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″A traveler without observation is a bird without wings.”
[Moslih Eddin Saadi quote]
Para el grupo La vuelta al mundo LVM {El naranja en tu ciudad }
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All my pictures are under ©Copyright and all Rights Reserved
Please don't use my pictures without my absolute permission.
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Francisco Aragão © 2014. All Rights Reserved.
Use without permission is illegal.
Attention please !
If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
Many images are available for license on Getty Images
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Portuguese
Aeroporto Internacional de São Paulo/Guarulhos – Governador André Franco Montoro (IATA: GRU, ICAO: SBGR), conhecido popularmente como Aeroporto de Cumbica, é o principal e o mais movimentado aeroporto do Brasil, localizado no estado de São Paulo, na cidade de Guarulhos, no distrito de Cumbica, distante 25 quilômetros do centro de São Paulo, principal metrópole que o aeroporto serve.
Sendo um dos principais hubs da América do Sul, é o terminal mais movimentado de toda a América Latina, em relação ao transporte de passageiros. Já se tratando do movimento de aeronaves, perde apenas para o Aeroporto Internacional da Cidade do México, localizado na cidade homônima. No ranking mundial, o aeroporto ocupa a 18ª posição entre os aeroportos mais movimentados de todo o planeta.
Com uma área de 14 km², dos quais 5 km² é área urbanizada, o complexo aeroportuário conta com um sistema de acesso viário próprio. A Rodovia Helio Smidt se estende por parte do perímetro do aeroporto, tendo ligação com as rodovias Presidente Dutra (BR-116) e Ayrton Senna (SP-70). Toda estrutura para passageiros é dividida em quatro terminais (TPS1, TPS2, TPS3 e TPS4) com 260 balcões de check-in.
Em 28 de novembro de 2001 uma lei federal alterou a denominação do aeroporto em homenagem ao ex-governador do estado de São Paulo, André Franco Montoro, falecido em 1999. No entanto, o nome oficial não é habitualmente usado pela população, que resiste e prefere se referir a ele como Aeroporto de Guarulhos. O terminal foi concedido a iniciativa privada em 6 de fevereiro de 2012, para o consórcio Invepar ( Sociedade Anônima, carioca de transportes, principalmente rodoviario, com sede no Rio de Janeiro )/Airports Company South Africa (ACSA) durante o período de 20 anos, pelo valor 16,2 bilhões de reais. Em 15 de novembro do mesmo ano, a concessionária passou a utilizar a marca GRU Airport que irá conviver com o nome oficial, além das denominações informais.
English
São Paulo/Guarulhos–Governador André Franco Montoro International Airport (IATA: GRU, ICAO: SBGR), popularly known locally as Cumbica Airport after the district where it is located and the Brazilian Air Force base that still exists at the airport complex, is the main airport serving São Paulo, Brazil. It is located in the municipality of Guarulhos in Greater São Paulo. Since November 28, 2001 the airport has been named after André Franco Montoro (1916–1999), former Governor of São Paulo state. The airport was rebranded as GRU Airport in 2012.
In Brazil the airport was ranked first in terms of transported passengers, aircraft operations, and cargo handled in 2012, placing it as the busiest airport in Latin America by passenger traffic (36,000,000 in 2013). Guarulhos has slot restrictions, operating with a maximum of 45 operations/hour and being one of the five airports with such restrictions in Brazil (the others are São Paulo-Congonhas, Brasília, Belo Horizonte-Pampulha and Rio de Janeiro-Santos Dumont).
Since 2012, the airport has been operated by a consortium composed of Invepar S/A, Airports Company South Africa, and Infraero. Some of its facilities are shared with the São Paulo Air Force Base of the Brazilian Air Force.
The Tropic of Capricorn goes directly through the southern tip of the airport.
Wikipedia
a contemplative All Saints Day with a tender embrace !!
listen °°°°°°
ein besinnliches Allerheiligen mit zärtlicher Umarmung!!
Ich kann nicht ohne dich leben !
I can't live
If living is without you
I can't live
I can't give anymore
I can't live
If living is without you
I can't give
I can't give anymore
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Francisco Aragão © 2014. All Rights Reserved.
Use without permission is illegal.
Attention please !
