. I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them. So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing. But there was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago.
The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. As at Great Ryburgh in Norfolk, patronage ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale like here and Ryburgh. His is the extraordinary war memorial window in the south aisle chapel, dedicated to St Leonard. It depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciation, although it is the figures above which are most extraordinary. They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert. However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I also think that the images of heads below may be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and although it no longer maintains its high Anglo-catholic worship tradition, it is is still kept in high liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
Without You / Mariah Carey ♬
NO I CANT FORGET THIS EVENING OR YOUR FACE AS YOU WERE LEAVING BUT I GUESS THATS JUST THE WAY THE STORY GOES YOU ALWAYS SMILE BUT IN YOUR EYES YOUR SORROW SHOWS YES IT SHOWS
NO I CANT FORGET TOMORROW WHEN I THINK OF ALL MY SORROW WHEN I HAD YOU THERE BUT THEN I LET YOU GO AND NOW ITS ONLY FAIR THAT I SHOULD LET YOU KNOW WHAT YOU SHOULD KNOW
I CANT LIVE IF LIVING IS WITHOUT YOU I CANT LIVE I CANT GIVE ANYMORE I CANT LIVE IF LIVING IS WITHOUT YOU I CANT GIVE I CANT GIVE ANYMORE
WELL I CANT FORGET THIS EVENING OR YOUR FACE AS YOU WERE LEAVING BUT I GUESS THATS JUST THE WAY THE STORY GOES YOU ALWAYS SMILE BUT IN YOUR EYES YOUR SORROW SHOWS YES IT SHOWS
I CANT LIVE IF LIVING IS WITHOUT YOU I CANT LIVE I CANT GIVE ANY MORE I CANT LIVE IF LIVING IS WITHOUT YOU I CANT GIVE I CANT GIVE ANYMORE
~ Los Errores ya estan Cometidos.... ya no hay vuelta atrás, no hay forma de pedirte perdon... Odiame... por favor detestame... no puedo seguir asi... ya no se que quiero, era todo tan genial... no lo supe aprovechar, lo siento, perdoname... fuí ciego, no me di cuenta que el juego era realidad ... no supe ver mas allá de mi ... no se que mas decir ... ahora si que me siento una mierda (N) ...
Me Dedique a perderte ... ♬
Porque no te bese en el alma cuando aún podía
Porque no te abracé la vida cuando la tenía
Y yo que no me daba cuenta cuanto te dolía
Y yo que no sabía el daño que me hacía.
Cómo es que nunca me fijé que ya no sonreías
Y que antes de apagar la luz ya nada me decías
Que aquel amor se te escapó, que había llegado el día
Que ya no me sentías, que ya ni te dolía.
Me dediqué a perderte
Y me ausente en momentos que se han ido para siempre
Me dediqué a no verte
Y me encerré en mi mundo y no pudiste detenerme
Y me alejé mil veces
Y cuando regresé te había perdido para siempre
Y quise detenerte y entonces descubrí que ya mirabas diferente
Me dediqué a perderte
Me dediqué a perderte
Porque no te llené de mi cuando aún había tiempo
Porque no pudé comprender lo que hasta ahora entiendo
Que fuiste todo para mi y que yo estaba ciego
Te dejé para luego este maldito ego.
Me dediqué a perderte
Y me ausenté en momentos que se han ido para siempre
Me dediqué a no verte
Y me encerré en mi mundo y no pudiste detenerme
Y me alejé mil veces
Y cuando regresé te había perdido para siempre
Y quise detenerte y entonces descubrí que ya mirabas diferente
Me dediqué a perderte
Me dediqué a perderte
(U)
Angelo Nicolas :) Feliz Cumpleaños :)
This was the best I could without trespassing in the active Coombe Valley Transport Haulage Yard, and these shots were taken over a very high wall with the help of a small and not tall enough step ladder I brought from home!, and be sure to look out for this vehicle as it goes out on the road too!
And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw very recently!!
Yes I'm back again.
However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.
I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.
I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.
So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!
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If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
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Portuguese
O Museu Paulista da Universidade de São Paulo, conhecido também como Museu do Ipiranga ou simplesmente Museu Paulista, é um museu localizado na cidade de São Paulo, sendo parte do conjunto arquitetônico do Parque da Independência. É o mais importante museu da Universidade de São Paulo e um dos mais visitados da capital paulista. É responsável por um grande acervo de objetos, mobiliário e obras de arte com relevância histórica, especialmente aquelas que possuem alguma relação com a Independência do Brasil e o período histórico correspondente. Uma das obras mais conhecidas de seu acervo é o quadro de 1888 do artista Pedro Américo, "Independência ou Morte".
Um dos principais objetivos do museu é mostrar aos visitantes o protagonismo do povo paulista na História do Brasil.
Edifício
O arquiteto e engenheiro italiano Tommaso Gaudenzio Bezzi foi contratado em 1884 para realizar o projeto de um monumento-edifício no local onde aconteceu o evento histórico da Independência do Brasil, embora já existisse esta ideia desde aquele episódio.
O edifício tem 123 metros de comprimento e 16 metros de profundidade com uma profusão de elementos decorativos e ornamentais. O estilo arquitetônico, eclético, foi baseado no de um palácio renascentista, muito rico em ornamentos e decorações. A técnica empregada foi basicamente a da alvenaria de tijolos cerâmicos, uma novidade para a época (a cidade ainda estava acostumada a construir com taipa de pilão). As obras encerraram-se em 15 de novembro de 1890, no primeiro aniversário da República. Cinco anos mais tarde, foi criado o Museu de Ciências Naturais, que se transformou no Museu Paulista. Em 1909, o paisagista belga Arsênio Puttemans executou os jardins ao redor do edifício. Este desenho de jardim foi substituído, provavelmente na década de 1920, pelo paisagismo do alemão Reinaldo Dierberger, desenho que se mantém, em sua maior parte, até os dias atuais.
