View allAll Photos Tagged without
We threw an event where we showed the documentary that TOMS made. We had a pretty good turnout but the stories from people that supported the event during the day were the best. We had people walking all around town without shoes. Into grocery stores and through high school and middle schools. It was pretty awesome. Looking forward to next year!
Check out this site for more information on TOMS the movement
www.tomsshoes.ca/our-movement/
Check out this site for more information on TOMS the shoes! If you buy one pair they will give another pair to a child in need.
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Garden
Link to Cincinnati Zoo..............
Note+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
I hope this image automatically gives you a smile. You all deserve to be so happy. I will try to be on Flickr on and off all day. Once again sitting at the computer for long periods aggravates the RSD Syndrome I have. There is no cure for this problem and not much can be done to give me less pain than what is already being done. I take the drug Lyrica which is suppose to help nerve pain. I think the colder weather has caused this problem to act up more. I'm sorry to have to talk about this but people ask me so it is easier to just give you all the information. Thanks so much for all your well wishes and support. I'm so thankful that you all continue to visit me regularly. You guys are the best. Have a nice Monday and upcoming week. Hugs!
Butley Priory
Wedding venue in England.
Butley Abbey, now known as Butley Priory, was a medieval monastic house near Butley in Suffolk, England. Apart from some mediaeval ruins, only the gatehouse still remains, which has been converted into a private house.
© All Rights Reserved - No usage allowed without written consent from ScottD Photography.
Without any digital camera.
Sans appareil photo numérique.
Ohne Digitalkamera.
kwerfeldein.de/2015/03/21/namibia-entschleunigt-ein-reise...
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.
Margaret Echard - A Man Without Friends
Bantam Books 967, 1952
Cover Artist: George Gross
"A strange story of a woman drawn to a convicted murderer."
Actually, I think the girl in the middle was just a little bit sad, because she was the only one without a cellphone in her hand...
**********************************
For much of my life, I’ve had the bad habit of visiting a new city for a week of intense activity — and, on occasion, even living in a new city for as long as a year — without ever getting to know it. It’s easier than you might think, if you have a set routine: you get up in the morning, you take the same route to school or work, you come home at the end of the day, and that’s that. I think I may have also been slightly warped by the childhood experience of moving every year (17 schools before college), and concluding (perhaps subconsciously) that there was no point really getting to know anything about (or anyone in) the current town, since we’d be moving within a year …
Anyway, I resolved to try harder during a recent weeklong Thanksgiving trip to visit the west coast contingent of my family, which involved our driving from Portland to a rented house in Bend, Oregon — located roughly in the center of Oregon. I had never been in Bend before, and I probably never will be again … but even so, I wanted to get a sense of what the town was all about.
Bend turns out to be the largest town in central Oregon, but its estimated population in 2013 was only 81,236. If you include the surrounding area of “metropolitan Bend,” that number increases to 165,954 — but that still makes it only the fifth largest metropolitan area in Oregon, and probably about the same as an individual neighborhood in New York City.
Compared to NYC, Bend’s recorded history is also much shorter — though that ignores the fact that Native Americans lived in the area for some 12,000 years before fur trading parties arrived in 1824, and succeeding generations of pioneers, intent on pushing further west to the Pacific Coast, forded the Deschutes River at a shallow point known as the “Farewell Bend” — which ultimately gave the town its name (you can blame the U.S. Postal Service for shortening the original name to “Bend”).
Not much happened until 1901, when the Pilot Butte Development Company built a commercial sawmill in Bend; a city was incorporated there in 1904 by a general vote of the community’s 300 residents. From what I can tell, the town then continued to grow, thrive, and prosper for another 30 or 40 years … after which it seems to have stagnated. Walking along Bond Street and Wall Street — the two busiest downtown streets — I saw a number of plaques on the side of buildings indicating that they had all been built in the 1910s, 1920s, and 1930s …
As for today, tourism is probably the most significant economic activities — focused around skiing at Mount Bachelor, and recreational activities around the nearby Cascade Lakes. Bend is also home to the Deschutes Brewery, which is the 6th largest craft brewery in the nation. And the town has hosted on of the top indie film festivals in the nation (the BendFilm Festival) each year since 2004. For whatever it’s worth, much of the town’s growth in recent years is due to its attraction as a retirement destination (I guess there must be a rational explanation for the decision to retire here, perhaps including a low crime rate or a low cost-of-living — but I found the concept quite mind-boggling) …
But none of this explains the look and feel of the houses in the “historical district” a few blocks away from the center of town. This is where my family members and I spent Thanksgiving week, and I walked through several quiet, empty blocks during the few days that it wasn’t raining … and while the photos in this Flickr album will give you some idea of what the houses and people look like, I’m at a loss for words to characterize what’s going on around here.
For one thing, it seems that every house is different. They’re all on tiny lots — probably about 1/4 of an acre — but they’re all different sizes, painted different colors, with different designs and architectures. I’m used to towns where all of the houses in an entire neighborhood are identical, because they were all designed and constructed by the same real-estate developer. And my son pointed out that in Portland, just a few hours away by car, the houses in several neighborhoods may look different from the house next door — but they all fall into five or six basic styles. Not so in Bend: it seems that nobody talked to anyone else, and nobody looked at any other house in the neighborhood, before they came up with their own unique design.
And with one or two exceptions, none of the houses are “modern” in any sense of the word. Many of them remind me of the neighborhoods were I lived as a child in the early 1950s; and I have a strong suspicion that many of them are much older than that, perhaps having been built in the 1920s or 1930s. Like the rest of the town, it seems that everything thrived here until the beginning of the 1940s … and then stopped.
Which then raises another interesting question: who actually lives in these houses today, in late 2014? I really couldn’t tell, because the streets were generally empty. and the only thing I saw through a living room window was a football game on a large TV screen. But I noticed that the cars parked on the street were by no means as old as the houses; most of them appeared to be less than five years old, with many large, modern trucks and Jeeps. There were a few bicycles and other indications of childhood life, along with a significant number of brightly-painted lawn chairs, an occasional barbecue grills (including some big, gas-powered grills on the front porch!), and lots of American flags …
If I had had a little more time or energy, I could have gone into the Deschutes County Museum (housed in what had been a stand-alone school house built in 1914), or perhaps the Town Hall, to learn a little more … but I didn’t.
And so Bend will remain a mystery, as we pack up and drive back to Portland tomorrow morning. And while nobody here will care, or even notice, I will go on record with the following prediction: I won’t be retiring here.
Newsweek: Obama better represents Catholics than does the Pope
WSJ: Unemployment Up from 4.8% to currently 9.5% (20% in MI) and expected to rise
Obama flies pizza chef to Washington, DC from St. Louis to cater a party for him and his pals at White House.
Obama: "We are out of money"
Obama: "Its Working"
Facts: Government has nationalized AIG, Chrysler, GM, Citibank and has its eyes set on Health Care
This administration and congress has already outspent all previous 43 presidents combined
"Stimulus" is spent on bailing out failed social experiments and entitlement sinkholes by state governments controlled by "progressives"
House passes largest Tax Increase in the History of America - they aim to tax the air we breathe
Charitable donation levels and business investments down as tax levels increase
Obamas plan vacation at Martha's Vineyard
Obama promised unemployment would not exceed 8% - now its 9.5% and rising
Obama said it was mandatory that the 10 to 20 trillion dollar (with debt servicing) "stimulus" was passed right away or we are doomed - it was voted on and passed without those voting in the affirmative for it even reading it.