If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
Many images are available for license on Getty Images
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Portuguese
É praticamente impossível visitar Goiás e não ouvir falar nele. Considerado o segundo maior bioma brasileiro, atrás apenas da Floresta Amazônica, o Cerrado tem grande representatividade no território goiano. Apesar do elevado nível de desmatamento registrado no Estado desde a criação de Brasília e a abertura de estradas, na década de 1960, e da expansão da fronteira agrícola, décadas de 1970 e 1980, Goiás conseguiu manter reservas da mata nativa em algumas regiões, até hoje alvo de discussões entre fazendeiros e ambientalistas. No entanto, o velho argumento utilizado para sua derrubada de que os troncos retorcidos e pequenos arbustos são sinais de pobreza da biodiversidade finalmente caiu por terra.
Na totalidade, incluindo as zonas de transição com outros biomas, o Cerrado abrange 2.036.448 km², o equivalente a 23,92% do território brasileiro, ou à soma das áreas de Espanha, França, Alemanha, Itália e Reino Unido (Fonte: WWF Brasil). E se considerada sua diversidade de ecossistemas, é notório o título de formação com savanas mais rica em vida a nível mundial, uma vez que sua área protege 5% de todas as espécies do planeta e três em cada dez espécies brasileiras, muitas delas só encontradas aqui.
Spanish
Es prácticamente imposible visitar Goiás y lo oyeron. Considerado como el segundo mayor bioma , sólo por detrás de la selva amazónica, el Cerrado tiene una representación significativa en Goiás . A pesar del alto nivel de deforestación registrada en el estado desde la creación de Brasilia y la apertura de caminos , en la década de 1960 , y la expansión de la frontera agrícola, los años 1970 y 1980 , Goiás podría tener reservas de vegetación nativa en algunas áreas hoy objeto de discusiones entre los agricultores y los ecologistas. Sin embargo , el viejo argumento utilizado para talar los troncos nudosos y pequeños arbustos son signos de la biodiversidad de la pobreza , finalmente se vino abajo .
En total, incluyendo las zonas de transición con otros biomas Cerrado cubre 2.036.448 kilometros ² , lo que equivale al 23,92 % del territorio brasileño , o la suma de las áreas de España , Francia , Alemania , Italia y el Reino Unido (Fuente: WWF Brasil ) . Y si tenemos en cuenta su diversidad de ecosistemas , es notorio con la cualificación de la sabana más rica de la vida en todo el mundo , ya que su área protege el 5% de todas las especies en la tierra y tres de cada diez especies brasileñas , muchas de ellas que sólo se encuentra en el presente documento.
English
It is practically impossible to visit Goiás and heard . Considered the second largest biome, behind only the Amazon rainforest , the Cerrado has a significant representation in Goiás . Despite the high level of deforestation recorded in the state since the creation of Brasilia and the opening of roads , in the 1960s , and the expansion of the agricultural frontier , the 1970s and 1980s , Goiás could have reserves of native vegetation some areas now subject of discussions between farmers and environmentalists. However, the old argument used to cut small bushes and gnarled trunks of biodiversity are signs of poverty, finally collapsed .
In total, including the transition zones with other Cerrado biome covers 2,036,448 km ², which is equivalent to 23.92% of the Brazilian territory , or the sum of the areas of Spain , France , Germany, Italy and the United Kingdom ( source : WWF Brazil ) . And if you consider the diversity of ecosystems , it is clear the qualifications of the richest savanna life worldwide , since its area protects 5% of all species on earth and three in ten Brazilian species , many of which are only found in this document .
http://www.goias.gov.br/paginas/conheca-goias/o-cerrado/
The kids at Vythiri resort, Wayanad.
More pics and account here - chitra-aiyer . com
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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.
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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This is a scanned image from a batch of vintage snapshots, cdvs, tintypes and real photo postcards purchased from auction.
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What without asking whither hurried hence
and what without asking hither hurried whence?
Another and another cup to drown
the memory of this impertinence.
Of course Omar was not teetotal like me.
Vaillante Rebellion - Oreca 07 Gibson #31 driven by Julien Canal (FRA) / Bruno Senna (BRA) / Nicolas Prost (FRA)
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This was the best I could do without trespassing and was taken though the open gates in Nelson Road on long zoom.
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 This week!!
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!!
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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Explore 17th June 2009 #230
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DADDY: "No birthday celebration is complete without a birthday candle to blow out." *Daddy puts a candle into the top of Paddington's birthday cake and lights it carefully.* "Now let's all sing Paddington a very happy birthday!"
SCOUT, COUSIN PADDINGTON, BOGART, JAGO, DAISY-MAUD, ROSIE, BERTIE, ALGIE, DANNY BOY, ORSON, CORNELIA, EMMETT, FREDDY, SAPPHIRE, PEARL, FLOCK, PRINCE MAURICE, DUCKIE, CHIPPY and DADDY: "Happy Birthday to you!"
CABBAGE and LETTUCE: "Woof!"