Acervo
Quadro Independência ou Morte, mais conhecido como "O Grito do Ipiranga" (óleo sobre tela de Pedro Américo - 1888), do acervo do museu.
O Museu Paulista tem em seu acervo de mais de 125 mil artigos, entre objetos (esculturas, quadros, joias, moedas, medalhas, móveis, documentos e utensílios de bandeirantes e índios), iconografia e documentação arquivística, do século XVI até meados do século XX, que servem para a compreensão da sociedade brasileira, com especial concentração na história de São Paulo. Os acervos têm sido mobilizados para as três linhas de pesquisa as quais o museu se dedica:
Cotidiano e Sociedade
Universo do Trabalho
História do Imaginário
O acervo do Museu Paulista tem sua origem em uma coleção particular reunida pelo coronel Joaquim Sertório, que em 1890, foi adquirida pelo Conselheiro Francisco de Paula Mayrink, que a doou, juntamente com objetos da coleção Pessanha, ao Governo do Estado. Em 1891, o presidente do Estado, Américo Brasiliense de Almeida Melo, deu a Albert Löfgren a incumbência de organizar esse acervo, designando-o diretor do recém-criado Museu do Estado. As coleções, ao longo dos mais de cem anos do museu, sofreram uma série de modificações com o desmembramento de parte de seus acervos e incorporações.
O acervo do museu se encontra tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional - IPHAN.
A Escadaria
A escadaria do museu tem um imenso valor simbólico ao povo paulista. A escadaria propriamente dita representa o Rio Tietê, que foi o ponto de partida dos Bandeirantes rumo ao interior do país. E no corrimão estão colocados esferas com águas dos rios desbravados pelos paulistas entre os séculos XVI e XVIII, como por exemplo o Rio Paraná, Rio Paranapanema, Rio Uruguai e o Rio Amazonas. Nas paredes do ambiente estão estátuas dos heróis bandeirantes, como Borba Gato e Anhanguera com as regiões por onde eles passaram mais notoriamente, que se localizam nos atuais estados desde o Rio Grande do Sul até o Amazonas. Sendo precedida pelas duas estátuas maiores no salão principal dos dois principais bandeirantes, Antônio Raposo Tavares e Fernão Dias. E ao centro representado D. Pedro I, como herói da Independência.
Junto as estátuas existem pinturas representando a participação paulista em diversos momentos da história brasileira, como o ciclo da caça ao índio, o ciclo do ouro e a conquista do amazonas. Acima existem nomes de cidades e seus respectivos fundadores paulistas pelo Brasil, como Brás Cubas e Santos. E no teto pinturas de paulistas importantes na história do país, como o patriarca da independência José Bonifácio.
English
The Museu Paulista of the University of São Paulo (commonly known in São Paulo and all Brazil as Museu do Ipiranga) is a Brazilian history museum located near where Emperor D. Pedro I proclaimed the Brazilian independence on the banks of Ipiranga brook in the Southeast region of the city of São Paulo, then the "Caminho do Mar," or road to the seashore. It contains a huge collection of furniture, documents and historically relevant artwork, especially relating to the Brazilian Empire era.
The most famous work of art in the collection is the 1888 painting Independência ou Morte (Independence or Death) by Pedro Américo.
A few months after the Brazilian Declaration of Independence, people started to suggest a monument on the site where the declaration took place, although they were not sure about what sort of memorial construction to build. In 1884, Italian architect Tommaso Gaudenzio Bezzi, who was hired to develop the project, chose to build an eclectic-styled construction similar to the French Palace of Versailles with impressive and perfectly manicured gardens and fountain.
Wikipedia
what if i fall & hurt myself, would you know how to fix me?
i miss flickr. i think i'll start updating/loading more.
i'm the best i've ever been, like i said. thank you, chase reid.
Please don't use any of my images on websites, blogs or other media without my explicit written permission. © All rights reserved.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
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Forget Sharon Stone (well not really, she's still beatifull)!
This is Carl Lewis: the fastest man on Earth for the fastest tyres on the Planet! But remember: "Power is nothing without control".
We all enthusiastically approved the Pirelli's motto, since 1994 (oh yes, seems like yesterday) and we still keep it, today, in the back of our mind when we see or buy a P-Tyre.
Please Pirelli, gives us some more "enlighted inspiration", we all need that, even when we don't drive or race!
More Mith on: www.it.pirelli.com/web/media/photogallery/gallery.page?pa...
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.
"Ripple Effect"
Doctors Without Borders / Médecins Sans Frontières
April 1 through April 27 at BiddingForGood.com/DWB-MSF
ODC Our Daily Challenge: I cannot do without this ...
where and how doesn't matter, but I cannot do without moving physically and mentally
Without Digital Signboard...
Bus No: 1641
Year released: 2012
Capacity: 45; 2x2 seating configuration
Route: Cubao/Aurora-San Carlos via Dau/SCTEX-Concepcion/Capas/Tarlac/Sta. Ignacia/Camiling/Bayambang/Malasiqui
Body: Yutong Bus Co. Ltd.
Model: 2012 Yutong ZK6107H Series
Engine: Yuchai
Fare: Airconditioned
Transmission System: M/T
Taken on: November 3, 2013
Location: Romulo Highway, Brgy. Malacampa, Camiling, Tarlac
Note:
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Compared to normal colored tigers without the white gene, white tigers tend to be somewhat bigger, both at birth and as fully grown big adults.[2] Kailash Sankhala, the director of the New Delhi Zoo in the 1960s, said "one of the functions of the white gene may have been to keep a size gene in the population, in case it's ever needed."[3] Dark-striped white individuals are well-documented in the Bengal Tiger subspecies, also known as the Royal Bengal or Indian tiger (Panthera tigris tigris or P. t. bengalensis), and may also have occurred in captive Siberian Tigers[citation needed] (Panthera tigris altaica), as well as having been reported historically in several other subspecies.[citation needed] Currently, several hundred white tigers are in captivity worldwide, with about one hundred being found in India. Nevertheless, their population is on the increase.
