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Uno dei modi per ottenere la consapevolezza di star sognando è quello di andare a verificare se l'ambiente che ci circonda è reale od onirico, ovvero svolgere un test di realtà. Va detto che nel momento in cui un soggetto avverte il bisogno di effettuare un test di realtà, il dubbio stesso, se ciò che vede o sente sia o no reale è di per sé un test di realtà, (in stato di veglia non ci chiediamo ragionevolmente se stiamo sognando oppure no) comunque, a conferma, tale operazione consiste nella volontaria ricerca di alcuni dettagli che contraddistinguano univocamente il mondo onirico
Nei sogni l'ora su un orologio digitale non rimane la stessa se la si legge più volte di seguito. Stranamente questo fenomeno non si ha con gli orologi analogici (a lancette). Una spiegazione potrebbe essere che per leggere dei numerali lo sforzo mentale è maggiore (si devono mettere in serie dei simboli, come per la lettura), mentre per interpretare la posizione delle lancette è sufficiente riconoscere una forma geometrica, attività maggiormente legata alla vista.
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The full portfolio available from Stock photography by Tim Large at Alamy
Photographer:- Tim Large
Location:- Crychan Forest, Wales, UK.
©Timlarge
And forget not that the earth delights to feel your bare feet and the winds long to play with your hair.
~Khalil Gibran
© all images copyright of Karen Wyatt and any use without permission is illegal
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.
Firstly without being big headed I would like to say I think I did well. Considering that today was the first time I have tried these type of shots. The rock in the foreground was plain so I took a leaf off a plant nearby and put it in front to make it look more appealing.
Critics?
PGB Photographer & Creative - © 2023 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
Without tax since September 2012.
Sometimes a 'modern' abandoned car can be more interesting than an older one, although at 20 years old I'm not sure where to draw the line with this one.
124k at its MOT in September 2011, there's quite a few advisories and fails in its history.
The 2006 test have a slightly amusing Advisory Notes of:
"Advisory Notices
Screen is chipped ???blades are torn ???front struts top mounts are worn ???rear hubs, bushs are worn".
Without any digital camera.
Sans appareil photo numérique.
Ohne Digitalkamera.
kwerfeldein.de/2015/03/21/namibia-entschleunigt-ein-reise...
One Day Without Shoes is a worldwide day to bring global awareness to children's health and education by going without shoes. Initiated by TOMS shoes.Copyright: Lindsey Drury
Hope you are all having a good weekend. Apparently you cant visit Zante without visiting this Beach. Who can resist this view.
The Smugglers Cove (Shipwreck) is one of the most famous beaches in Greece and of course, Zakynthos island’s best sight! Until the first years of 80’s it was just a magnificent quiet, sandy beach, but since 1982 it has evolved to one of the major tourist attractions of Greece and a must see place for every Zante island visitor.
The ship which lies on this beautiful beach is called “Panagiotis”. In 1982, “Panagiotis” was smuggling a large quantity of cigarettes when it was observed by a customs patrol. It managed to outrun the patrol boat but was eventually cornered on the North West coast of Zante in dreadful storm conditions. Its captain determined that the customs should not gain his prize, realized all was lost and decided to scuttle the ship. “Panagiotis” was carried onto the rocks in the fierce storm and finally, it was washed ashore.
Since that day, the Shipwreck Beaches fame grew increasingly and today, thousands of tourists from all around the world visit the Smugglers Cove to admire this unusual spectacle.
without wings
The greebling on the side is the one from the v1. The instructions are for the v1.2 and it's the only external difference.
© All rights are reserved, please do not use my photos and videos without my permission. Don't use it on websites, blogs and other media sources!
A haunting face,
filled with life...
eyes very still
like a clear lake
at midnight...
No matter what life
brings to him,
power and strength
walk with him...
and he lives on,
content,
peaceful.
majestic.
The desert man,
a life well lived
.... without regrets.
Originally Created for the GhostWorks challenge #7 - Devil's Parchment. (Sadly, the voting had already started.)
Texture for the challenge from SkeletalMess. Thank you!