SCOUT, COUSIN PADDINGTON, BOGART, JAGO, DAISY-MAUD, ROSIE, BERTIE, ALGIE, DANNY BOY, ORSON, CORNELIA, EMMETT, FREDDY, SAPPHIRE, PEARL, FLOCK, PRINCE MAURICE, DUCKIE, CHIPPY and DADDY: "Happy Birthday to you!"
CABBAGE and LETTUCE: "Woof!"
SCOUT, COUSIN PADDINGTON, BOGART, JAGO, DAISY-MAUD, ROSIE, BERTIE, ALGIE, DANNY BOY, ORSON, CORNELIA, EMMETT, FREDDY, SAPPHIRE, PEARL, FLOCK, PRINCE MAURICE, DUCKIE, CHIPPY and DADDY: "Happy Birthday dear Paddy!"
CABBAGE and LETTUCE: "Woof! Woof!"
SCOUT, COUSIN PADDINGTON, BOGART, JAGO, DAISY-MAUD, ROSIE, BERTIE, ALGIE, DANNY BOY, ORSON, CORNELIA, EMMETT, FREDDY, SAPPHIRE, PEARL, FLOCK, PRINCE MAURICE, DUCKIE, CHIPPY and DADDY: "Happy Birthday to you!"
DADDY: "Now make a wish Paddy and blow out the candle!"
*Celebratory applause, cheering and barking arises from the party guests as Paddy prepares to blow out the candle on his cake.*
PADDY: "Hullo everyone! Do you know what? Bears have two birthdays. Do you know what else? Today is one of my birthdays! And do you know what else? Today is my Daddy's birthday too! Isn't that a wonderful coincidence! Now Scout and I are not allowed to use the oven for fear of singeing our plush fur, so even though it is his birthday, Daddy has been so kind and has baked me a birthday cake! It is a lemon cake made with fresh organic lemons he was given, and topped with home made cream cheese icing. Grumby tummy Daddy! Grumbly tummy!" * Rubs tummy vigorously. "Isn't Daddy nice to do that just for me? I can't eat that cake all by myself, even with a grumbly tummy, so I am having a birthday party. I have invited Scout and Daddy of course. I've also asked Cousin Paddington Bogart, Rosie, Jago, Daisy-Maud, Orson, Cornelia, Emmett, Bertie, Danny Boy, Algie, Freddy the fox, little bears Sapphire, Pearl and Flock, Prince Maurice Prince of the Maileg Mice, my pug dog Cabbage, his little sister Lettuce and Duckie to come along, and also Chippy the monkey who lives in the front room. I know that everyone who I've asked to come will enjoy the occasion!
If today is your birthday too, I'd like to wish you a very happy birthday full of big little bear hugs and snuffly birthday kisses. Even if it isn't, I'd like to wish you a very happy day full of big little bear hugs and snuffly kisses. Would you like some cake too?"
This beautiful nursery pantomime nursery dinner set was made in England by the Shell China Company in the 1920s. It features six cups, saucers and plates as well as a teapot, milk jug, sugar bowl, platter, sandwich plate, a lidded soup tureen on its own dish and a gravy or cream jug on its own dish. Each piece is gilt edged and decorated and feature different faerie tales including: "The Queen of Hearts", "To Market, to Market to Buy a Fat Pig", "There was a Little Man who had a Little Gun", "Jack and Jill", "Goosey, Goosey Gander", "Sing a Song of Sixpence" and "Ride a Cock Horse" amongst others. The set I acquired from England, and it is a sister set to a 1930s Shell China Company faerie tale tea set. This set was given as a gift some years ago by a close friend who knows I collect nursery ware and children's tea sets. There are also doll (bear) sized tea spoons which are sterling silver salt spoons, and the spoon in the "Ride a Cock Horse to Bunbury Cross" sugar bowl is an Eighteenth Century mustard spoon and is sterling silver. Their dessert spoons are sterling silver coffee spoons made by James Dixon and Sons in London in 1921.
My Paddington Bear came to live with me in London when I was two years old (many, many years ago). He was hand made by my Great Aunt and he has a chocolate coloured felt hat, the brim of which had to be pinned up by a safety pin to stop it getting in his eyes. The collar of his mackintosh is made of the same felt. He wears wellington boots made from the same red leather used to make the toggles on his mackintosh.
He has travelled with me across the world and he and I have had many adventures together over the years. He is a very precious member of my small family.