The unusual white coloration of white tigers has made them popular in zoos and entertainment showcasing exotic animals. German-American magicians Siegfried & Roy became famous for breeding and training two white tigers for their performances, referring to them as "royal white tigers", the white tiger's association with the Maharaja of Rewa.
Rewa Maharaja Martand Singh first observed male white tiger Mohan during his visit to Govindgarh jungle at Rewa, Madhya Pradesh, India. After hunting for months, he was able to capture the first living white tiger seen in nature. With help from official veterinary experts, he unsuccessfully tried to breed the white tiger with colored female tigers. Eventually, however, he succeeded in creating a second generation of white tigers. In time, it expanded around the world.
Comet C/2013 US10 Catalina: original photo without post-processing. Hint: it is in the center of the photo and forms a triangle with other two stars.
Without any digital camera.
Sans appareil photo numérique.
Ohne Digitalkamera.
kwerfeldein.de/2015/03/21/namibia-entschleunigt-ein-reise...
PGB Photographer & Creative - © 2022 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
[explore #429 on 14.02.09]
anche se per me lei sarà sempre canella. u.u
old shot from the archives. I'm too lazy to edit the last photos -.-
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- 1909 T212-1 Obak backs have a stylized Obak logo and may come with or without a frame. This card has the frame...
The Oakland Oaks were a minor league baseball team in Oakland, California that played in the Pacific Coast League from 1903 through 1955, after which the club transferred to Vancouver, British Columbia. The team was named for the city and used the oak tree and the acorn as its symbols.
------------------------------------------------------------------------------------------
Harry Nelson
Bats: Unknown • Throws: Left
Born: March 14, 1884 in Batavia, Illinois
Died: June 26, 1950 (Aged 66) in Oakland, CA
Full Name: Harry Edward Nelson
Nicknames: Slim
Both of his parents were born in Sweden
(Morning Oregonian., September 19, 1907 ) - Tacoma 1, Aberdeen 0. - TACOMA, Wash., Sept. 18. (Special.) In the most brilliant game of ball played on the Tacoma field this season "Slim" Nelson today beat Aberdeen 1 to 0. Nelson allowed but one hit in the game, a two-bagger to Boettlnger in the sixth Inning. He gave no bases on balls and did not hit a batter. In fact, Boettlnger was the only Aberdeen player to reach first base in the nine innings. Just 28 batters faced Nelson. Behind this phenomenal pitching the Tigers played superb ball. Besides performing wonderfully In the box. Nelson was active with the bat. He laced out one three-bagger and added a single the next time up.
In 1908, Slim Nelson threw a no-hitter against Oakland in the outlaw California State League. The only run of the game came on a home run by Nelson.
(San Francisco Call, Volume 106, Number 60, 30 July 1909) DEAN OF OAKLAND BALL FANS DIES - Peter Nelson, Veteran Enthusiast of National Game, Passes Away at Fabibla Hospital - OAKLAND, July 29.— Peter Olaf Nelson, dean of the Oakland baseball fans, died at Fabibla hospital this morning, ending a residence of 24 years in Oakland. For many years Nelson was the chief rooter at the league baseball games in this city. He lived at 1357 Twenty-third avenue, East Oakland. His son, Harry, better known as "Slim" Nelson, is now pitching for the Oakland Coast league team, and another son, "Bill," is catching' for a team In Mexico. Nelson was 53 years old and a native of Sweden.
(San Francisco Call, Volume 108, Number 159, 6 November 1910) - "SLIM" NELSON AN OAKLAND PRODUCT - He is One Player Whom None of the Fans Ever "Crab" At - Slim Nelson's head extends higher in the air than that of any other ball player in the Pacific coast league, and if he trained like Bat Nelson trains there Is no question that he could make the feather weight limit any time he wanted to start. : But he's a pitcher, not a boxer, so he don't have to weigh in.
Unlike most of the tossers on the Oakland team, Slim is a native product. Up to three years ago he had never broken away from the wilds of East Oakland, where he was born and where he used to throw rocks at lamp posts and Chinese washhouse. This is how he used to practice control when he was a kid, and he never lost the knack either.
Lou Schroder, who used to run the Alameda state league some three or four years ago, is the discoverer of the elongated slabster. He picked him out of a gang that was tossing rocks at a Chinese laundry one afternoon. Schroder noticed that the tall, Swedish American youth broke more windows in less time than any of the others. He immediately came to the conclusion that he would grab this kid and make a pitcher out of him. All he had to do was to offer Slim the job. The rest was easy.
In his first year with the state league the human sky scraper, was a go. He liked to pitch, and he soon developed a line, of curves that made all the opposing bushers worry. He pitched ball just like he pitched rocks at the oriental washing and ironing establishments. His control was great, and he generally hit the bullseye.
After a year and a half in the state league Slim's fame began to spread. It spread so rapidly and covered so much ground that they soon heard about him over in Oakland. They heard so much about him that one day Pa Van Haltren, who was then driving the Oakland band wagon, took a run over to Alameda to watch Slim work. He watched the long fellow for about three innings. Then he gave him a job. This, in brief, is the story, of how Slim introduced himself to fame. He became a big leaguer just as soon as he and Van Haltren had exchanged a few words. Van took him over, to Oakland and had him measured for a special uniform. This was necessary, otherwise they would have slipped him one of the castoffs. However, one peek at Slim convinced Van that he would have to contract for a special suit for the new slabster.
Oakland evidently looks good to Nelson, for he has never strayed away from the transbay team. This is his third season and he seems to like it better now than the first day he joined the team. He knows everybody in Oakland and they all know him. He has no enemy in all the world. They never roast Slim like they do the other pitchers, because they know that it will not do the slightest good In the world.