Once passed, the vast majority of the "stimulus" spending is deferred to 2010 which coincidentally is an election year for the politicians who voted for passage. An inference is that the only crisis was the socialists getting reelected after their policy of fascism failed to turn around the economy. A study of history will reveal their concern - no fascist/socialist enterprise has been successful at improving the quality of life for its citizens at any time in human history. No civilization has successfully taxed and spent its way out of a recession in the history of humanity.
Those who hold America's debt are frantically calling for a "world currency", knowing full well, that the certain forthcoming hyperinflation in America will significantly devalue the US Dollar and their investments will then be worth pennies on the dollar.
Now, Obama says that health care must be nationalized right away or we are doomed.
Now, Obama says that Sotomayor must be confirmed right away or we are doomed.
Now, Obama says that Cap and Trade (destroy and nationalize the energy sector) bill must be passed right away or we are doomed.
Now, Obama says that trillions of dollars of new taxes must be passed right away or we are doomed. These new taxes are on top of the trillions of dollars in new taxes that were already included in his "stimulus" bill and budget.
Is there a pattern? Does "we" refer to his constituents or perhaps himself and his political cronies?
No civilization has reversed a downward unemployment spiral by shrinking its private sector and growing its government bureaucracy.
The countries who have tried the fascist/socialist experiment are now moving back to more capitialistic free market policies - why? because shrinking their private sector and burdening it with increased government confiscatory/redistribution policies created misery in the form of unemployment, loss of individual freedom, lower quality of life and medical care rationing, shortages and misery.
Biden: We have to keep spending money to keep from going bankrupt.
Obama: We must pass nationalized health care so we can reduce costs. (We must do it now or we are doomed)
CBO Chief: Health Bills To Increase Federal Costs
White House wants more power to set Medicare rates
wiki.answers.com/Q/Name_and_explain_two_effects_of_price_...
When thinking about price controls, think of the supply and demand curves and remember that with a price control, it is impossible for a price to get into equilibrium. With that in mind, we can identify two problems that result from this.
1. A shortage/oversupply of the good. If there is a price ceiling, you have a shortage (a la gasoline during the price controls of the 70's.) If there is a floor, you have overproduction (a la ethanol. Which, granted, is subsidized, but that is effectively like a price floor). *Note* also consider the housing markets where rent control is present.
2. An inefficient allocation of resources. With ethanol being subsidized, we witnessed a massive increase in the price of corn. The market did not want this, and thus we saw an inefficient allocation of resources.
Should National Health Care pass in this country, I will not know where or when I will die, but I will know how - substandard medical care, denial of care, lack of r&d due to price controls and rationing emposed by the government - all based on decisions by bureaucrats, actuaries, accountants and political appointees who I do not know and who do not know me or my specific needs or wishes ... and more importantly do not care ... they care only about passing the next government audit cycle for cost control.
PLEASE STOP THIS TYRANNY
Analysis of Health Care Bill HR 3200 Print E-mail
Thursday, 06 August 2009 20:28
Below is a detailed, line by line, analysis of the Health Care bill (HR 3200) by CADC’s advisory board member, Mat Staver of the Liberty Council, and Dean of Liberty University School of Law.
Obama Health Care Plan Details
HR 3200 currently under consideration in the House of Representatives
*HC = "Health Care"
* Pg 22 of the HC Bill MANDATES the Government will audit the books of ALL EMPLOYERS that self insure!!
* Pg 29 lines 4-16 in the HC Bill - YOUR HEALTH CARE IS RATIONED!!!
* Pg 30 Sec 123 of HC Bill - THERE WILL BE A GOVERNMENT COMMITTEE that decides what treatments/benefits you get
* Pg 42 of HC Bill - The Health Choices Commissioner will choose your benefits for you. You have no choice!
* Pg 50 Section 152 in HC Bill - HC will be provided to ALL non-U.S. citizens, illegal or otherwise
* Pg 58 HC Bill – Government will have real-time access to individual’s finances and a National ID Health Care Card will be issued!
* Pg 59 HC Bill lines 21-24 Government will have direct access to your banks accounts for electronic funds transfer.
* Pg 65 Sec 164 is a payoff subsidized plan for retirees and their families in unions and community organizations (ACORN).
* Pg 72 Lines 8-14 Government is creating a Health Care Exchange to bring private health care plans under government control.
* Pg 84 Sec 203 HC Bill - Government mandates ALL benefit packages for private health care plans in the Exchange
* Pg 85 Line 7 HC Bill - Specs for of Benefit Levels for Plans = The government will ration your health care!
* Pg 91 Lines 4-7 HC Bill - Government mandates linguistic appropriate services.
* Pg 95 HC Bill Lines 8-18 The government will use groups i.e., ACORN & AmeriCorps to sign up individuals for government Health Care Plan
* Pg 85 Line 7 HC Bill - Specs of Ben Levels 4 Plans. #AARP members - Your health care WILL be rationed
* Pg 102 Lines 12-18 HC Bill - Medicaid Eligible Individual will be automatically enrolled in Medicaid. No choice.
* Pg 124 lines 24-25 HC No company can sue the government on price fixing. No "judicial review" against this government monopoly.
* Pg 127 Lines 1-16 HC Bill - Doctors/ #AMA - The government will tell YOU what you can make.
* Pg 145 Line 15-17 An employer MUST auto enroll employees into public option plan. NO CHOICE
* Pg 126 Lines 22-25 Employers MUST pay for health care for part-time employees AND their families.
* Pg 149 Lines 16-24 ANY Employer w/ payroll 400k and above who does not prov. pub opt. pays 8% tax on all payroll
* Pg 150 Lines 9-13 Businesses with payroll between 251k and 400k who do not provide public opt pays 2-6% tax on all payroll
* Pg 167 Lines 18-23 ANY individual who doesn’t have acceptable health care according to government will be taxed 2.5% of income.
* Pg 170 Lines 1-3 Any NONRESIDENT Alien is exempt from individual taxes (Americans will pay).
* Pg 195 Officers & employees of HC Administration (GOVT) will have access to ALL Americans' financial and personal records.
* Pg 203 Line 14-15 HC - "The tax imposed under this section shall not be treated as tax." Yes, it says that.
* Pg 239 Line 14-24 HC Bill Government will reduce physician services for Medicaid. Seniors, low income, poor affected.
* Pg 241 Line 6-8 HC Bill - Doctors, it does not matter what specialty you have, you’ll all be paid the same.
* Pg 253 Line 10-18 Government sets value of doctors' time, prof judg, etc. Literally value of humans.
* Pg 265 Sec 1131Government mandates and controls productivity for private health care industries.
* Pg 268 Sec 1141 Federal Government regulates rental and purchase of power-driven wheelchairs.
* Pg 272 SEC. 1145. Treatment of certain cancer hospitals – Cancer patients - welcome to rationing!
* Page 280 Sec 1151 The government will penalize hospitals for what government deems preventable readmissions. (Incentives for hospital to not treat and release.)