Awesome image from ZEDZAP - Nick, used with permission. Thank you!
Shadow of Demarcation, from NASA Multimedia Page.
Texture: Temari Comet, mine.
(Edited 4-1-10)
PGB Photographer & Creative - © 2023 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
Opera Without Singing
Boston Pops Orchestra conducted by Arthur Fiedler
RCA Victor Red Seal Records/USA (1956)
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© Copyright 2014 Francisco Aragão. All Rights Reserved.
Use without permission is illegal.
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Portuguese
Sede do Poder Legislativo Federal, é uma das obras mais conhecidas de Oscar Niemeyer (1907-2012), projetada em 1958 e inspirada em esboço de Lúcio Costa (1902-1998).
São marcantes a cúpula invertida sobre o plenário da Câmara dos Deputados e a cúpula sobre o plenário do Senado Federal, com cálculo estrutural de Joaquim Cardozo (1897-1978).
As torres, as mais altas do Plano Piloto, têm 28 pavimentos e posição assimétrica para equilibar os volumes diferentes das duas cúpulas. Sua inauguração em 21 de abril de 1960 marcou a tranferência da Capital Federal para o Planalto Central.
English
National Congress Palace
Seat of the federal legislature, it ranks among Oscar Niemeyer (1907-2012) most famous works. Designed in 1958 after a sketch by Lucio Costa (1902-1998), it's hallmarks are the inverted dome over the House of Representatives and the dome over the Snate, dimensioned by Joaquim Cardozo (1897-1978). The 28-story towers, the tallest in the Pilot Plan, are asymmetrically placed to balance the different volumes of the domes. It's inaguration on April 21st, 1960, marked the transfer of the nation's capital to the Central highlands.
Spanish
Palacio del Congreso Nacional
Sede del poder Legislativo Federal es una de las obras de Oscar Niemeyer (1907-2012) más conocidas. Proyecto de 1958 inspirado en un esbozo de Lucio Costa (1902-1998), destacan la cúpula invertida sobre el Senado Federal, calculadas por Joaquim Cardozo (1897-1978). Las torres, las más altas del Plano Piloto, tienen 28 plantas y están dispuestas de forma asimétrica para equilibrar los diferentes cuerpos de los dos plenos. Su inauguración, el 21 de Abril de 1960 marcó la transferencia de la capital federal para el Altiplano Central.
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Photographer:- Tim Large
purpleport.com/portfolio/timlarge/
Location:- Cheddar, Somerset, England, UK.
©TimLarge
Test D750 high ISO value without tripod "90% of subjects are derierre windows" The representation of the animal in ancient Egipte Temporary Expostion New Louvre in Lens "France Nord pas de Calais"
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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.
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Portuguese
Crucificação ou crucifixão foi um método de execução cruel utilizado na Antiguidade e comum tanto em Roma quanto em Cartago. Abolido no século IV, por Constantino, consistia em torturar o condenado e obrigá-lo a levar até o local do suplício a barra horizontal da cruz, onde já se encontrava a parte vertical cravada no chão. De braços abertos, o condenado era pregado na madeira pelos pulsos e pelos pés e morria, depois de horas de exaustão, por asfixia e parada cardíaca (a cabeça pendida sobre o peito dificultava sobremodo a respiração).
Crê-se que foi criado na Pérsia, sendo trazido no tempo de Alexandre para o Ocidente, sendo então copiado dos cartagineses pelos itálicos. Neste ato combinavam-se os elementos de vergonha e tortura, e por isso o processo de crucificação era olhado com profundo horror. O castigo da crucificação começava com flagelação, depois do criminoso ter sido despojado de suas vestes. No azorrague os soldados fixavam os pregos, pedaços de ossos, e coisas semelhantes, podendo a tortura do açoitamento ser tão forte que às vezes o flagelado morria em consequência do açoite.O flagelo era cometido ao réu estando este preso a uma coluna.