Slim never took himself seriously, and therefore he can not makeup his mind to take anybody or anything else seriously. He just goes on his way, kidding along and getting by. If he loses a game, it's all right, and if he wins one, well, it's a little better. But he never fumes or rages or goes into raptures over anything, not even when he makes a home run, and it is a matter of public record that he has made two since he linked himself to organized baseball, some two and a half years ago.
Many of the players believe that this quaint southpaw would have found his way back, to one of the big organizations ere this if he only took life and baseball a little more seriously. But such a thing seems impossible for Slim. He's against all the serious stuff either on or off the diamond. Perhaps this is one of the reasons why the fans all over the circuit like him so much. Anyhow you never hear them calling him a "bone head" or a "rubber skull" or a "busher," or anything like that.
It is the general belief that Nelson is a sort of fixture with the Oakland club. Players come and go every year, but Slim still holds on. And so long as he pitches good baseball he's bound to be a hit with the fans. Occasionally they bat him out of the box just as they do the other pitchers, but then Slim does not worry and he never gets sore when the relief man comes along to take his job.
(The Evening Statesman, January 31, 1910) - Reds Want Nelson. - Business Manager Frank Bancroft of the Cincinnati Reds is trying to buy pitcher Slim Nelson of the Oakland club. Oakland wants a great deal more money for Nelson than Bancroft is willing to pay, though poor Nelson has been working for a mere pittance over the last two years. He pitched a few games for the All Nationa's this winter and thus made good with Bancroft.
(Morning Oregonian., April 26, 1910) - "Slim" Nelson, the comic twirler of the Oakland club, has more fun on the coaching lines than any other player in the league. "Slim" likes to kid the stands and the bleacherites as well as they like to jolly the funny man of the Athenian herd. "Slim" is funny enough - without the antics he cuts up.
(Sporting Life - 27 May 1911) - Southpaw pitcher "Slim" Nelson has been released by the Oakland Club.
(The San Francisco Call., April 28, 1912) - Slim Nelson, formerly one of the Oaks' firing line, a southpaw, has joined the American Rubber company nine, one of the fastest, if not the fastest, amateur nine about the bay. Slim acquitted himself well Sunday.
(The San Francisco call., April 25, 1912) - Rubber Nine Defeats
Y. M. I. by Nose - The American Rubber company team yesterday defeated the Washington council of the Young Men's Institute at the Emeryville grounds by the score of 6 to 5 after 11 innings of hard fought baseball. McGushin of the losers pitched the better ball, allowing the hard hitting American Rubber boys but six scattered hits and fanning 16. The umpire was responsible for the defeat of the Washington council, as the home run that "Slim" Nelson, the former Oakland southpaw, secured was foul by many feet. He was off in calling balls and strikes also.
Margaret Echard - A Man Without Friends
Bantam Books 967, 1952
Cover Artist: George Gross
"A strange story of a woman drawn to a convicted murderer."
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Visão assustadora para os leigos. Muita perícia e frieza dos pilotos !
Portuguese
O Aeroporto de Congonhas/São Paulo (IATA: CGH, ICAO: SBSP) é o segundo mais movimentado aeroporto do Brasil. Está localizado na cidade de São Paulo, no bairro de Vila Congonhas, distrito do Campo Belo, distante 8 km do marco zero da cidade.
Com uma área um pouco maior que 1,5 km², serve de acesso ao aeroporto a avenida Washington Luís, que tem ligação com as avenidas Vinte e Três de Maio e dos Bandeirantes.
Foi inaugurado em 1936, e seu primeiro vôo teve como destino a cidade do Rio de Janeiro em um aeroplano da VASP. Seu nome deve-se à região em que se situa, a antiga Vila Congonhas, de propriedade dos descendentes de Lucas Antônio Monteiro de Barros, visconde de Congonhas do Campo, presidente da província de São Paulo durante período imperial. É o 96º Aeroporto mais movimentado do Mundo, e já foi o aeroporto com maior tráfego de passageiros do Brasil, até a ocorrência do acidente com o Vôo TAM 3054 em julho de 2007.
English
Congonhas/São Paulo Airport or Congonhas Airport (IATA: CGH, ICAO: SBSP) is one of São Paulo's three commercial airports, situated 8 kilometers (5 miles) from the city center at Washington Luís Avenue, in Campo Belo district. It is owned by the City of São Paulo and managed by Infraero. In 2008, it was the 2nd busiest airport in Brazil both in terms of passenger traffic and aircraft movements, handling 186,694 aircraft movements and 13,672,301 passengers [3].The airport's name came from a plant that used to be common in the area where the airport was built. The airport was initially planned in 1919, but it did not open until September 12, 1936. At that time, it was the private airport of VASP, built as an alternative to Campo de Marte, which, already at that time, had operational difficulties. By 1957, the airport was the third busiest in the world for cargo and freight. The passenger terminal's central hall is considered one of the most outstanding examples of modern architecture in São Paulo. However, modernizing and enlargement works conducted at the terminal from 2003 onwards, while trying to preserve the look of the older, historic section, still made the latter lose much of its former character.
Congonhas Airport is the main hub of Brazil's largest airlines: TAM and Gol.
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Newsweek: Obama better represents Catholics than does the Pope
WSJ: Unemployment Up from 4.8% to currently 9.5% (20% in MI) and expected to rise
Obama flies pizza chef to Washington, DC from St. Louis to cater a party for him and his pals at White House.
Obama: "We are out of money"
Obama: "Its Working"
Facts: Government has nationalized AIG, Chrysler, GM, Citibank and has its eyes set on Health Care
This administration and congress has already outspent all previous 43 presidents combined
"Stimulus" is spent on bailing out failed social experiments and entitlement sinkholes by state governments controlled by "progressives"
House passes largest Tax Increase in the History of America - they aim to tax the air we breathe
Charitable donation levels and business investments down as tax levels increase
Obamas plan vacation at Martha's Vineyard
Obama promised unemployment would not exceed 8% - now its 9.5% and rising
Obama said it was mandatory that the 10 to 20 trillion dollar (with debt servicing) "stimulus" was passed right away or we are doomed - it was voted on and passed without those voting in the affirmative for it even reading it.