* Pg 298 Lines 9-11 Doctors that treat a patient during initial admission that results in a readmission-Government will penalize you.
* Pg 317 L 13-20 PROHIBITION on ownership/investment. Government tells Doctors what/how much they can own.
* Pg 317-318 lines 21-25, 1-3 PROHIBITION on expansion- Government is mandating hospitals cannot expand.
* pg 321 2-13 Hospitals have opportunity to apply for exception, BUT community input required. Can you say ACORN?!!
* Pg335 L 16-25 Pg 336-339 - Government mandates establishment of outcome based measures. Health Care the way they want. Rationing.
* Pg 341 Lines 3-9 Government has authority to disqualify Medicare Advantage Plans (Part B), HMOs, etc. Forcing people into Government plan.
* Pg 354 Sec 1177 - Government will RESTRICT enrollment of special needs people!
* Pg 379 Sec 1191 Government creates more bureaucracy – Tele-health Advisory Committee. Health care by phone/Internet?
* Pg 425 Lines 4-12 Government mandates Advance [Death] Care Planning Consultion. Think Senior Citizens end of life.
* Pg 425 Lines 17-19 Government will instruct and consult regarding living wills, durable powers of attorney. Mandatory!
* Pg 425 Lines 22-25, 426 Lines 1-3 Government provides approved list of end of life resources, guiding you in death.
* Pg 427 Lines 15-24 Government mandates program for orders for end of life. The government has a say in how your life ends.
* Pg 429 Lines 1-9 An "advanced care planning consult" will be used frequently as patient's health deteriorates.
* Pg 429 Lines 10-12 " advanced care consultation" may include an ORDER for end of life plans. AN ORDER from Government.
* Pg 429 Lines 13-25 - The government will specify which doctors can write an end of life order.
* PG 430 Lines 11-15 The government will decide what level of treatment you will have at end of life.
* Pg 469 - Community Based Home Medical Services=Non-profit orgs. Hello, ACORN Medical Services here!!?
* Pg 472 Lines 14-17 PAYMENT TO COMMUNITY-BASED ORG. 1 monthly payment to a community-based org. Like ACORN?
* Pg 489 Sec 1308 The government will cover Marriage and Family therapy. They will insert government into your marriage.
* Pg 494-498 Government will cover Mental Health Services including defining, creating, rationing those services.
* PG 502 Sec 1181 Center for Comparative Effectiveness Research Established. – Hello Big Brother – Literally.
* Pg 503 Lines 13-19 Government will build registries and data networks from YOUR electronic medical records.
* Pg 503 lines 21-25 Government may secure data directly from any department or agency of the U.S. who have any of your data.
* Pg 504 Lines 6-10 The "Center" will collect data both published and unpublished (that means public and your private info).
* PG 506 Lines 19-21 The Center will recommend policies that would allow for public access of data.
* PG 518 Lines 21-25 The Commission will have input from Health Care consumer reps – Can you say unions and ACORN?
* PG 524 18-22 Comparative Effectiveness Research Trust Fund set up. More taxes for ALL.
* PG 621 Lines 20-25 Government will define what quality means in health care. Since when does government know about quality?
* Pg 622 Lines 2-9 To pay for the Quality Standards, government will transfer money from other government Trust Funds. More Taxes.
* PG 624 "Quality" measures shall be designed to assess outcomes and functional status of patients.
* PG 624 "Quality" measures shall be designed to profile you including race, age, gender, place of residence, etc.
* Pg 628 Sec 1443 Government will give "Multi-Stake Holders" Pre-Rule Making input into Selection of "Quality" Measures.
* Pg 630 9-24/631 1-9 Those multi-stake holder groups include unions and groups like ACORN deciding health care quality.
* Pg 632 Lines 14-25 The Government may implement any "Quality measure" of health care services as they see fit.
* PG 633 14-25/ 634 1-9 The Secretary may issue non-endorsed "Quality Measures" for Physician Services and Dialysis Services.
* Pg 635 to 653 Physicians Payments Sunshine Provision – Government wants to shine sunlight on doctor but not government.
* Pg 654-659 Public Reporting on Health Care-Associated Infections – Looks okay.
* PG 660-671 Doctors in Residency – Government will tell you where your residency will be, thus where you’ll live.
* Pg 676-686 Government will regulate hospitals in EVERY aspect of residency programs, including teaching hospitals.
* Pg 686-700 Increased Funding to Fight Waste, Fraud, and Abuse. Do they mean like the government with an $18 million website?
* PGs 701-704 Sec 1619 If your part of health care plan isn’t in Government Health Care Exchange but you qualify for Federal aid, no payment.
* PG 705-709 SEC. 1128 If Secretary gets complaints (ACORN) on health care provider or supplier, government can do background check.
* PG 711 Lines 8-14 The Secretary has broad powers to deny health care providers/ suppliers admittance into Health Care Exchange. Your doctor could be thrown out of business.
* Pg 719-720 Sec 1637 ANY Doctor who orders durable medical equipment or home medical services MUST be enrolled in Medicare.
* PG 722 Sec 1639 Government MANDATES doctors must have face-to-face with patient to certify patient for Home Health Services.
* PG 724 23-25 PG 725 1-5 The same government certifications will apply to Medicaid and CHIP (your kids).
* PG 724 Lines 16-22 Government reserves right to apply face-to-face certification for patient to ANY other health care service.
* Pg 735 lines 16-25 For law enforcement, proposes the Secretary-HHS will give Attorney General access to ALL data.
* PG 740-757 Government sets guidelines for subsidizing the uninsured (That's your tax dollars people).
* Pg 757-762 Federal Government will shift burden of payments to Disproportionate Share Hospitals (DSH) to States. (Taxes)
* Pg 763 1-8 No DS/EA hospitals will be paid unless they provide services without regard to national origin.
* Pg 765 Sec 1711 Government will require Preventative Services including vaccines. (Choice?)
* Pg 768 Sec 1713 Government – Nurse Home Visitation Services (Hello union paybacks).
* Pg 769 11-14 Nurse Home Visit Services include economic self-sufficiency, employ adv, school-readiness.
* Pg 769 3-5 Nurse Home Visit Services - "increasing birth intervals between pregnancies." Government ABORTIONS anyone?
* Pg 770 SEC 1714 Federal Government mandates eligibility for State Family Planning Services. Abortion and State Sovereignty.
* Pg 789-797 Government will set, mandate drug prices, controlling which drugs brought to market. Bye innovation.
* Pgs 797-800 SEC. 1744 PAYMENTS for graduate medical education. The government will now control doctors’ educations.
* PG 801 Sec 1751 The government will decide which health care conditions will be paid. Can you say RATION!
* Pg 810 SEC. 1759. Billing Agents, clearinghouses, etc. req. to register. Government takes over private payment system.
* Pg 820-824 Sec 1801 Government will identify individuals ineligible for subsidies. Will access all personal financial information.
* Pg 824-829 SEC. 1802. Government sets up Comparative Effectiveness Research Trust Fund. Another tax black hole.
* PG 829-833 Government will impose a fee on ALL private health insurance plans including self-insured to pay for Trust Fund!
* PG 835 11-13 fees imposed by government for Trust Fund shall be treated as if they were taxes.