Scout was a gift to Paddy from my friend. He is a Fair Trade Bear hand knitted in Africa. His name comes from the shop my friend found him in: Scout House. He tells me that life was very different where he came from, and Paddy is helping introduce him to many new experiences. Scout catches on quickly, and has proven to be a cheeky, but very lovable member of our closely knit family.
Rosie is Scout's cousin, because like Scout, she is a free trade knitted bear from Africa. She was made in Kenya by one of the Kenana Knitters, Martha Wanjira. She is made from home spun and dyed wool. She was a gift to me from two very dear friends, including the one who gave Scout to Paddy.
Bogart has travelled all the way from Georgia, via Alabama as a gift to me from a friend. He has lovely Southern manners and seems to be a fun and gentle soul with an inquisitive nature.
Jago was a gift from a dear friend in England. He is made of English mohair with suede paw pads and glass eyes. He is a gentle bear, kind and patient who carries an air of calm about him. He is already fitting in with everyone else very nicely.
Travelling all the way from London, Cousin Paddington was caught in transit thanks to the Coronavirus pandemic, so it looks like he is stopping with us for a long while. That makes me happy, as the more I look into his happy, smiling face, the more attached I am becoming to him.
Freddy Fox is made by Merrythought in England. I bought him, of all places, from a men’s accessory shop in Melbourne’s Block Arcade, called Mr. Wares. Freddy Fox is made of English Mohair with felt paws and glass bead eyes. He has so much charm and charisma that already he is winning hearts with anyone whom he meets, and he is kind and sweet, which makes him an ideal member of our family.
Daisy Maud is Jago's little sister and was made by the same friend in England who made him. She is made of German mohair with floral fabric cotton paw pads that match her pretty sunhat, and glass eyes. A sweet and loving little girl bear, she is happy to be reunited with her big brother, Jago, and enjoys being spoiled by her new Daddy.
Orson, named after the little bear constellation, was made by the same friend who made Jago and Daisy-Maud. He comes ready dressed in 'trousers' made of German mohair accessorised with embroidered braces. His paws are ultra suede and his eyes are glass. He is described as being a little bit serious minded but very friendly. He's fine once he gets to know you.
Danny Boy, made by the same friend who made Jago, Daisy-Maud and Orson, has a touch of the 'Oirish' in him with his emerald green scarf. He has an open mouth as he likes to sing and comes with his own songbook, "Irish Airs for Teddy Bears". He has a wobbly head to give him animation when he's talking to you, and is made of English mohair, has paws of ultra suede and eyes of glass. Quite a happy-go-lucky little character....
Algie is made by the same friend who made Jago, Daisy-Maud, Orson and Danny Boy. He is is made of sparse English mohair, has paws of ultra suede and eyes of glass. A very adventurous little boy, he loves to climb and sit on top of gates, edges of tables and chairs. He adore climbing trees, and will cheekily sit there with crossed legs. He's very friendly and he loves adventures of any kind.
Made by Merrythought in England, Emmett is a charming little bear, sweet and smiling, crafted from multi-tonal marl grey mohair and featuring golden velvet paws. He is accessorised with a classic tartan woollen scarf. He is number 23 or a limited worldwide edition of 200.
Duckie I saw when I was at a Sunday market on a stall of homemade knitted and crocheted items. She caught my eye straight away with her happy, smiley face and bright colours. I think she finds life with my bears intriguing and perhaps a little confusing, however she is learning.
Bertie came to live with me on Christmas Day 2022. He was a gift from a very dear friend. He is vintage and is hand knitted with soft red dioxide wool and has chocolate brown felt pads on his paws. He has shiny black bead eyes and has his own very smart tartan bow. He tells me that he was living in an antique shop for quite a while, just looking for his forever home, which now he feels that he has. Bertie is very soft and loves cuddles, and whilst perhaps not as forthcoming as some of my other bears due to his shyness, he is very loving and caring and gives big little bear hugs and snuffly kisses beautifully.
Chippy the monkey came to live with me when I was four. His name is derived from his innards, which are broken chips of hazelnut shells. He was made in America some time in the mid Twentieth Century. He features beautiful brown glass eyes, a felt face, hands and feet. He was given to me by one of my Grandfather's friends who worked in a small high street toy shop which sold a mixture of new, vintage and antique toys. Chippy was vintage at the time, and had been well loved prior, so with a few holes, some worn plush and patches, he was too worn to be sold, but my family friend knew that my gentle nature and respect for my toys meant he could find a new home with me for a long time. All these decades later, she was proven right, for he still lives with me; a bit more loved, a bit more worn and with a few more patches. He also has some red chalk marks on his right hand which I remember putting on him by accident when I was six! He wanted to draw a rose on my chalkboard and I helped him do it!
