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On my final day in Denver, I finally succeeded in taking a panorama shot of the enormous and impressive hotel lobby area without having a whole swag of ghosted outlines as people went about their business.
The panorama option in the native Apple Camera app on my iPhone 6 does a pretty good job within its limitations - a single row or column of photographs, and reasonably uniform lighting. Sure, there are stitching artifacts, but not bad overall.
I was standing in the Strata Bar (a combination of a Cocktail and Sports Bar). Left to right, some of the more notable features ...
- The lobby entrance area.
- The reception counter.
- Perks 24 hour Cafe.
- 'The Climbers' sculpture (Bill Starke).
- Escalators / elevators up to the function levels.
- A glimpse through the window of the 'Bubba Gump Shrimp Co' restaurant across the street (www.bubbagump.com/locations/denver/).
Hyatt Regency Denver
Hyatt Regency Denver, Denver, Colorado, US.
iPhone 6 - Photographs taken with the back-facing camera on an iPhone 6.
Camera - The native Apple Camera app was used to capture this panorama (11312 x 3030 pixels).
Photoshop Express - Various lighting adjustments carried out. Noise Reduction and Sharpening filters applied.
ExifEditor - EXIF data from the of the original photographs transferred to the final image.
(Filed as 201502??_iPadMiniRetina ??? Camera-PhotoshopExpress-ExifEditor.JPG)
The KOM League
Flash Report
for
March 12, 2021
This is the first report released in nearly a month. If you care to read it click right here: www.flickr.com/photos/60428361@N07/50957070916/
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It seemed as though a significant number of days had passed since last I came to the computer. It had been nearly four weeks and today an attempt was made to string together a few words in order to compose a comprehensible sentence. Hopefully, some of the material contained herein is okay.
About all that seems to happen anymore is the obituary files continue to expand. There are names appearing each day of people I have known personally or knew of due to their fame. It must be said that there is no pleasure derived in writing about the recently departed. However, some of those leaving us were “big” names in their respective fields of endeavor and without my pointing it out no one, or relatively few, would know they ever had a connection to the KOM league, even tangentially.
Just to preface this report the two recently departed men, who will be tied to the KOM league, are a big league player/coach/manager along with a famous radio voice If either of those subjects don’t appeal to you then cease reading at this point.
Most long term readers know that the author of this report had a baseball career that started and ended in 1951. There wasn’t much use for a skinny, runt of a kid in the game of baseball and he went on to a life that was basically free of the sport except for an idea in 1994 that an old league should be documented.
Over the span of a quarter century of looking for former KOM leaguers many surprises have come my way. In 1951 the New York Giants signed a young catcher out of Cape Girardeau, Mo. by the name of Bill Lee Atchley. By that point in history the Iola ballclub had been affiliated with the Chicago Cubs, Cleveland Indians and was now surviving as an independent team relying on players showing up for tryouts or being optioned there by a major league organization. Atchley fit into the latter category.
This is a brief clip on Atchley’s life. “Dr. Bill L. Atchley, Ph.D., 68, of Wachesaw Plantation, died Friday, Feb. 18, 2000, at Georgetown Memorial Hospital. Born Feb. 16, 1932, in Cape Girardeau, Mo., he was the son of the late William C. and Mary Logsden Atchley. He was the former president of Southeast Missouri State University, former president of the University of the Pacific, Stockton, Calif., and former president of Clemson University, Clemson, S.C. He served as president of the National Science Center Foundation, dean of engineering at West Virginia University, and associate dean and professor at the University of Missouri at Rolla. He was a U. S. Army veteran, having served in the Korean Conflict. He was a former professional baseball player with the New York Giants.
The following links are a “must read” to understand this story.
www.findagrave.com/memorial/77438609/bill-lee-atchley
digital.la84.org/digital/collection/p17103coll3/id/16699/...
clemsonwiki.com/wiki/Bill_Lee_Atchley
By referencing the aforementioned citations it is obvious that what Atchley didn’t attain in baseball he more than made up for it in the educational arena at some major institutions of higher learning in this country. In a long ago conversation he related that he still loved baseball and at one point in history was considered for the opening of the Commissioner of Baseball position that went to Bart Giamatti.
Now, this is not to cut short the story of Bill Atchley but to bring into it another name. In 1947 the Independence, Kansas Yankees had a 22-year old pitcher, Alexander Zych from Kansas City, who had stared his professional baseball career in 1944 being signed by the Kansas City Blues before winding up with Wellsville, NY that year. He pitched minor league baseball in Hagerstown, Maryland--Norfolk, Virginia--Quincy, Illinois-- Greenville, Mississippi-- Raliegh and Kinston, N C as well as Rock Hill, Sumter and Gasonia, South Carolina.