* Pg 838-840 Government will design and implement Home Visitation Program for families with young kids and families expecting kids.
* PG 844-845 This Home Visitation Program includes government coming into your house and telling you how to parent!!!
* Pg 859 Government will establish a Public Health Fund at a cost of $88,800,000,000. Yes that’s billion.
* Pg 865 The government will MANDATE the establishment of a National Health Service Corps.
* PG 865 to 876 The NHS Corps is a program where doctors perform mandatory health care for two years for part loan repayment.
* PG 876-892 The government takes over the education of our medical students and doctors.
* PG 898 The government will establish a Public Health Workforce Corps to ensure supply of public health prof.
* PG 898 The Public Health Workforce Corps shall consist of civilian employees of the U.S. as Secretary deems.
* PG 898 The Public Health Workforce Corps shall consist of officers of Regular and Reserve Corps of Service.
* PG 900 The Public Health Workforce Corps includes veterinarians.
* PG 901 The Public Health Workforce Corps WILL include commissioned Regular and Reserve Officers. HC Draft?
* PG 910 The government will develop, build, and run Public Health Training Centers.
* PG 913-914 Government starts a health care affirmative action program thru guise of diversity scholarships.
* PG 915 SEC. 2251. Government MANDDATES Cultural and linguistic competency training for health care professionals.
* Pg 932 The Government will establish Preventative and Wellness Trust fund- initial cost of $30,800,000,000 billion.
* PG 935 21-22 Government will identify specific goals & objectives for prevention & wellness activities. That means controlling YOU!!
* PG 936 Government will develop "Healthy People and National Public Health Performance Standards" Tell me what to eat?
* PG 942 Lines 22-25 More government? Offices of Surgeon General -Public Health Svc, Minority Health, Women’s Health
* PG 950- 980 BIG GOVERNMENT core pub health infrastructure including workforce capacity, lab systems, health info sys, etc.
* PG 993 Government will establish school based health clinics. Your kids won’t have a chance.
* PG 994 School Based Health Clinic will be integrated into the school environment. Say government brainwash!
* PG 1001 The government will establish a National Medical Device Registry. Will you be tracked?
© All Rights Reserved Worldwide In Perpetuity - No Unauthorized Use. Absolutely no permission is granted in any form, fashion or way, digital or otherwise, to use my Flickr images on blogs, personal or professional websites or any other media form without direct written permission from the artist.
- 1909 T212-1 Obak backs have a stylized Obak logo and may come with or without a frame. This card has the frame...
The Oakland Oaks were a minor league baseball team in Oakland, California that played in the Pacific Coast League from 1903 through 1955, after which the club transferred to Vancouver, British Columbia. The team was named for the city and used the oak tree and the acorn as its symbols.
------------------------------------------------------------------------------------------
Harry Nelson
Bats: Unknown • Throws: Left
Born: March 14, 1884 in Batavia, Illinois
Died: June 26, 1950 (Aged 66) in Oakland, CA
Full Name: Harry Edward Nelson
Nicknames: Slim
Both of his parents were born in Sweden
(Morning Oregonian., September 19, 1907 ) - Tacoma 1, Aberdeen 0. - TACOMA, Wash., Sept. 18. (Special.) In the most brilliant game of ball played on the Tacoma field this season "Slim" Nelson today beat Aberdeen 1 to 0. Nelson allowed but one hit in the game, a two-bagger to Boettlnger in the sixth Inning. He gave no bases on balls and did not hit a batter. In fact, Boettlnger was the only Aberdeen player to reach first base in the nine innings. Just 28 batters faced Nelson. Behind this phenomenal pitching the Tigers played superb ball. Besides performing wonderfully In the box. Nelson was active with the bat. He laced out one three-bagger and added a single the next time up.
In 1908, Slim Nelson threw a no-hitter against Oakland in the outlaw California State League. The only run of the game came on a home run by Nelson.
(San Francisco Call, Volume 106, Number 60, 30 July 1909) DEAN OF OAKLAND BALL FANS DIES - Peter Nelson, Veteran Enthusiast of National Game, Passes Away at Fabibla Hospital - OAKLAND, July 29.— Peter Olaf Nelson, dean of the Oakland baseball fans, died at Fabibla hospital this morning, ending a residence of 24 years in Oakland. For many years Nelson was the chief rooter at the league baseball games in this city. He lived at 1357 Twenty-third avenue, East Oakland. His son, Harry, better known as "Slim" Nelson, is now pitching for the Oakland Coast league team, and another son, "Bill," is catching' for a team In Mexico. Nelson was 53 years old and a native of Sweden.
(San Francisco Call, Volume 108, Number 159, 6 November 1910) - "SLIM" NELSON AN OAKLAND PRODUCT - He is One Player Whom None of the Fans Ever "Crab" At - Slim Nelson's head extends higher in the air than that of any other ball player in the Pacific coast league, and if he trained like Bat Nelson trains there Is no question that he could make the feather weight limit any time he wanted to start. : But he's a pitcher, not a boxer, so he don't have to weigh in.
Unlike most of the tossers on the Oakland team, Slim is a native product. Up to three years ago he had never broken away from the wilds of East Oakland, where he was born and where he used to throw rocks at lamp posts and Chinese washhouse. This is how he used to practice control when he was a kid, and he never lost the knack either.
Lou Schroder, who used to run the Alameda state league some three or four years ago, is the discoverer of the elongated slabster. He picked him out of a gang that was tossing rocks at a Chinese laundry one afternoon. Schroder noticed that the tall, Swedish American youth broke more windows in less time than any of the others. He immediately came to the conclusion that he would grab this kid and make a pitcher out of him. All he had to do was to offer Slim the job. The rest was easy.
In his first year with the state league the human sky scraper, was a go. He liked to pitch, and he soon developed a line, of curves that made all the opposing bushers worry. He pitched ball just like he pitched rocks at the oriental washing and ironing establishments. His control was great, and he generally hit the bullseye.
After a year and a half in the state league Slim's fame began to spread. It spread so rapidly and covered so much ground that they soon heard about him over in Oakland. They heard so much about him that one day Pa Van Haltren, who was then driving the Oakland band wagon, took a run over to Alameda to watch Slim work. He watched the long fellow for about three innings. Then he gave him a job. This, in brief, is the story, of how Slim introduced himself to fame. He became a big leaguer just as soon as he and Van Haltren had exchanged a few words. Van took him over, to Oakland and had him measured for a special uniform. This was necessary, otherwise they would have slipped him one of the castoffs. However, one peek at Slim convinced Van that he would have to contract for a special suit for the new slabster.
Oakland evidently looks good to Nelson, for he has never strayed away from the transbay team. This is his third season and he seems to like it better now than the first day he joined the team. He knows everybody in Oakland and they all know him. He has no enemy in all the world. They never roast Slim like they do the other pitchers, because they know that it will not do the slightest good In the world.
Slim never took himself seriously, and therefore he can not makeup his mind to take anybody or anything else seriously. He just goes on his way, kidding along and getting by. If he loses a game, it's all right, and if he wins one, well, it's a little better. But he never fumes or rages or goes into raptures over anything, not even when he makes a home run, and it is a matter of public record that he has made two since he linked himself to organized baseball, some two and a half years ago.