No ato de crucificação a vítima era pendurada de braços abertos em uma cruz de madeira, amarrada ou, raramente, presa a ela por pregos perfurantes nos punhos e pés. O peso das pernas sobrecarregava a musculatura abdominal que, cansada, tornava-se incapaz de manter a respiração, levando à morte por asfixia. Para abreviar a morte os torturadores às vezes fraturavam as pernas do condenado, removendo totalmente sua capacidade de sustentação, acelerando o processo que levava à morte. Mas era mais comum a colocação de "bancos" no crucifixo, que foi erroneamente interpretado como um pedestal. Essa prática fazia com que a vítima vivesse por mais tempo. Nos momentos que precedem a morte, falar ou gritar exigia um enorme esforço.
O termo vem do Latim crucifixio ("fixar a uma cruz", do prefixo cruci-, de crux ("cruz"), + verbo figere, "fixar ou prender".)
A crucificação de Jesus de Nazaré
O método da crucificação adquiriu grande importância para o Cristianismo, já que de acordo com os cristãos Jesus de Nazaré havia sido entregue pelos judeus aos romanos para crucificação.
No caso de Jesus parece ter sido esse castigo feito de modo severo, antes da sentença final, considerando os castigos impetrados pelo sinédrio e posteriormente pela corte romana local na pessoa de Pôncio Pilatos. Segundo a bíblia, nesse ato foi colocado um pedaço de madeira sobre a cabeça do réu (Mt 27.37; Mc 15.26; Lc 23.38; Jo 19.19), com uma inscrição de poucas palavras que exprimiam o crime: INRI, ou Iesus Nazarenus Rex Ioderum, ou Jesus de Nazaré, Rei dos Judeus. Jesus carregou a cruz até o lugar da execução e este trajeto público e penoso é chamado de Via Crucis.
Jesus Cristo foi pregado na cruz, mas por vezes o condenado era apenas atado a esse instrumento de suplício, visto que o tempo de agonia do criminoso era extraordinariamente prolongado. Entre os judeus, algumas vezes o corpo de criminosos era pendurado numa árvore; mas não podia ficar ali durante a noite porque era "maldito de Deus" e contaminaria a terra.
Diversos outros cristãos também foram crucificados, entre eles Pedro, que segundo registros históricos, teria sido crucificado de cabeça para baixo.
De acordo com a tradição judaica, Jesus de Nazaré não teria sido crucificado pelos romanos, mas sim teria sido um religioso anterior chamado Jesus Ben Pantera declarado herege pelo Sinédrio, apedrejado e pendurado em uma árvore na véspera da Pessach de 88 a.C. de cuja história teria originado posteriormente o Cristianismo. Já de acordo com o Islão, a crucificação de Jesus teria sido aparente, já que Deus não permitiria um sofrimento demasiado para um justo.
São Dimas
Penitente (O Bom Ladrão)
Nascimento5 em ?
Morte33 em Jerusalém
Veneração porIgreja Católica
Festa litúrgica25 de março
"Nem ao menos temes a Deus, estando na mesma condenação? E nós, na verdade, com justiça; porque recebemos o que os nossos feitos merecem; mas este nenhum mal fez. Então disse: Jesus, lembra-te de mim, quando entrares no teu reino."
São Dimas (São Lucas 23. 39)
Portal dos Santos
O bom ladrão é um personagem sem nome, no Evangelho de Lucas. Nas tradições mais tarde, ele é chamado Dimas, Tito, ou Rakh.
No Novo Testamento
Na Bíblia o nome do bom ladrão não aparece. Ele expressa a crença de que Jesus "virá no reino de Deus", e ele pede que, nesse dia, Jesus vai se lembrar dele:
“«Então um dos malfeitores que estavam pendurados, blasfemava dele, dizendo: Não és tu o Cristo? salva-te a ti mesmo e a nós. 40 Respondendo, porém, o outro, repreendia-o, dizendo: Nem ao menos temes a Deus, estando na mesma condenação? 41 E nós, na verdade, com justiça; porque recebemos o que os nossos feitos merecem; mas este nenhum mal fez. 42 Então disse: Jesus, lembra-te de mim, quando entrares no teu reino. 43 Respondeu-lhe Jesus: Em verdade te digo que hoje estarás comigo no paraíso.» (Lucas 23:39)”
A pontuação e tradução de manuscritos antigos variam no versículo 43. A maioria dos manuscritos tem "...te digo; hoje...".