Pearl and Sapphire are both little Russ Bears, and Flock a vintage posable bear who all arrived on Christmas Day 2023. They travelled from Mama Kim's house in Alabama all the way here. Both are sweet little bears who are tenacious and cheeky, but full of love and snuffly kisses most of all.
Prince Maurice is a Maileg mouse, given to me as a birthday gift by my two goddaughters. Maileg (pronounced My’lye) is a brand of charming Danish-designed toys created to inspire children’s favorite playtime stories. By bringing storybook whimsy to everyday moments, Maileg toys help children (large ones and small) explore the pure and simple wonder of imagination. Beloved for their heartwarming personalities, Maileg toys show playfulness and charm in every last detail. Theirs is a timeless world filled with beautiful accessories and settings.
Cabbage is Paddy's Pug Dog. He was a gift to Paddy from a friend who also likes Pugs. He is fiercely loyal to Paddy, Scout, Cousin Paddington and Bogart, but seldom stays around long enough to have his picture taken, as there are always new adventures to sniff out.
Lettuce was a present from my two goddaughters to me to keep Cabbage company. My eldest Goddaughter, Polly, wisely suggested the name Lettuce since we already have Cabbage. She is very soft and sweet natured. She likes cuddles and warm laps a lot and like her older brother Cabbage she likes to sniff out adventures.
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Portuguese
A Serra Gaúcha é um acidente geográfico no nordeste do estado do Rio Grande do Sul, no Brasil. Apresenta características socioculturais específicas, como acentuada influência alemã e também italiana, grande produção de uvas e vinho e desenvolvida indústria turística.
Geografia
Num estado predominantemente plano como é o Rio Grande do Sul, a Serra Gaúcha é o principal acidente geográfico, com altitudes moderadamente altas, de até cerca de 1 300 metros.
A região das Serras tem como principais e maiores cidades Caxias do Sul, Farroupilha, Gramado, Canela, Vacaria, Nova Petrópolis, Bento Gonçalves, Carlos Barbosa,Garibaldi, São Francisco de Paula, Antônio Prado, Nova Roma do Sul, Nova Prata, Veranópolis, Bom Jesus, Flores da Cunha, Nova Pádua, São Domingos do Sul, Nova Bassano, Paraí e Nova Araçá, Guaporé, Cotiporã, São Valentim do Sul, Dois Lajeados,Serafina Corrêa, dentre outras.
Os primeiros cerros, elevações de pouca altitude, com menos de 400 metros do nível do mar, começam a ser observados a nordeste de São Francisco de Assis (Rio Grande do Sul), região também influenciada pela colonização italiana, estendendo-se para leste, já com maiores elevações, em direção a Jaguari, norte de São Vicente do Sul, norte de São Pedro do Sul, Santa Maria, Agudo e, a partir daí, se estendendo por completo.
Clima
Por estar localizada numa zona temperada do Brasil, seu clima é oceânico, com invernos moderadamente frios, verões amenos e chuvas regularmente distribuídas ao longo do ano (representado pela classificação climática de Köppen-Geiger como "Cfb"). Durante o inverno, as temperaturas, com relativa frequência, ficam negativas e, eventualmente, podem ocorrer precipitações de neve, embora as nevadas com acumulações no solo sejam muito raras. Fortes geadas, contudo, são frequentes.
English
The Serra Gaúcha, The Gaucho Highlands, is the mountainous region in the northeastern portion of Rio Grande do Sul state in southern Brazil. This mountainous region is home to many Brazilians of German and Italian descent. Consequently, the cities in the Serra Gaúcha reflect German and Italian influences through their architecture, gastronomy and culture.
Several tourist routes run through the most picturesque cities of the Serra Gaúcha, particularly the Rota Romântica, following the tracks of German colonization; the Italian-flavored Caminhos da Colônia; the wine tasting Rota da Uva e o Vinho; and the Região das Hortênsias, landscaped with beautiful hydrangeas ("hortênsias" in Portuguese).
The hot springs in Nova Prata are also one of the regions tourist highlights. The most important cities among the 75 municipalities of the Serra Gaúcha are Caxias do Sul, Bento Gonçalves, Garibaldi, Farroupilha, Gramado, Canela, Veranópolis, Nova Prata, Nova Petrópolis and Carlos Barbosa.
History
The region was settled by European immigrants during the 19th century. Germans started arriving in 1824 and Italians in 1875. Germans settled in the lowlands, close to river springs, while Italians populated the highlands. As a result, the region has a unique blend of German and Italian cultures, reflected in the local architecture and cuisine.