Many of the players believe that this quaint southpaw would have found his way back, to one of the big organizations ere this if he only took life and baseball a little more seriously. But such a thing seems impossible for Slim. He's against all the serious stuff either on or off the diamond. Perhaps this is one of the reasons why the fans all over the circuit like him so much. Anyhow you never hear them calling him a "bone head" or a "rubber skull" or a "busher," or anything like that.
It is the general belief that Nelson is a sort of fixture with the Oakland club. Players come and go every year, but Slim still holds on. And so long as he pitches good baseball he's bound to be a hit with the fans. Occasionally they bat him out of the box just as they do the other pitchers, but then Slim does not worry and he never gets sore when the relief man comes along to take his job.
(The Evening Statesman, January 31, 1910) - Reds Want Nelson. - Business Manager Frank Bancroft of the Cincinnati Reds is trying to buy pitcher Slim Nelson of the Oakland club. Oakland wants a great deal more money for Nelson than Bancroft is willing to pay, though poor Nelson has been working for a mere pittance over the last two years. He pitched a few games for the All Nationa's this winter and thus made good with Bancroft.
(Morning Oregonian., April 26, 1910) - "Slim" Nelson, the comic twirler of the Oakland club, has more fun on the coaching lines than any other player in the league. "Slim" likes to kid the stands and the bleacherites as well as they like to jolly the funny man of the Athenian herd. "Slim" is funny enough - without the antics he cuts up.
(Sporting Life - 27 May 1911) - Southpaw pitcher "Slim" Nelson has been released by the Oakland Club.
(The San Francisco Call., April 28, 1912) - Slim Nelson, formerly one of the Oaks' firing line, a southpaw, has joined the American Rubber company nine, one of the fastest, if not the fastest, amateur nine about the bay. Slim acquitted himself well Sunday.
(The San Francisco call., April 25, 1912) - Rubber Nine Defeats
Y. M. I. by Nose - The American Rubber company team yesterday defeated the Washington council of the Young Men's Institute at the Emeryville grounds by the score of 6 to 5 after 11 innings of hard fought baseball. McGushin of the losers pitched the better ball, allowing the hard hitting American Rubber boys but six scattered hits and fanning 16. The umpire was responsible for the defeat of the Washington council, as the home run that "Slim" Nelson, the former Oakland southpaw, secured was foul by many feet. He was off in calling balls and strikes also.
= = = = = = = = = = = = = = = = = = = = = = = = = = = =
Francisco Aragão © 2011. 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
= = = = = = = = = = = = = = = = = = = = = = = = = = = =
Portuguese
O Arco de Tito é um arco triunfal, erigido em comemoração à conquista de Jerusalém pelo imperador Tito Flávio, filho de Vespasiano. Tito comandou as legiões romanas que ocuparam a capital da Judeia em 1 de agosto de 67 d.C.
Com esta ocupação, teve início a destruição do Templo de Jerusalém, que seria concluída no ano 70 d.C., acontecimento que foi considerado a realização de uma das profecias de Jesus Cristo.
Vê-se esculpido no arco: a mesa do pão ázimo, as trombetas de prata e a Menorá, o candelabro de 7 braços, símbolos do judaísmo. Inteiramente em mármore, o Arco de Tito é o mais célebre de Roma. Situa-se no Fórum Romano e foi construído em 81 d.C., medindo 15,4 m de altura, 13,5m de largura e 4,75 de profundidade.
Nele consta a seguinte inscrição:
SENATVS
POPVLVSQVE·ROMANVS
DIVO·TITO·DIVI·VESPASIANI·F(ILIO)
VESPASIANO·AVGVSTO
Isto é: "O Senado e o povo romano [dedicam] ao divino Tito Vespasiano Augusto, filho do divino Vespasiano".
Os judeus, de Roma ou de qualquer lugar, nunca passaram embaixo do Arco de Tito, até 1948, quando o Estado de Israel foi fundado. Nesta ocasião os judeus de Roma fizeram uma grande parada e passaram embaixo do arco, comemorando a reconquista de sua terra e, claro, a sua sobrevivência ao Império Romano.
English
The Arch of Titus is a 1st-century honorific arch[1] located on the Via Sacra, Rome, just to the south-east of the Roman Forum. It was constructed in c.82 AD by the Roman Emperor Domitian shortly after the death of his older brother Titus to commemorate Titus' victories, including in the Siege of Jerusalem in 70 AD.
The Arch of Titus has provided the general model for many of the triumphal arches erected since the 16th century—perhaps most famously it is the inspiration for the 1806 Arc de Triomphe in Paris, France.
Colour relief of the South panel: "The Spoils of War", showing the triumphal procession
The arch is situated on a prominent rise, the Velian Hill, which is a low saddle between the Palatine and Esquiline Hills, just south-east of the Roman Forum. The arch itself is 13.50 metres wide, 15.40 high, and 4.75 deep while the inner archway is 8.30 metres high and 5.36 wide. It is constructed using pentelic marble, arranged in five bays to an ABA rhythm; the side bays are perpendicular to the central axial arch with a single barrel vault. The corners are articulated with a massive order of engaged columns that stand on a high ashlar basement. The capitals are Corinthian, but with prominent volutes of the Ionic order projecting laterally above the acanthus foliage—the earliest example of the composite order, combining both designs. Above the main cornice rises a high, weighty 4.40m high attic on which is a central tablet bearing the dedicatory inscription. The entablatures break forward over the columns and the wide central arch, and the profile of the column shafts transforms to square. The minor frieze on the entablature depicts a line of both military and civil officials, along with sacrificial animals. Flanking the central arch, the side bays now each contain a shallow niche-like blind aedicular window, a discreet early 19th century restoration. There are both fluted and unfluted columns, the latter being a result of 19th century restoration. The spandrels on the upper left and right of the arch contain personifications of victory as winged women. Between the spandrels is the keystone, on which there stands a female on the East side and a male on the West side.
The soffit of the axial archway is deeply coffered with a relief of the apotheosis of Titus at the center. The sculptural program also includes two panel reliefs lining the passageway within the arch. Both commemorate the joint triumph celebrated by Titus and his father Vespasian in the summer of 71.
The south panel depicts the spoils taken from the Temple in Jerusalem. The Golden Candlestick or Menorah (see [Exodus 25:31-40]) is the main focus and is carved in deep relief. Other sacred objects being carried in the triumphal procession are the Silver Trumpets and the Table of Shewbread (see [Exodus 25:23-30]). These spoils were originally gilded with gold, with the background in blue.
The north panel depicts Titus as triumphator attended by various genii and lictors, who carry fasces. A helmeted Amazonian, Valour, is leading the quadriga or four horsed chariot, in which there is Titus. He is being crowned with a laurel wreath by the winged Victory. This is significant because divinities and humans are presented in one scene, together, contrasting the panels of the Ara Pacis where they are separated.
The sculpture of the outer faces of the two great piers was lost when the Arch of Titus was incorporated in medieval defensive walls. The attic of the arch was originally crowned by more statuary, perhaps of a gilded chariot. The main inscription used to be ornamented by letters made of silver or perhaps gold or some other metal.