Nos evangelhos apócrifos
Na versão grega do pseudo-epígrafo Evangelho de Nicodemos (apócrifo, do século IV), o nome aparece pela primeira vez. Na versão latina do Evangelho de Nicodemos, também conhecida como Atos de Pilatos, o nome do segundo ladrão também é dado - Gestas. No Evangelho Árabe da Infância de Jesus (apócrifo, do século VI), o bebê Jesus encontra os dois ladrões, Tito e Dumachus, e prevê que, depois de trinta anos eles serão crucificados com ele. Na tradição da Igreja Ortodoxa Russa o nome do bom ladrão é Rakh.
Na tradição católica
A igreja fala pouco de Dimas ou São Dimas, considerado o Bom Ladrão do estado.
Pela tradição cristã, São Dimas é o protetor dos pobres agonizantes, sobretudo daqueles cuja conversão na última hora parece mais difícil. Entregam a São Dimas a proteção das casas e propriedades contra os ladrões. Invocam-no nas causas difíceis, sobretudo nos negócios financeiros, para a conversão e emenda dos bêbados, dos jogadores e ladrões. É protetor dos presos e das penitenciárias, dos carroceiros e condutores de veículos. A Igreja Católica celebra dia 25 de março como dia de São Dimas.
Na cultura popular
Racionais MC's: Dimas é mencionado com freqüência pelo grupo de rap paulista Racionais MC's, como sendo o primeiro "vida loka" da História. Sua figura é reverenciada como a de um fora-da-lei arrependido. Na música Vida Loka II, do álbum Nada Como Um Dia Após O Outro Dia, Dimas é citado na seguinte passagem:
Aos 45 do segundo arrependido/ salvo e perdoado/ é Dimas, o bandido
É loco o bagulho/ Arrepia na hora/ DIMAS, primeiro vida loka da história
English
Crucifixion is an ancient method of deliberately painful execution in which the condemned person is tied or nailed to a large wooden cross and left to hang until dead.
Crucifixion was in use at a comparatively high rate among the Seleucids, Carthaginians, and Romans from about the 6th century BC to the 4th century AD. In the year 337, Emperor Constantine I abolished it in the Roman Empire out of veneration for Jesus Christ, the most famous victim of crucifixion. It was also used as a form of execution in Japan for criminals, inflicted also on some Christians.
A crucifix (an image of Christ crucified on a cross) is the main religious symbol for Catholics, Eastern Orthodox and Oriental Orthodox, but most Protestant Christians prefer to use a cross without the figure (the "corpus": Latin for "body") of Christ. Most crucifixes portray Jesus on a Latin cross, rather than any other shape, such as a Tau cross or a Greek cross.
Ancient Greek has two verbs for crucify: ana-stauro (ἀνασταυρόω), from stauros, "stake", and apo-tumpanizo (ἀποτυμπανίζω) "crucify on a plank." together with anaskolopizo (ἀνασκολοπίζω "impale"). In earlier pre-Roman Greek texts anastauro usually means "impale." The word xylon "piece of wood" was also used, but for a gallows, not a stake, as in the Aristophanes comedy The Frogs; "if you stumble, at least you'll hang from a respectable tree."
The Latin term crux may mean a gallowsor a stake.
The English term crucifix derives from the Latin crucifixus or cruci fixus, past participle passive of crucifigere or cruci figere, meaning "to crucify" or "to fix to a cross".
Crucifixion was often performed to terrorize and dissuade its witnesses from perpetrating particularly heinous crimes. Victims were left on display after death as warnings to others who might attempt dissent. Crucifixion was usually intended to provide a death that was particularly slow, painful (hence the term excruciating, literally "out of crucifying"), gruesome, humiliating, and public, using whatever means were most expedient for that goal. Crucifixion methods varied considerably with location and time period.
The Greek and Latin words corresponding to "crucifixion" applied to many different forms of painful execution, from impaling on a stake to affixing to a tree, to an upright pole (a crux simplex) or to a combination of an upright (in Latin, stipes) and a crossbeam (in Latin, patibulum).