Example of German influence in the Nova Petrópolis' architecture.
Several small towns resemble German villages from centuries ago, but on a backdrop of luscious subtropical rain forest and araucarias. Many Brazilians in the region still speak German, mainly the Riograndenser Hunsrückisch dialect.
In the towns colonized by Italian immigrants wine production is considered an important component of the local culture and vineyards can be seen everywhere. The city of Caxias do Sul celebrates the region's wine heritage during the Festa da Uva festival. Italian culture is still very strong in the community, and it's not rare to hear locals speaking the Northern-Italian Talian dialect.
Wikipedia
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Happy Birthday to Adam Clayton of U2!!!
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Portuguese
Goiás (também conhecida como Cidade de Goiás ou Goiás Velho) é um município brasileiro do estado de Goiás. Sua população estimada em 2010 era de 24.727 habitantes de acordo com o IBGE. O município foi reconhecido em 2001 pela UNESCO como sendo Patrimônio Histórico e Cultural Mundial por sua arquitetura barroca peculiar, por suas tradições culturais seculares e pela natureza exuberante que a circunda.
CIDADE GOIAS VELHO
Antes da chegada dos europeus ao continente americano, a porção central do Brasil era ocupada por indígenas do tronco linguístico macro-jê, como os acroás, os xacriabás, os xavantes, os caiapós, os javaés etc.6
Descobertas as Minas Gerais de um lado e as minas de Cuiabá, de outro, no século XVII, uma ideia renascentista (a de que os filões de metais preciosos se dispunham de forma paralela em relação ao equador) iria alimentar a hipótese de que, entre esses dois pontos, também haveria do mesmo ouro. Assim, foram intensificadas as investidas bandeirantes, principalmente paulistas, em território goiano, que culminariam tanto com a descoberta quanto com a apropriação das minas de ouro dos índios goiases, que seriam extintos dali mais rapidamente que o próprio metal. Ali, onde habitava a nação Goiá, Bartolomeu Bueno da Silva fundaria, em 1727, o Arraial de Sant'Anna.
Pouco mais de uma década depois, em 1736, o local seria elevado à condição de vila administrativa, com o nome de Vila Boa de Goyaz (ortografia arcaica). Nesta época, ainda pertencia à Capitania de São Paulo. Em 1748, foi criada a Capitania de Goiás, mas o primeiro governador, dom Marcos de Noronha, o Conde dos Arcos, só chegaria ali cinco anos depois.
Com ele, instalou-se um "Estado mínimo" e, logo, a vila transforma-se em capital da comarca. Noronha manda construir, então, entre outros prédios, a Casa de Fundição, em 1750, e o Palácio que levaria seu nome (Conde dos Arcos), em 1751. Décadas depois, outro governador - Luís da Cunha Meneses, que ficou no cargo de 1778 a 1783-, cria importantes marcos, fazendo a arborização da vila, o alinhamento de ruas e estabelecendo o primeiro plano de ordenamento urbano, que delineou a estrutura mantida até hoje.
Com o esgotamento do ouro, em fins do século XVIII, Vila Boa teve sua população reduzida e precisou reorientar suas atividades econômicas para a agropecuária, mas ainda assim cultural e socialmente sempre esteve sintonizada com as modas do Rio de Janeiro, então capital do Império. Daí até o início do século XX, as principais manifestações seriam de arte e cultura, com sarais, jograis, artes plásticas, literatura, arte culinária e cerâmica - além de um ritual único no Brasil, a Procissão do Fogaréu, realizada na Semana Santa.
Entretanto, a grande mudança, que já vinha sendo ventilada há muito tempo, foi a transferência da capital estadual para Goiânia, nos anos trinta e quarenta, coordenada pelo então interventor do Estado, Pedro Ludovico Teixeira. De certa forma, foi essa decisão que preservou a singular e exclusiva arquitetura colonial da Cidade de Goiás.
Geografia
Goiás se localiza em terreno bastante acidentado onde se destacam a Serra Dourada e os Morros de São Francisco, Canta Galo e das Lages.
Clima
O clima é caracterizado por dois períodos distintos: um seco, com ausência quase que total de chuvas no inverno, que vai de maio a setembro e outro chuvoso, com abundância de águas, no verão que vai de outubro a abril. A temperatura média anual é de aproximadamente 23 graus, sendo os meses de setembro e outubro os mais quentes e junho e julho os mais frios.
Vegetação
A vegetação típica de Goiás é a mesma do Cerrado, ou seja, a vegetação da cidade em sua maior parte é semelhante à de savana, com gramíneas, arbustos e árvores esparsas. As árvores têm caules retorcidos e raízes longas, que permitem a absorção da água -disponível nos solos do cerrado abaixo de 2 metros de profundidade mesmo durante a estação seca e umida do inverno.