Once passed, the vast majority of the "stimulus" spending is deferred to 2010 which coincidentally is an election year for the politicians who voted for passage. An inference is that the only crisis was the socialists getting reelected after their policy of fascism failed to turn around the economy. A study of history will reveal their concern - no fascist/socialist enterprise has been successful at improving the quality of life for its citizens at any time in human history. No civilization has successfully taxed and spent its way out of a recession in the history of humanity.
Those who hold America's debt are frantically calling for a "world currency", knowing full well, that the certain forthcoming hyperinflation in America will significantly devalue the US Dollar and their investments will then be worth pennies on the dollar.
Now, Obama says that health care must be nationalized right away or we are doomed.
Now, Obama says that Sotomayor must be confirmed right away or we are doomed.
Now, Obama says that Cap and Trade (destroy and nationalize the energy sector) bill must be passed right away or we are doomed.
Now, Obama says that trillions of dollars of new taxes must be passed right away or we are doomed. These new taxes are on top of the trillions of dollars in new taxes that were already included in his "stimulus" bill and budget.
Is there a pattern? Does "we" refer to his constituents or perhaps himself and his political cronies?
No civilization has reversed a downward unemployment spiral by shrinking its private sector and growing its government bureaucracy.
The countries who have tried the fascist/socialist experiment are now moving back to more capitialistic free market policies - why? because shrinking their private sector and burdening it with increased government confiscatory/redistribution policies created misery in the form of unemployment, loss of individual freedom, lower quality of life and medical care rationing, shortages and misery.
Biden: We have to keep spending money to keep from going bankrupt.
Obama: We must pass nationalized health care so we can reduce costs. (We must do it now or we are doomed)
CBO Chief: Health Bills To Increase Federal Costs
White House wants more power to set Medicare rates
wiki.answers.com/Q/Name_and_explain_two_effects_of_price_...
When thinking about price controls, think of the supply and demand curves and remember that with a price control, it is impossible for a price to get into equilibrium. With that in mind, we can identify two problems that result from this.
1. A shortage/oversupply of the good. If there is a price ceiling, you have a shortage (a la gasoline during the price controls of the 70's.) If there is a floor, you have overproduction (a la ethanol. Which, granted, is subsidized, but that is effectively like a price floor). *Note* also consider the housing markets where rent control is present.
2. An inefficient allocation of resources. With ethanol being subsidized, we witnessed a massive increase in the price of corn. The market did not want this, and thus we saw an inefficient allocation of resources.
Should National Health Care pass in this country, I will not know where or when I will die, but I will know how - substandard medical care, denial of care, lack of r&d due to price controls and rationing emposed by the government - all based on decisions by bureaucrats, actuaries, accountants and political appointees who I do not know and who do not know me or my specific needs or wishes ... and more importantly do not care ... they care only about passing the next government audit cycle for cost control.
PLEASE STOP THIS TYRANNY
Analysis of Health Care Bill HR 3200 Print E-mail
Thursday, 06 August 2009 20:28
Below is a detailed, line by line, analysis of the Health Care bill (HR 3200) by CADC’s advisory board member, Mat Staver of the Liberty Council, and Dean of Liberty University School of Law.
Obama Health Care Plan Details
HR 3200 currently under consideration in the House of Representatives
*HC = "Health Care"
* Pg 22 of the HC Bill MANDATES the Government will audit the books of ALL EMPLOYERS that self insure!!
* Pg 29 lines 4-16 in the HC Bill - YOUR HEALTH CARE IS RATIONED!!!
* Pg 30 Sec 123 of HC Bill - THERE WILL BE A GOVERNMENT COMMITTEE that decides what treatments/benefits you get
* Pg 42 of HC Bill - The Health Choices Commissioner will choose your benefits for you. You have no choice!
* Pg 50 Section 152 in HC Bill - HC will be provided to ALL non-U.S. citizens, illegal or otherwise
* Pg 58 HC Bill – Government will have real-time access to individual’s finances and a National ID Health Care Card will be issued!
* Pg 59 HC Bill lines 21-24 Government will have direct access to your banks accounts for electronic funds transfer.
* Pg 65 Sec 164 is a payoff subsidized plan for retirees and their families in unions and community organizations (ACORN).
* Pg 72 Lines 8-14 Government is creating a Health Care Exchange to bring private health care plans under government control.
* Pg 84 Sec 203 HC Bill - Government mandates ALL benefit packages for private health care plans in the Exchange
* Pg 85 Line 7 HC Bill - Specs for of Benefit Levels for Plans = The government will ration your health care!
* Pg 91 Lines 4-7 HC Bill - Government mandates linguistic appropriate services.
* Pg 95 HC Bill Lines 8-18 The government will use groups i.e., ACORN & AmeriCorps to sign up individuals for government Health Care Plan
* Pg 85 Line 7 HC Bill - Specs of Ben Levels 4 Plans. #AARP members - Your health care WILL be rationed
* Pg 102 Lines 12-18 HC Bill - Medicaid Eligible Individual will be automatically enrolled in Medicaid. No choice.
* Pg 124 lines 24-25 HC No company can sue the government on price fixing. No "judicial review" against this government monopoly.
* Pg 127 Lines 1-16 HC Bill - Doctors/ #AMA - The government will tell YOU what you can make.
* Pg 145 Line 15-17 An employer MUST auto enroll employees into public option plan. NO CHOICE
* Pg 126 Lines 22-25 Employers MUST pay for health care for part-time employees AND their families.
* Pg 149 Lines 16-24 ANY Employer w/ payroll 400k and above who does not prov. pub opt. pays 8% tax on all payroll
* Pg 150 Lines 9-13 Businesses with payroll between 251k and 400k who do not provide public opt pays 2-6% tax on all payroll
* Pg 167 Lines 18-23 ANY individual who doesn’t have acceptable health care according to government will be taxed 2.5% of income.