In some cases, the condemned was forced to carry the crossbeam on his shoulders to the place of execution. A whole cross would weigh well over 300 pounds (135 kg), but the crossbeam would not be quite as burdensome, weighing around 75–125 pounds (35–60 kg).[citation needed] The Roman historian Tacitus records that the city of Rome had a specific place for carrying out executions, situated outside the Esquiline Gate, and had a specific area reserved for the execution of slaves by crucifixion. Upright posts would presumably be fixed permanently in that place, and the crossbeam, with the condemned person perhaps already nailed to it, would then be attached to the post.
The person executed may have been attached to the cross by rope, though nails are mentioned in a passage by the Judean historian Josephus, where he states that at the Siege of Jerusalem (70), "the soldiers out of rage and hatred, nailed those they caught, one after one way, and another after another, to the crosses, by way of jest." Objects used in the crucifixion of criminals, such as nails, were sought as amulets with perceived medicinal qualities.
While a crucifixion was an execution, it was also a humiliation, by making the condemned as vulnerable as possible. Although artists have depicted the figure on a cross with a loin cloth or a covering of the genitals, writings by Seneca the Younger suggest that victims were crucified completely nude. When the victim had to urinate or defecate, they had to do so in the open, in view of passers-by, resulting in discomfort and the attraction of insects. Despite its frequent use by the Romans, the horrors of crucifixion did not escape mention by some of their eminent orators. Cicero for example, described crucifixion as "a most cruel and disgusting punishment", and suggested that "the very mention of the cross should be far removed not only from a Roman citizen’s body, but from his mind, his eyes, his ears."
Frequently, the legs of the person executed were broken or shattered with an iron club, an act called crurifragium, which was also frequently applied without crucifixion to slaves. This act hastened the death of the person but was also meant to deter those who observed the crucifixion from committing offenses.
Wikipedia
VWH2336 LK17DAA seen standing at Heathrow Central about to prepare a service on route 105 towards Greenford.
This bus is loaned from Willesden, as you can see the AC code on the bus. It's not fitted with the safety system that is used on Oxford Street.
Three nights without sleep, three miserable hot days, trying to catch some sleep -- if there was one positive from a trip to Death Valley, it was the photos !
Seen here is a star circle taken at Racetrack Playa, Death Valley.
Racetrack Playa is a dry, ancient lake bed, deep inside Death Valley National Park. The specialty of this place are the moving rocks, which mysteriously move across the dry lake bed, creating trails. The place is pretty remote. The easiest way in is via a rough, unpaved route from Ubehebe crater, which is notorious for causing tire punctures. Its totally worth the trip though!
Camera - Nikon D300
Lens - Tokina 11-16mm f2.8
Yashica Mat 124 G, 220 Kodak Portra 400 UC ( expired), Developed in Tetenal Colortec in 41° Instead of 38.5 I have been experimenting with increasing the temperature of the developer
St Margaret, Sotterley, Suffolk
That poor Simon Jenkins. Not a day can go past without someone questioning the choices in his book England's Thousand Best Churches. But then, if you make such a claim and then miss out some which are plainly among the best, I suppose you leave yourself wide open to criticism. Here in Suffolk, he missed many peoples' favourites, but particularly three that are, for me, clearly county top twenty material: the amazing St Andrew at Westhall, grand St Mary at Redgrave, and here, St Margaret at Sotterley. Westhall has been described as Suffolk's best-kept secret, but in many ways Sotterley is more secretive, and is certainly less well-known. Indeed, some people would be surprised to learn that it has more figure brasses than any other church in Suffolk, not to mention much else of interest.
But first, you must get there. Sotterley is easily found on an Ordnance Survey map because it looks so darned curious. The roads between Beccles and Southwold swerve widely to avoid it, and it is marked as a large, round private park, about three miles in circumference. Houses scattered around the perimeter form the village, but the parkland itself is all open fields, lawns and a long ornamental lake. Near the centre of the parkland is the great house, and beside it the church of St Margaret. A private driveway reaches the house from near the turn off to Willingham, but it doesn't give access to the church except for services, and no public footpath crosses the park.