Hidrografia
O município de Goiás é cortado pelo Rio Vermelho (afluente do rio Araguaia) e está situado na bacia do Tocantins-Araguaia, que compartilha a foz com o Rio Amazonas. Ele passa do lado da casa da poetiza Cora Coralina. Há também os rios Urú, do Peixe, Ferreira e Índio.
Ecologia
O município possui diversas áreas a serem preservadas com cachoeiras e riachos. Parque da Carioca - APA da Serra Dourada - APA da Cidade de Goiás ARIE Águas de São João - Reserva Biológica da UFG.
Movimentos culturais
O Festival Internacional de Cinema e Vídeo Ambiental(FICA) é um festival realizado anualmente na Cidade de Goiás desde 1999. Atualmente é o maior festival cinematográfico sobre o meio ambiente. Sua realização está a cargo da Secretaria de Estado da Cultura de Goiás (Secult), antiga Agência Goiana de Cultura Pedro Ludovico Teixeira (Agepel). Em seu primeiro ano de realização, 1999 o FICA aconteceu entre 2 e 6 de junho. Teve 154 obras inscritos, de 17 países. Dessas, foram selecionadas 37 produções (4 Longa-metragens, 12 Média-metragens e 21 Curta-metragens), de 12 países: Argentina, Áustria, Brasil, Dinamarca, Espanha, Estados Unidos, França, Holanda, Inglaterra, Moçambique, Portugal e Venezuela. Na participação Brasileira, foram selecionadas 17 obras de 8 Estados: Brasília, Goiás, Maranhão, Pernambuco, Rio de Janeiro, Santa Catarina e São Paulo
Procissão do Fogaréu: Uma das manifestações religiosas mais belas que acontecem na Cidade de Goiás anualmente é a Procissão do Fogaréu, que começa à meia noite da quarta-feira da semana santa. Neste dia, as encenações sobre a Paixão de Cristo movimentam a localidade, que acompanha tudo com devoção e certa curiosidade. A celebração, que dá continuidade a uma tradição de pouco mais de 200 anos, consiste em encenar as principais passagens bíblicas que antecedem à crucificação de Jesus pelas ruas de Goiás, da qual a Procissão do Fogaréu faz parte. Nela, os farricosos, homens encapuzados com vestes coloridas, carregam tochas acesas entre as ruas escuras, representando o caminho dos romanos até o momento da prisão de Cristo. Na quinta e na sexta-feira são representados o Lava-Pés e a Paixão de Cristo, respectivamente.
Carnaval: Festa popular realizada na Praça de Eventos Rio Vermelho. Existem três Escolas de Samba na cidade: Leão de Ouro, União Goiana e Mocidade Independente do João Francisco. Abrindo o carnaval na cidades, o tradicional Bloco do Zé Perera, que sai do Bar Casa de Pedra, no bairro Rio Vermelho, passando pela Praça Jornalista Goiás do Couto, mais conhecida como Praça do João Francisco, onde a população espera para ver o bloco, e vai em direção ao centro histórico da cidade.
A Cidade de Goiás tem em sua história e formação uma relação muito ligada as culturas Africanas e indigenas, essa relação fica ainda hoje explicita em diversas manifestações culturais por toda a cidade um exemplo são duas escolas "Espaço Cultural Vila Esperança" e "Quilombinho". Além desses exemplos temos também O Grupo de Capoeira Angola Meninos de Angola sob a coordenação do professor Chuluca.
Museus
Museu das Bandeiras: funcionando na antiga Casa de Câmara e Cadeia, tem acervo com peças e mobiliário do século XVIII.
Palácio Conde dos Arcos: tem acervo com obras do século XVIII, utensílios domésticos, pertences, artes decorativas e mobiliário dos antigos governantes.
Museu de Arte Sacra da Igreja da Boa Morte: tem o maior acervo do escultor barroco Veiga Vale, nascido em Pirenópolis, reunindo mais de 100 peças, e também coleções de prataria. A igreja foi construída em 1779.
Casa de Cora Coralina: museu permanente com objetos pessoais da poetisa de mesmo nome.
Monumentos
Casa de Bartolomeu Bueno: residência histórica do Anhangüera, a sua fachada conserva as características do estilo colonial
Chafariz de Cauda: localizado no Largo do Chafariz, é uma construção com padrões do século XVIII (1778).