Wikipedia
Without Russell T Davies revival of Doctor Who, there might have never been the 9th doctor. As far as the 2005 revival, Christopher Eccleston was most people's first Doctor.
As a kid, I recall watching episodes but Christopher will be the one identified with as my Doctor. With that being said, like most people, David Tennant's 10th Doctor is my favorite Doctor. Christopher will always have a place in my heart however and I wish we could have experienced his doctor for a longer time.
Part of my Collection Shelf Monday's.
= = = = = = = = = = = = = = = = = = = = = = = = = = = =
Francisco Aragão © 2012. 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
= = = = = = = = = = = = = = = = = = = = = = = = = = = =
Visão assustadora para os leigos. Muita perícia e frieza dos pilotos !
Portuguese
O Aeroporto de Congonhas/São Paulo (IATA: CGH, ICAO: SBSP) é o segundo mais movimentado aeroporto do Brasil. Está localizado na cidade de São Paulo, no bairro de Vila Congonhas, distrito do Campo Belo, distante 8 km do marco zero da cidade.
Com uma área um pouco maior que 1,5 km², serve de acesso ao aeroporto a avenida Washington Luís, que tem ligação com as avenidas Vinte e Três de Maio e dos Bandeirantes.
Foi inaugurado em 1936, e seu primeiro vôo teve como destino a cidade do Rio de Janeiro em um aeroplano da VASP. Seu nome deve-se à região em que se situa, a antiga Vila Congonhas, de propriedade dos descendentes de Lucas Antônio Monteiro de Barros, visconde de Congonhas do Campo, presidente da província de São Paulo durante período imperial. É o 96º Aeroporto mais movimentado do Mundo, e já foi o aeroporto com maior tráfego de passageiros do Brasil, até a ocorrência do acidente com o Vôo TAM 3054 em julho de 2007.
English
Congonhas/São Paulo Airport or Congonhas Airport (IATA: CGH, ICAO: SBSP) is one of São Paulo's three commercial airports, situated 8 kilometers (5 miles) from the city center at Washington Luís Avenue, in Campo Belo district. It is owned by the City of São Paulo and managed by Infraero. In 2008, it was the 2nd busiest airport in Brazil both in terms of passenger traffic and aircraft movements, handling 186,694 aircraft movements and 13,672,301 passengers [3].The airport's name came from a plant that used to be common in the area where the airport was built. The airport was initially planned in 1919, but it did not open until September 12, 1936. At that time, it was the private airport of VASP, built as an alternative to Campo de Marte, which, already at that time, had operational difficulties. By 1957, the airport was the third busiest in the world for cargo and freight. The passenger terminal's central hall is considered one of the most outstanding examples of modern architecture in São Paulo. However, modernizing and enlargement works conducted at the terminal from 2003 onwards, while trying to preserve the look of the older, historic section, still made the latter lose much of its former character.
Congonhas Airport is the main hub of Brazil's largest airlines: TAM and Gol.
This week's 52 was going to be any number of other shots, but this one won out as I have too much to do!
This is without a doubt one of the most amazing looking insects I have photographed to this point. Obviously, this is a Robber Fly (Asilidae), but I can't seem to locate a picture of any Robber Fly that looks remotely similar! I suspect that this individual may still have been teneral, both because it is so shiny and because it didn't move at all while I photographed it - so maybe it was still "drying out"? Any ID help would be quite welcomed!
EDIT: Think I found it on BugGuide... Maybe Tipulogaster glabrata? (You can't make-up these names!)
Full body shots will be posted tomorrow, and linked in the comments below. I estimate the total body length of this fly was roughly around 20-30mm.
Observed at Parc-nature de la Pointe-aux-Prairies, in Montréal, Québec, Canada.
Pentax D-FA 100mm F/2.8 Macro plus Raynox DCR-250 with off-camera Yongnuo YN-560 III. I don't think this was quite at MFD, though certainly still above 1:1. Crop to 16:10 aspect ratio conserving most of the width of the original frame.
IMPORTANT:
If you would like to use this photo in a way that is appropriate under its Creative Commons license, you are welcome to do so, but please make sure to credit me by my real name and Flickr handle, and please also include a link to the Flickr page of the photo, as well as a link to the relevant Creative Commons license text. I have put examples of proper attribution on my profile page. Optionally, you may also send me a little note about your use... :)
For any other type of use, please contact me to properly license this image.
Thank you!
(IMGP2320_Cr16b10_Etc)
without editing
:)
Model: lil sweet boy
Taken by: ME
Location: AfaMosa, in Malaysia
.........
salamaaaat 7abebtii © Silent Heart
ma tshoofen shr :**
Please don’t use any of my images on websites, blogs or other media without my explicit permission.
© All rights reserved.
The history of Elliston is not complete without reference to the Elliston Massacre of 1849. The first white people to traverse this region and come into contact with the local Aboriginal people were the men who comprised the exploration party of Edward John Eyre in 1839. Eyre’s account of the Peninsula with no rivers and not a lot of fresh water and Mallee scrub everywhere deterred even the pastoralists for many years. Only a few ventured beyond the Port Lincoln area in the 1840s and even into the 1850s. But some did and conflict with the local Aboriginal people resulted. Dr William Browne of the Booborowie run and others took out a pastoral lease for Talia station in the Lake Newland region in the late 1840s. He employed two brothers named Hamp to manage the station and he employed them as shepherds. According to legends and reports one Hamp brother was murdered by Aboriginal people on 23 June 1848 after several months of skirmishes and conflict. A neighbouring shepherd visited the hut and found it had been rifled and the body of John Hamp was lying a few yards from the hut. He reported the finding to his manager who just happened to be entertaining the local police trooper who had visited a ship wreck on the coast. Trooper Driver (and Resident Commissioner) inspected the hut and noticed that John Hamp had been waddied to death and his skull partly sawn in two by a hand saw. Aboriginal tracks were evident and followed by Police trooper Driver and the manager of the station for a day before they were lost. When the Resident (Commissioner) of Port Lincoln wrote his report in July he was critical of the Police for wasting time by trying to track the Aborigines when they should have returned to report the incident in Port Lincoln. Two Aboriginal men were apprehended and tried by the Resident of Port Lincoln one year later before being tried in the Supreme Court of South Australia where the sentence was upheld. They were sentenced to death but given a reprieve by Governor Young.