In addition, you cannot see the church from any public road, so unless you have the map or inside information, you won't even know it is there. However, just to the north of the private drive entrance, there is a gap in the hedgerow and a wooden stile. This is the start of a 'permitted access' path, a walk which is almost a mile long; it will take you across the fields and to the church.
You climb the stile, and set off across the fields. In summer and autumn you will find yourself walking through cows, but they are harmless enough. The way is marked by OS church symbols attached to trees, but they can get hidden by growth in springtime. After about a third of a mile, the path diverges rightwards down to a rickety wooden bridge across the infant River Blyth, and then into the field beyond. The path then skirts the righthand edge of a field for about a third of a mile and takes you round to another wooden bridge with sheep gates. Here, you can see the church for the first time, and across the next field, you enter the churchyard in its north-west corner.
St Margaret is a long, low building, with a tower that is at once simple and elegant. The lower stage is probably Norman, and the great rebuilding here happened unusually early for Suffolk, certainly before the Black Death.
The 18th century Hall sits immediately to the south, separated from the graveyard only by a low wall. St Margaret is a classic example of an estate church, one of few in Suffolk that retains its relationship with the Big House. The estate was the home of the Playters family until the middle of the 18th century, and it is their name you'll find all over the inside of the church. Earlier, it had been the seat of the Soterleys, and later it became the home of the Barne family, who we have already met at Dunwich. The families have been good guardians, because the building not only retains eight figure brasses and numerous other inscriptions, but some fascinating medieval glass, wonderful roof corbels, a good roodscreen (albeit completely repainted) and Suffolk's loveliest monument. All in all, it is a shame that Simon Jenkins missed it.
Although much of the fabric of the building is original, there was a substantial late 19th century restoration here, which filled the nave with middle-brow furnishings. The font is a good example of the typical 15th century East Anglian design, and there are four hatchments above the war memorial. This end of the church is little more dramatic than many other local churches, but don't miss the banner stave locker set in the wall to the west of the south door. These tall alcoves were supposedly designed for holding processional crosses and the like; there are about a dozen of them, but they are only found in the churches of the north-east of the county. Why here? Perhaps it was just a Lowestoft area thing, a need to tidy things up. What did people do elsewhere?
As you walk east, the building becomes more interesting, and once you are in the chancel it is fascinating. Here, the Soterleys and the Playters remembered themselves in brass and stone. Some of the brasses are set in the sanctuary, others in the centre of the chancel floor. There are six figure brasses, as well as numerous inscriptions. All the brasses except that on the tomb chest are covered by removable matting, but it would be easy to miss them if you did not know that they were there and did not think to investigate.
The same cannot be said for the grand 17th century monument to Sir Thomas Playters to the north of the sanctuary. It is probably the most famous in Suffolk, and I think it is the best. It was actually installed during the Commonwealth in 1658, and Mortlock says that the sculptor was Edward Marshall, who would become sculptor to the crown at the Restoration of Charles II in 1660.
Thomas Playters had died in 1638, and a brass inscription in the chancel floor remembers him. Here on the wall he is shown in the middle, with his two wives on either side, both conveniently called Anne. By Anne I he had two sons and two daughters, but Anne II bore him a jaw-dropping eighteen children. What makes the memorial so remarkable, though, is the way the 22 children are shown as weepers on the panel beneath. Instead of the usual uniform kneeling figures united in sorrow, each child is given its individual character - in short, they all look like different people, and are doing different things. Some kneel in formal prayer, but others are distracted; one turns round to chat to her sister, while others gaze out at the viewer. One poor little mite is wrapped in a blanket right near the middle of the panorama, to show that she died in infancy.
It has to be said that Sir Thomas's first family look more equal to the task of formal mourning than the second. The monument is rather hard to photograph, because the altar screen stands in front of part of it.