* Pg 170 Lines 1-3 Any NONRESIDENT Alien is exempt from individual taxes (Americans will pay).
* Pg 195 Officers & employees of HC Administration (GOVT) will have access to ALL Americans' financial and personal records.
* Pg 203 Line 14-15 HC - "The tax imposed under this section shall not be treated as tax." Yes, it says that.
* Pg 239 Line 14-24 HC Bill Government will reduce physician services for Medicaid. Seniors, low income, poor affected.
* Pg 241 Line 6-8 HC Bill - Doctors, it does not matter what specialty you have, you’ll all be paid the same.
* Pg 253 Line 10-18 Government sets value of doctors' time, prof judg, etc. Literally value of humans.
* Pg 265 Sec 1131Government mandates and controls productivity for private health care industries.
* Pg 268 Sec 1141 Federal Government regulates rental and purchase of power-driven wheelchairs.
* Pg 272 SEC. 1145. Treatment of certain cancer hospitals – Cancer patients - welcome to rationing!
* Page 280 Sec 1151 The government will penalize hospitals for what government deems preventable readmissions. (Incentives for hospital to not treat and release.)
* Pg 298 Lines 9-11 Doctors that treat a patient during initial admission that results in a readmission-Government will penalize you.
* Pg 317 L 13-20 PROHIBITION on ownership/investment. Government tells Doctors what/how much they can own.
* Pg 317-318 lines 21-25, 1-3 PROHIBITION on expansion- Government is mandating hospitals cannot expand.
* pg 321 2-13 Hospitals have opportunity to apply for exception, BUT community input required. Can you say ACORN?!!
* Pg335 L 16-25 Pg 336-339 - Government mandates establishment of outcome based measures. Health Care the way they want. Rationing.
* Pg 341 Lines 3-9 Government has authority to disqualify Medicare Advantage Plans (Part B), HMOs, etc. Forcing people into Government plan.
* Pg 354 Sec 1177 - Government will RESTRICT enrollment of special needs people!
* Pg 379 Sec 1191 Government creates more bureaucracy – Tele-health Advisory Committee. Health care by phone/Internet?
* Pg 425 Lines 4-12 Government mandates Advance [Death] Care Planning Consultion. Think Senior Citizens end of life.
* Pg 425 Lines 17-19 Government will instruct and consult regarding living wills, durable powers of attorney. Mandatory!
* Pg 425 Lines 22-25, 426 Lines 1-3 Government provides approved list of end of life resources, guiding you in death.
* Pg 427 Lines 15-24 Government mandates program for orders for end of life. The government has a say in how your life ends.
* Pg 429 Lines 1-9 An "advanced care planning consult" will be used frequently as patient's health deteriorates.
* Pg 429 Lines 10-12 " advanced care consultation" may include an ORDER for end of life plans. AN ORDER from Government.
* Pg 429 Lines 13-25 - The government will specify which doctors can write an end of life order.
* PG 430 Lines 11-15 The government will decide what level of treatment you will have at end of life.
* Pg 469 - Community Based Home Medical Services=Non-profit orgs. Hello, ACORN Medical Services here!!?
* Pg 472 Lines 14-17 PAYMENT TO COMMUNITY-BASED ORG. 1 monthly payment to a community-based org. Like ACORN?
* Pg 489 Sec 1308 The government will cover Marriage and Family therapy. They will insert government into your marriage.
* Pg 494-498 Government will cover Mental Health Services including defining, creating, rationing those services.
* PG 502 Sec 1181 Center for Comparative Effectiveness Research Established. – Hello Big Brother – Literally.
* Pg 503 Lines 13-19 Government will build registries and data networks from YOUR electronic medical records.
* Pg 503 lines 21-25 Government may secure data directly from any department or agency of the U.S. who have any of your data.
* Pg 504 Lines 6-10 The "Center" will collect data both published and unpublished (that means public and your private info).
* PG 506 Lines 19-21 The Center will recommend policies that would allow for public access of data.
* PG 518 Lines 21-25 The Commission will have input from Health Care consumer reps – Can you say unions and ACORN?
* PG 524 18-22 Comparative Effectiveness Research Trust Fund set up. More taxes for ALL.
* PG 621 Lines 20-25 Government will define what quality means in health care. Since when does government know about quality?
* Pg 622 Lines 2-9 To pay for the Quality Standards, government will transfer money from other government Trust Funds. More Taxes.
* PG 624 "Quality" measures shall be designed to assess outcomes and functional status of patients.
* PG 624 "Quality" measures shall be designed to profile you including race, age, gender, place of residence, etc.
* Pg 628 Sec 1443 Government will give "Multi-Stake Holders" Pre-Rule Making input into Selection of "Quality" Measures.
* Pg 630 9-24/631 1-9 Those multi-stake holder groups include unions and groups like ACORN deciding health care quality.
* Pg 632 Lines 14-25 The Government may implement any "Quality measure" of health care services as they see fit.
* PG 633 14-25/ 634 1-9 The Secretary may issue non-endorsed "Quality Measures" for Physician Services and Dialysis Services.
* Pg 635 to 653 Physicians Payments Sunshine Provision – Government wants to shine sunlight on doctor but not government.
* Pg 654-659 Public Reporting on Health Care-Associated Infections – Looks okay.
* PG 660-671 Doctors in Residency – Government will tell you where your residency will be, thus where you’ll live.
* Pg 676-686 Government will regulate hospitals in EVERY aspect of residency programs, including teaching hospitals.
* Pg 686-700 Increased Funding to Fight Waste, Fraud, and Abuse. Do they mean like the government with an $18 million website?
* PGs 701-704 Sec 1619 If your part of health care plan isn’t in Government Health Care Exchange but you qualify for Federal aid, no payment.