But following the trial the Resident of Port Lincoln recommended that police stations be established at Lake Hamilton and Franklin Harbour(Cowell). But the murder of Hamp was not the end of conflict. In August the Aboriginals attacked the area of Hamp’s hut again and one shepherd was speared and one Aboriginal shot. Another report followed and the police troopers and other station hands went out on a punitive trip but with no reported incidents emerging. Perhaps this is where the story of the “Elliston Massacre” emerged but not according to later government reports. Following two murders of white settlers in May of 1849 Inspector Tolmer (later the Police Commissioner) gathered a party of men and riders together to search for the culprits of these murders. They found four Aborigines who were suspected of being responsible for the two murders in May of 1849 and of John Hamp in June of 1848. They were tried in the Supreme Court of South Australia and convicted but given a reprieve from the death sentence. There was no official or police attempt to round up groups of Aboriginal people and drive them to their death but stories of a massacre emerged. The area that was named Waterloo Bay in 1865 was a popular camping spot for Aboriginal people in the 1840s. Aboriginal oral traditions tell of a massacre of a number of people in 1849 when white men tried to round up Aboriginal people accused of crimes. The Aboriginals’ story goes that the white expedition party found Aboriginal people near a lake south of what is now Elliston. As the Aboriginal people fled some were followed through the scrub towards the coast. Shots were fired and several Aboriginal people were killed. When the white horsemen reached the top of the cliffs the group they were following had disappeared. It was presumed that some Aboriginal people had jumped 150 feet to their deaths into the ocean. There were no official reports on this expedition which is unusual to say the least for 1849 when all incidents with Aboriginal people were reported to the police, the Resident of Port Lincoln and/or the Protector of Aborigines in Adelaide. In fact the Protector of Aborigines Mr Moorhouse travelled to Port Lincoln to hear abolut the search for the murderers first hand in June 1849. Perhaps some Aboriginal people had heard stories of Police Inspector Tolmer and his party looking for murderers and translated that into a major punitive expedition with drastic results for a large group of people. The government was always assiduous about protecting the legal rights of Aborigines even if they did not treat them well. But the lack of any government or official report does not mean that such a punitive expedition by white men did not occur but there is no way that it would have been Inspector Tolmer’s party. A local pastoralist of Lake Newland Mr Horne also led a punitive expedition against Aboriginal people in 1849 and this incident is more likely to have been the basis of the coastal Elliston Massacre. The first written report of an Elliston Massacre appeared in an Adelaide newspaper in 1880 with the story presented by someone who only gave their initials. Since then it has been repeated many times but with little real evidence to support the existence of a massacre. But whether or not a massacre occurred there were certainly numerous incidents of conflict between white settlers and Aboriginal people but they were usually reported to the police and investigated by the authorities. Deaths occurred among white settlers and Aboriginal people before violence subsided after the Hamp and other murder trails of 1849. The number of Aboriginal people killed is impossible to enumerate precisely. In 2018 the Elliston community erected a monument to the massacre so that it will never be forgotten by present day Australians.
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.
Without leaps of imagination,
or dreaming,
we lose the excitement
of possibilities.
Dreaming, after all,
is a form of planning.
~ Gloria Steinem ~
Hasselblad 503 CW with Digital Back Hasselblad CFV-50. Lens Carl Zeiss Distagon 4/50 mm CFI
© Luís Campillo 2012
www.hasselblad.com/hoc/photographers/luis-campillo.aspx
www.facebook.com/pages/Lu%C3%ADs-Campillo-Editorial-Artis...
PGB Photographer & Creative - © Philip Romeyn - Phillostar Gone Ballistic 2020 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
without tourists
© 2016 Frawolf77 - Alle Rechte vorbehalten
Beachten Sie:
Ohne ausdrückliche Erlaubnis mit ensprechender Lizenz darf
diese Fotografie nicht kopiert, vervielfältigt, veröffentlicht oder verbreitet werden. Dies trifft auf jegliche Medien (Webpräsenzen, Webforen, Soziale Medien, Printmedien) zu.
Important!:
© 2016 Frawolf77 - All rights reserved.
Note and respect the Copyright!
NOTE:
This image may NOT! be copied, reproduced, published or distributed in ANY! medium without the expressed written PERMISSION of the copyright holder!
A barber once told me he liked girls with tattoos because "it showed they were willing to make snap decisions they would be sorry for later." You be the judge. It does strike me that since fashions change all the time and tattoos are permanent that there is a bit of a disconnect. Your body. Do what you want.
Hybrid SDXL:Photoshop 25
Without photoshop
Oman is home to an impressive number of species of birds that vary from residents, that stay all year around, to breeding birds, that spend a good part of the growing season in Oman to raise their young, migrants who pass through Oman with the seasons, to wintering birds who like to spend a good part of the winter in Oman to escape colder conditions up north. While many species of birds are relatively common as they are part of the ecosystems of the state, it is always a thrill to stumble upon a rare bird or vagrant, that does not really form part of any the Oman ecosystems. Maybe it got lost during its travels between its summer and winter residence or it got displaced by bad weather
© Photo by Tasos Tsoukalas
www.facebook.com/pages/Tasos-Tsoukalas-Photography-/29358...
email : t.tsoukalas1978@yahoo.com
PGB Photographer & Creative - © Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
= = = = = = = = = = = = = = = = = = = = = = = = = = = =
Francisco Aragão © 2015. All Rights Reserved.
Use without permission is illegal.
= = = = = = = = = = = = = = = = = = = = = = = = = = = =[fasub]
Portuguese
Uberaba é um município do estado de Minas Gerais, no Brasil. Localiza-se na região do Triângulo Mineiro, pertence à Mesorregião do Triângulo Mineiro e Alto Paranaíba e à microrregião de mesmo nome. Sua população em julho de 2013, segundo a estimativa do Instituto Brasileiro de Geografia e Estatística, era de 318.813 habitantes, a oitava mais populosa do estado e a 82ª mais populosa do Brasil, contando com mais de 175 bairros e um crescimento populacional de aproximadamente 3 000 habitantes por ano. É considerada uma cidade-polo e seu produto interno bruto é o 72° maior do Brasil . Tal infraestrutura abriga a Universidade Federal do Triângulo Mineiro (UFTM), um pólo educacional que está entre as melhores universidades do país.
English
Uberaba is a municipality in the west of the state of Minas Gerais in Brazil. Its population is 302,623 (2012) with an area of 4529.7 km², giving a density of 60.71 people per km². It is located on a plateau at an elevation of 823 meters and is in the Uberaba River floodplain. It became a city in 1856.
Uberaba is also a statistical micro-region including 07 municipalities: Água Comprida, Campo Florido, Conceição das Alagoas, Conquista, Delta, Uberaba, and Veríssimo. In 2007 the population was 370,645 inhabitants in a total area of 9,392.60 km². The population density was 30.62 inhab/km² (2000).
The town was founded in 1820 by the seargeant ("sargento-mor") Antônio Eustáquio da Silva e Oliveira. The name was taken from the brazilian native language, Tupi and means "bright water". It was classified as indigenous territory on February 1811 and then as a freguesia on March 2, 1820 with the name of Santo Antônio e São Sebastião do Uberaba. Uberaba became a city on February 22, 1836.
The region known as Triângulo Mineiro, where Uberaba is located, was part of Goiás until 1816, when it became part of Minas Gerais.
The district of Peirópolis, located 19 km from the city's center, is an important Cretaceous paleontological site, first studied by the brazilian paleontologist Llewellyn Price.
The city is also famous in Brazil for having been the home of Chico Xavier, a respected and popular medium.
Spanish
Uberaba es un municipio brasileño del estado de Minas Gerais, localizado a una latitud de 19° 44' 52" Sur y a una longitud de 47° 55' 55" Oeste en la región del triángulo Mineiro. Tiene una población de 285.094 habitantes (estimativas IBGE/2006), en una superficie de 4.512 km², lo que da una densidad demográfica de 63,2 hab./km².
En las zonas rurales, fueron encontrados fósiles de animales prehistóricos, que se pueden encontrar en el Museo de Peirópolis, dentro de la ciudad.