Igreja de Nossa Senhora do Rosário: conhecida como antiga igreja dos pretos, foi demolida e reconstruída em estilo neogótico em 1934 pelos frades dominicanos oriundos da França. No seu interior, encontram-se afrescos realizados por Nazareno Confaloni na segunda metade do século XX, Precursor do Modernismo no estado de Goiás e fundador da Escola de Belas Artes da Universidade Católica de Goiás.
Catedral de Santana: localizada na Praça do Coreto, é um edifício feito de adobe e recém-restaurado.
Igreja Nossa Senhora da Abadia: capela do século XVIII, tem afrescos no teto.
Igreja de Santa Bárbara: apresenta retratos de compositores goianos do século XIX feitos pelo artista Amaury Meneses.
Igreja Nossa Senhora do Carmo: edifício que é sede da Irmandade Senhor Jesus dos Passos
Mosteiro da Anunciação: edifício religioso, no qual os frades produzem artesanato de barro.
Convento dos Padres Dominicanos: edifício do século XIX que guarda uma imagem de Nossa Senhora do Rosário, trazida por religiosos franceses. Foi o segundo convento da Ordem no Brasil, fazendo parte do plano que integraria os religiosos dominicanos ao norte do Brasil, passando por Uberaba, Goiás, Porto Nacional e chegando enfim à Conceição do Araguáia no estado do Pará
Quartel do Vigésimo Batalhão de Infantaria: De onde saíram soldados para a Guerra do Paraguai. Até o final da década de 1990 abrigou o 11-010 Tiro de Guerra do Exército Brasileiro.
Religião
Predomina na população de Goiás, a religião Católica, com 16 Igrejas, seguida pelos evangélicos com 10 templos e os espíritas, com 3 centros.
Turismo
Município Histórico, mais conhecido como Goiás Velho, foi capital do Estado, conserva mais de 90% de sua arquitetura barroco-colonial original, graça ao tombamento, desde os anos 50, desse patrimônio arquitetônico do Século XVIII. A Cidade de Goiás é um magnifico mostruário do Brasil oitocentista. E além disso situa-se dentro de um cenário topográfico, singularmente bonito, dentro de um vale envolvido pelos morros verdes e ao sopé da lendária Serra Dourada. Goiás chamou-se originalmente Vila Boa. Os turistas encontram riquíssima arte sacra nas seculares igrejas e nos museus.
O município tornou-se um centro turístico e permite praticamente uma viagem no tempo do Brasil colonial. Em 2001 o Centro Histórico de Goiás foi declarado Patrimônio Mundial. Na cidade todos os anos ocorre o Festival Internacional de Cinema e Vídeo Ambiental que tem a participação de países da África, Europa, América e Ásia.
Wikipedia
Laughter is an integral part of being human. It is the language we use to communicate joy, relief, and connection with others. But what would it be like to live without it?
Seeing the left picture:
each upper unit is 1/4 of the lower one;
seeing the right picture:
supposing the area of the whole hexagon is 1, then the area of each color blocks of each layer is 3/12, i.e. 1/4, if summing the areas of blocks in one color, red, blue or white, we know the sum area is 1/3 for there only have blocks in three colors in the same divisions.
Proof Without Words----summation of one-fourth geometric progression1：
www.flickr.com/photos/119967028@N08/33236369955/
Proof Without Words----summation of one-fourth geometric progression2：
www.flickr.com/photos/119967028@N08/34357797211/
Proof Without Words----summation of one-fourth geometric progression3：
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View Large On Black This is another view of a previous photo entitled "A Tree Without Its House".
#318 in interestingness (on 2007-09-02) as of 9/6/07
Thanks everyone!
It wouldn't be Kmart without having one sign messed up from the others.
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Fisherman’s Bastion in Budapest is one of the top Budapest attractions without a doubt. The present day lovely lookout towers / decorative fortification of Fisherman’s Bastion were built in the 19th century to serve as a lookout tower for the best panoramic views in Budapest, Hungary. Needless to say, there used to be real castle walls where now you can take fantastic photos from, but the present day structure has never served as an actual fortification in Buda.
Het Vissersbastion in Boedapest is zonder twijfel een van de topattracties van de stad. Het huidige decoratieve bouwwerk is gebouwd in de 19e eeuw om een zo fraai mogelijk uitzicht op de stad Boedapest te bieden. Eens stonden er op deze plek echte kasteelmuren. Het huidige bouwwerk in Buda heeft echter nooit gediend als fort.
Praktica B100 (analog)
Fujufilm 135 100 ASA
Scanned from the negative
CyberViewX v5.15.45
Model Code=48
F/W Version=1.06