* PG 705-709 SEC. 1128 If Secretary gets complaints (ACORN) on health care provider or supplier, government can do background check.
* PG 711 Lines 8-14 The Secretary has broad powers to deny health care providers/ suppliers admittance into Health Care Exchange. Your doctor could be thrown out of business.
* Pg 719-720 Sec 1637 ANY Doctor who orders durable medical equipment or home medical services MUST be enrolled in Medicare.
* PG 722 Sec 1639 Government MANDATES doctors must have face-to-face with patient to certify patient for Home Health Services.
* PG 724 23-25 PG 725 1-5 The same government certifications will apply to Medicaid and CHIP (your kids).
* PG 724 Lines 16-22 Government reserves right to apply face-to-face certification for patient to ANY other health care service.
* Pg 735 lines 16-25 For law enforcement, proposes the Secretary-HHS will give Attorney General access to ALL data.
* PG 740-757 Government sets guidelines for subsidizing the uninsured (That's your tax dollars people).
* Pg 757-762 Federal Government will shift burden of payments to Disproportionate Share Hospitals (DSH) to States. (Taxes)
* Pg 763 1-8 No DS/EA hospitals will be paid unless they provide services without regard to national origin.
* Pg 765 Sec 1711 Government will require Preventative Services including vaccines. (Choice?)
* Pg 768 Sec 1713 Government – Nurse Home Visitation Services (Hello union paybacks).
* Pg 769 11-14 Nurse Home Visit Services include economic self-sufficiency, employ adv, school-readiness.
* Pg 769 3-5 Nurse Home Visit Services - "increasing birth intervals between pregnancies." Government ABORTIONS anyone?
* Pg 770 SEC 1714 Federal Government mandates eligibility for State Family Planning Services. Abortion and State Sovereignty.
* Pg 789-797 Government will set, mandate drug prices, controlling which drugs brought to market. Bye innovation.
* Pgs 797-800 SEC. 1744 PAYMENTS for graduate medical education. The government will now control doctors’ educations.
* PG 801 Sec 1751 The government will decide which health care conditions will be paid. Can you say RATION!
* Pg 810 SEC. 1759. Billing Agents, clearinghouses, etc. req. to register. Government takes over private payment system.
* Pg 820-824 Sec 1801 Government will identify individuals ineligible for subsidies. Will access all personal financial information.
* Pg 824-829 SEC. 1802. Government sets up Comparative Effectiveness Research Trust Fund. Another tax black hole.
* PG 829-833 Government will impose a fee on ALL private health insurance plans including self-insured to pay for Trust Fund!
* PG 835 11-13 fees imposed by government for Trust Fund shall be treated as if they were taxes.
* Pg 838-840 Government will design and implement Home Visitation Program for families with young kids and families expecting kids.
* PG 844-845 This Home Visitation Program includes government coming into your house and telling you how to parent!!!
* Pg 859 Government will establish a Public Health Fund at a cost of $88,800,000,000. Yes that’s billion.
* Pg 865 The government will MANDATE the establishment of a National Health Service Corps.
* PG 865 to 876 The NHS Corps is a program where doctors perform mandatory health care for two years for part loan repayment.
* PG 876-892 The government takes over the education of our medical students and doctors.
* PG 898 The government will establish a Public Health Workforce Corps to ensure supply of public health prof.
* PG 898 The Public Health Workforce Corps shall consist of civilian employees of the U.S. as Secretary deems.
* PG 898 The Public Health Workforce Corps shall consist of officers of Regular and Reserve Corps of Service.
* PG 900 The Public Health Workforce Corps includes veterinarians.
* PG 901 The Public Health Workforce Corps WILL include commissioned Regular and Reserve Officers. HC Draft?
* PG 910 The government will develop, build, and run Public Health Training Centers.
* PG 913-914 Government starts a health care affirmative action program thru guise of diversity scholarships.
* PG 915 SEC. 2251. Government MANDDATES Cultural and linguistic competency training for health care professionals.
* Pg 932 The Government will establish Preventative and Wellness Trust fund- initial cost of $30,800,000,000 billion.
* PG 935 21-22 Government will identify specific goals & objectives for prevention & wellness activities. That means controlling YOU!!
* PG 936 Government will develop "Healthy People and National Public Health Performance Standards" Tell me what to eat?
* PG 942 Lines 22-25 More government? Offices of Surgeon General -Public Health Svc, Minority Health, Women’s Health
* PG 950- 980 BIG GOVERNMENT core pub health infrastructure including workforce capacity, lab systems, health info sys, etc.
* PG 993 Government will establish school based health clinics. Your kids won’t have a chance.
* PG 994 School Based Health Clinic will be integrated into the school environment. Say government brainwash!
* PG 1001 The government will establish a National Medical Device Registry. Will you be tracked?
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© Copyright 2014 Francisco Aragão
© ALL RIGHTS RESERVED. Use without permission is illegal.
© TODOS OS DIREITOS RESERVADOS. Usar sem permissão é ilegal.
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Portuguese
Palácio do Planalto é o nome oficial do Palácio dos Despachos da Presidência da República Federativa do Brasil. É o local onde está localizado o Gabinete Presidencial do Brasil. O prédio também abriga a Casa Civil, a Secretaria-Geral e o Gabinete de Segurança Institucional da Presidência da República. É a sede do Poder Executivo do Governo Federal brasileiro. O edifício está localizado na Praça dos Três Poderes em Brasília, tendo sido projetado por Oscar Niemeyer. O Palácio do Planalto faz parte do projeto do Plano Piloto da cidade e foi um dos primeiros edifícios construídos na capital.
A construção do Palácio do Planalto, começou em 10 de julho de 1958 e obedeceu a projeto arquitetônico elaborado por Oscar Niemeyer em 1956. A obra foi concluída a tempo de tornar o Palácio o centro das festividades da inauguração de Brasília, em 21 de abril de 1960. Até então a residência de vistoria do presidente funcionava em uma construção provisória de madeira conhecida popularmente como Palácio do Catetinho, inaugurada em 31 de outubro de 1956, nos arredores de Brasília.