Wikipedia
without her. we have had a weekend alone which has been great and needed, but i cannot wait to go get her today and hug her. it has only been a day and a half but my heart misses her.
= = = = = = = = = = = = = = = = = = = = = = = = = = = =
Francisco Aragão © 2012. 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
= = = = = = = = = = = = = = = = = = = = = = = = = = = =
"SAO LUIS DO MARANHAO - 400 ANOS"
Portuguese
São Luís é um município brasileiro, capital do estado do Maranhão localizado ao norte do estado, fundada por franceses no dia 8 de setembro de 1612 posteriormente, foi invadida por holandeses mas terminou por ser colonizada por portugueses. Localiza-se em uma ilha Upaon-Açu, no Atlântico Sul, entre as baías de São Marcos e São José de Ribamar. Quando em 1621 o Brasil foi dividido em duas unidades administrativas - Estado do Maranhão e Estado do Brasil - São Luís foi a capital da primeira unidade administrativa.
A capital maranhense tem um desenvolvido setor industrial por conta de grandes corporações e empresas de diversos áreas que se instalaram na cidade pela sua privilegiada posição geográfica entre as regiões Norte e Nordeste do país, seu litoral estrategicamente localizado bem mais próximo de grandes centros importadores de produtos brasileiras como Europa e EUA que permite economia de combustíveis e redução no prazo de entrega de mercadorias provenientes do Brasil pelo Porto de Itaqui que é o 2º mais profundo do mundo e um dos mais movimentados, sofisticados e bem estruturados para o comércio exterior no Brasil. Tudo isso aliado a ligação por linha férrea da capital São Luís ao interior do estado, e aos estados vizinhos do Pará, Tocantins e Piauí o que facilita e barateia a escoação agrícola vinda do interior do país para o porto de Itaqui, sendo que com a conclusão de Ferrovia Norte-Sul a cidade vai estar interligada a todas as regiões brasileiras (NO, NE, CO, SE e S) por ferrovias, por rodovia a ilha já é servida pela BR-135 que a liga ao continente, e por ar conta com o Aeroporto Internacional Marechal Cunha Machado com capacidade de atender mais de um milhão de passageiros por ano, e que já opera com demanda quase saturada pelo movimento intenso de passageiros não somente da cidade de São Luís mais também por servir como porta de entrada por ser o maior e mais movimentado aeroporto próximo ao Parque Nacional dos Lençóis Maranhenses.
O clima em São Luís é geralmente quente e abafado, tropical e semi-úmido. Isso se deve ao fato da cidade esta localizada proxima a Zona de Convergência Intertropical (ZCIT). A cidade apresenta grande quantidade de coqueiros e muita vegetação litorânea. A também pedaços da Floresta Amazônica na cidade protegidas por Parques Ambientais. Pequenos rios nascem na cidade, o Rio Bacanga é um dos mais importantes pois é muito util para a pesca.
Em 2010 o Instituto Brasileiro de Geografia e Estatística (IBGE) contou a população em 1,027,098 o que a torna o décimo-quinto município mais populoso do Brasil entre os 5 565 municípios brasileiros, 13° entre as capitais, 4º da região Nordeste e 1° do Maranhão. Sua área é de 831,7 Km², e desse total 157,5656 Km² estão em perímetro urbano. O município faz parte da Mesorregião do Norte Maranhense e Microrregião da Aglomeração Urbana de São Luís localizada a norte do estado do Maranhão. O Índice de Desenvolvimento Humano do municipio é de 0.778, alto comparado ao IDH do Maranhão.
English
São Luís (Portuguese pronunciation: [sɐ̃w luˈis], Saint Louis) is the capital of the Brazilian state of Maranhão. The city is located on São Luís island in the Baía de São Marcos (St Marcus Bay), an extension of the Atlantic Ocean which forms the estuary of Pindaré, Mearim, Itapecuru and other rivers. Its coordinates are 2.53° south, 44.30° west. The city proper has a population of some 986,826 people (2008 IBGE estimate). The metropolitan area totals 1,227,659 (ranked as the 16th largest in Brazil).
São Luís is the only Brazilian state capital founded by France (see France Équinoxiale) and it is one of the three Brazilian state capitals located on islands (the others are Vitória and Florianópolis).
The city has two major sea ports: Ponta da Madeira and Porto do Itaqui, through which a substantial part of Brazil's iron ore, originating from the (pre)-Amazon region, is exported. The city's main industries are metallurgical with Alumar, and Vale do Rio Doce. São Luís is home of the Federal University of Maranhão.
São Luís was the home town of famous Brazilian samba singer Alcione, Brazilian writers Aluísio Azevedo, Ferreira Gullar and Josué Montello, Belgian-naturalised soccer player Luís Oliveira, the musician João do Vale and Zeca Baleiro, a Música Popular Brasileira (MPB) singer.
Originally the town was a large village of the Tupinambá tribe. The first Europeans to see it were the French, in 1612, who intended to make it the centre of a French colony named Equinoctial France. They built a fort named Saint Louis after St Louis, King of France, as a compliment to his successor King Louis XIII. The settlement was conquered for Portugal by Jerônimo de Albuquerque in 1615, when it was renamed São Luís. There had been little time for the French to build a city. This has led to some controversy as to the actual date of the founding of the city, whether by the French or the Portuguese. In 1641, the city was invaded by the Dutch. They stayed until 1645 and did not manage to influence the city's architecture or to leave any sign of their invasion, mainly because they were kept too busy with the challenges to their occupation. In 1677, the city was made the seat of the new Roman Catholic Diocese of São Luís do Maranhão.
Only when those invasions ceased permanently did the colonial government decide to create the state of Grão-Pará e Maranhão, independent from the rest of the country. By that time, the economy was based on agriculture, particularly the exportation of sugar cane, cacao and tobacco. Conflicts amongst the local elites would lead to the Beckman's Revolt.
Soon after the outbreak of the American Civil War, the region started to provide cotton to Great Britain. The wealth generated by this activity was used to modernize the city; to bring religious men to come and teach in its schools; and supplement the water supply. The city came to be the third most populous city in the country. By the end of the 19th century, agriculture was in decay and since then the city's population has been searching for other ways to make a living.
Nowadays, São Luís has the largest and best preserved heritage of colonial Portuguese architecture of all Latin America. The island is known as the "Island of Love" and as "the Brazilian Athens", due to its many poets and writers, such as Sotero dos Reis, Aluísio Azevedo, Graça Aranha, Gonçalves Dias (the most famous), Ferreira Gullar, among others.
The ancestral composition of São Luís, according to an autosomal DNA study, is 42% European, 39% Native American and 19% African.
Portuguese is the official national language, and thus the primary language taught in schools. But English and Spanish are part of the official high school curriculum.
Wikipedia
Do not use without permission!
Disney Twitter: twitter.com/ThatDisneyLover
Photography Twitter: twitter.com/LJK_Photography
Youtube: www.youtube.com/user/PixelPixie123
Personal Instagram: www.instagram.com/thatdisneylover/
Photography Instagram: www.instagram.com/ljknightonphotography/
If any performers, characters or cast members that would like photos for personal or portfolio reasons, you may have any photo of themselves for a higher resolution or with a smaller watermark. Please either contact me through Twitter.