Stepping back through the screen, the nave is lighter than the chancel because of the two large windows either side. Presumably, they were intended to light the rood, but the one to the north is set in the closed entrance to a now-vanished transept chapel. Panels of medieval and continental glass have been set in them, surrounded by clear lozenges. Among them are a Lamb of God, Christ in Majesty, a pilgrim who may be St James, and a later Flemish Holy Trinity; God the Father sits on a throne with the crucified Christ on his lap, while a dove perches on his shoulder. It looks very unfamiliar in an English church.
There is some other good glass in the west window beneath the tower; a king with a sword walks towards a beckoning bishop, rather as if they were on their way to a chess match. I wondered if the person who set them there had imagined them to be St Paul and St Peter. Perhaps the best medieval glass in the church is behind the altar screen in the east window, so you may have missed it. Beneath the restrained Victorian saints is a reset 1470s portrait of Sir William Playters, with his sons grouped behind him, looking as if he is on holiday from the north aisle at Long Melford.
The screen, then. It is elegant and pretty in that way that only smaller screens are, but it has been heavily restored and repainted. This incurs the wrath of the likes of Cautley, but we have no way of knowing what was lost and in an case it is done here rather well. The original doors are in place, which is very unusual in this part of the county, and the cusping at the top was thought original by Mortlock. The Saints are in an early 20th century style, and are mostly easily identifiable from their symbols.
Looking through the screen, Sir Charles Nicholson's reredos is at once imposing and seemly, in that Anglican triumphalist style of between the two world wars. All that is missing is a font cover at the west end to balance it.
Love.. problably u wouldn't see this but if some day u'd can... I hope u see that I'm nothing without u... that I need u next to me, tthat without u I can't see the world... ur eyes are my light, my way to continouss..... I can't express myself if I've lost u.... I don't really can.. I just can cry, cry bleeding tears for u... because I'm feeling that I'm losing u and I can't hold that,,, and all, I can do now is... wait for these distant hope of behind me and,, THAT'S U....
COME BACK LOVE. I LOVE U, I NEED U....
Lost without your love
Lost and all alone
I always thought that I could make it on my own
Since you left I hardly make it through the day
My tears get in the way
And I need you back to stay
I wander through the night
And search the world to find
The words to make it right
All I want is just the way it used to be
With you here close to me
Ive got to make you see
That Im lost without your love
Life without you isnt worth the trouble of
Im as helpless as a ship without a wheel
A touch without a feel
I cant believe its real...
And someday soon Ill wake
And find my heart wont have to break
Yes Im lost without your love
Life without you isnt worth the trouble of
All I want is just the way it used to be
I need you here with me
Oh darlin cant you see...
If we had love before
We can have it back once more
Lord Siva said: “What cannot be acquired without great pains – the true import of Vedanta (Self-Realization) – can be attained by anyone who looks at this hill from where it is visible or even mentally thinks of it from afar.”
Arunachala Mahatmyam (Skanda Purana)
girivalam is the circumambulation of a holy object, like a temple or here, the Arunachala hill, a symbol of Brahman, the Self, Shiva or whatever name one wants to use to describe the attribute-less supreme Being. The distance is about 15 km and it is recommended to go barefoot and slow, like a "pregnant queen". The direction is clockwise. At all times of the day and night one finds people performing this age old practice.
After doing only one round I got addicted to it and proceeded to go every day for 50 consecutive days. There is an indescribable joy coming from it ...
Girvalam week
Without a bumping post it was bound to happen. The C&NW crew shoved this boxcar of cocoa beans in burlap bags a little too far on the lower spur by Kinzie.
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.
One Day Without Shoes is a worldwide day to bring global awareness to children's health and education by going without shoes. Initiated by TOMS shoes.Copyright: Lindsey Drury
What without asking whither hurried hence
and what without asking hither hurried whence?
Another and another cup to drown
the memory of this impertinence.
Of course Omar was not teetotal like me.
You are welcome to pin, re-post, embed and share this image, but please do not reproduce for your personal gain or profit without my permission.
© All Rights Reserved
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This is a scanned image from a batch of vintage snapshots, cdvs, tintypes and real photo postcards purchased from auction.
I did some small, cosmetic clean-up retouches in photoshop.
Any comments or observations are much appreciated!
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
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