Antes da construção do Palácio do Planalto e do Palácio da Alvorada, o Palácio do Catete, localizado na cidade do Rio de Janeiro, foi a sede do poder executivo brasileiro de 1897 a 1960. A partir desse ano, a sede do poder executivo foi transferida para a recém-inaugurada cidade de Brasília.
English
The Palácio do Planalto (Portuguese pronunciation: [paˈlasju du plaˈnawtu]) is the official workplace of the President of Brazil. It is located in the national capital of Brasília. The building was designed by architect Oscar Niemeyer and inaugurated on April 21, 1960. It has been the workplace of every Brazilian president since Juscelino Kubitschek. It is located at the Praça dos Três Poderes, to the east of the National Congress and across from the Supreme Federal Court.
It is one of the official palaces of the Presidency, along with the Palácio da Alvorada. Besides the President, a few high advisers also have offices in the Planalto, including the Vice President and the Chief of Staff; the other ministries are laid along the Ministries Esplanade. As the seat of government, the term Planalto is often used as a metonym for the executive branch of the government.
Wikipedia
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Francisco Aragão © 2011. All Rights Reserved.
Use without permission is illegal.
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If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
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Portuguese
O Arco de Tito é um arco triunfal, erigido em comemoração à conquista de Jerusalém pelo imperador Tito Flávio, filho de Vespasiano. Tito comandou as legiões romanas que ocuparam a capital da Judeia em 1 de agosto de 67 d.C.
Com esta ocupação, teve início a destruição do Templo de Jerusalém, que seria concluída no ano 70 d.C., acontecimento que foi considerado a realização de uma das profecias de Jesus Cristo.
Vê-se esculpido no arco: a mesa do pão ázimo, as trombetas de prata e a Menorá, o candelabro de 7 braços, símbolos do judaísmo. Inteiramente em mármore, o Arco de Tito é o mais célebre de Roma. Situa-se no Fórum Romano e foi construído em 81 d.C., medindo 15,4 m de altura, 13,5m de largura e 4,75 de profundidade.
Nele consta a seguinte inscrição:
SENATVS
POPVLVSQVE·ROMANVS
DIVO·TITO·DIVI·VESPASIANI·F(ILIO)
VESPASIANO·AVGVSTO
Isto é: "O Senado e o povo romano [dedicam] ao divino Tito Vespasiano Augusto, filho do divino Vespasiano".
Os judeus, de Roma ou de qualquer lugar, nunca passaram embaixo do Arco de Tito, até 1948, quando o Estado de Israel foi fundado. Nesta ocasião os judeus de Roma fizeram uma grande parada e passaram embaixo do arco, comemorando a reconquista de sua terra e, claro, a sua sobrevivência ao Império Romano.
English
The Arch of Titus is a 1st-century honorific arch[1] located on the Via Sacra, Rome, just to the south-east of the Roman Forum. It was constructed in c.82 AD by the Roman Emperor Domitian shortly after the death of his older brother Titus to commemorate Titus' victories, including in the Siege of Jerusalem in 70 AD.
The Arch of Titus has provided the general model for many of the triumphal arches erected since the 16th century—perhaps most famously it is the inspiration for the 1806 Arc de Triomphe in Paris, France.
Colour relief of the South panel: "The Spoils of War", showing the triumphal procession
The arch is situated on a prominent rise, the Velian Hill, which is a low saddle between the Palatine and Esquiline Hills, just south-east of the Roman Forum. The arch itself is 13.50 metres wide, 15.40 high, and 4.75 deep while the inner archway is 8.30 metres high and 5.36 wide. It is constructed using pentelic marble, arranged in five bays to an ABA rhythm; the side bays are perpendicular to the central axial arch with a single barrel vault. The corners are articulated with a massive order of engaged columns that stand on a high ashlar basement. The capitals are Corinthian, but with prominent volutes of the Ionic order projecting laterally above the acanthus foliage—the earliest example of the composite order, combining both designs. Above the main cornice rises a high, weighty 4.40m high attic on which is a central tablet bearing the dedicatory inscription. The entablatures break forward over the columns and the wide central arch, and the profile of the column shafts transforms to square. The minor frieze on the entablature depicts a line of both military and civil officials, along with sacrificial animals. Flanking the central arch, the side bays now each contain a shallow niche-like blind aedicular window, a discreet early 19th century restoration. There are both fluted and unfluted columns, the latter being a result of 19th century restoration. The spandrels on the upper left and right of the arch contain personifications of victory as winged women. Between the spandrels is the keystone, on which there stands a female on the East side and a male on the West side.
The soffit of the axial archway is deeply coffered with a relief of the apotheosis of Titus at the center. The sculptural program also includes two panel reliefs lining the passageway within the arch. Both commemorate the joint triumph celebrated by Titus and his father Vespasian in the summer of 71.
The south panel depicts the spoils taken from the Temple in Jerusalem. The Golden Candlestick or Menorah (see [Exodus 25:31-40]) is the main focus and is carved in deep relief. Other sacred objects being carried in the triumphal procession are the Silver Trumpets and the Table of Shewbread (see [Exodus 25:23-30]). These spoils were originally gilded with gold, with the background in blue.
The north panel depicts Titus as triumphator attended by various genii and lictors, who carry fasces. A helmeted Amazonian, Valour, is leading the quadriga or four horsed chariot, in which there is Titus. He is being crowned with a laurel wreath by the winged Victory. This is significant because divinities and humans are presented in one scene, together, contrasting the panels of the Ara Pacis where they are separated.
The sculpture of the outer faces of the two great piers was lost when the Arch of Titus was incorporated in medieval defensive walls. The attic of the arch was originally crowned by more statuary, perhaps of a gilded chariot. The main inscription used to be ornamented by letters made of silver or perhaps gold or some other metal.
Wikipedia