By the time Zych reached the age of 27 he was back in his native Kansas City and playing for the amateur Holden, Mo. Chiefs in both 1954 and 1955. The next year he drove to Nevada, Mo. And pitched for that amateur club and led them to a Missouri state amatuer championship. On that club were three former KOM leaguers along with a former St. Louis Cardinal pitcher from Greenfield, Mo. by the name of Floyd “Goat” Wooldridge.
Over the years communication was maintained with Zych and the first book written about the KOM league contained considerable information that he furnished. The following obituary describes the connection he maintained with the game of baseball in both Kansas City and Oakland with the Athletics and Royals. (If the reader doesn’t click on these sites this report will be meaningless.)
www.legacy.com/us/obituaries/kansascity/name/alexander-zy...
On July 14, 2014 an announcement came over the radio of a terrible automobile accident and the patient was transferred, by medical helicopter, to Columbia, Mo. As it turned out Alex Zych died within a couple of miles of where this report is prepared.
Now go back to 1951
In 1951 Alex Zych was pitching at Kinston, North Carolina, Bill Atchley was catching for the Iola Indians, and a young boy was born on January 12 in Cape Girardeau, Missouri. The newborn had a cousin, once removed, named Patricia. In 1954 when the young boy was three years old his cousin, Patricia Limbaugh, married Bill Atchley. www.floydmortuary.com/obituaries/Patsy-Atchley/#!/ObituarySo
So, the connection to Rush Hudson Limbaugh III and the KOM league is made. Once back from Oakland Alex Zych was the “wise old head” in the Kansas City Royals clubhouse and when an upstart 27-year ticket salesman needed advice he went to the person who he considered the wisest which was Alex Zych, the equipment manager for the team. From a couple of sources I have heard that Rush Limbaugh affectionately referred to Zych as “Dad.”
Following the death of Zych he was paid high praise on Limbaugh’s national radio broadcast and the famed broadcaster thus attended the funeral of a former KOM leaguer. Whether Limbaugh was close enough to Atchley to attend his funeral I don’t know. Often I wondered if Limbaugh ever heard of Atchley’s baseball playing days. When Limbaugh had his “open line Friday” segments there was a temptation to call and ask that question but some things are just meant to never be known.
On a personal note, the first time I ever heard Limbaugh was in the 1970’s when he was on the staff of KMBZ in Kansas City. At that time I was living in Topeka and early of the morning he was given five minutes for making comments. They were a bit different from what I had heard on the radio. But, in those days about all you ever heard was “Swap Shop,” “Kitchen Klatter,” “Trading Post” and religious shows such as Theodore Epp and his “Back to the Bible” broadcast that emanated from Lincoln, Nebraska. AM Radio was nearly toast by the 1980’s.
After hearing Limbaugh in the 1970’s, on KMBZ, I never heard of him again until 1992. At that time I had met up with a former grade and high school acquaintance by the name of Mickey Roberts. He was going by the name of Mike and doing play-by-play broadcasting of the Albuquerque Dukes Pacific Coast league games on KOB radio in that town. At one game he told me I had to listen to a new show they had on their station. He told me the voice was from a former Missouri. I told Roberts I had heard that voice a decade and a half earlier while living in Topeka, Kansas.
Of all the forms of media radio was always my preference and I was attracted to people who knew how to communicate whether or not I agreed with them or not. At one time I reveled in hearing divergent voices of Limbaugh and Garrison Keillor who couldn’t have been more opposite if they had practiced. People have to be smart enough to listen, digest and form their own opinions which is sadly lacking in the era.
Many a debate—or argument—arose over the years with my son about what Limbaugh did or didn’t say. One thing I recall predicting, over two decades ago, was that Limbaugh would die most likely from lung cancer, long before his time. I made that point to my son, many times, due to his addiction to whatever cigarettes have that addict. Since Rush’s passing my son has never mentioned it even happening. I think he might recall what his old man has told him over and over about tobacco.
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The latest death with a KOM league connection.
This past week saw the passing of a former big league player coach and manager by the name of Norman Sherry ps://www.mlb.com/news/norm-sherry-ex-catcher-manager-dies-at-89
In reading that obituary one of his buddies from “day one—actually” came to mind. Sherry and Stan Santo who played first base for the 1951 Ponca City Dodgers were lifelong friends until Santo’s passing. It is always my goal to share information with people when it has some meaning and in this case I figured the son of one of those guys fit into that framework.
To Mark Santo
I have seen a lot of articles today from the baseball experts about the death of Norm Sherry. They claim to know all about him. Your dad could have filled them in on a lot about his younger days of which they are unaware.
Santo’s reply:
Hi John. You got that right. Talk about similar paths…My dad and Norm were born one day apart. They went to high school together, played baseball together in high school, went together for induction into military service, and remained friends until my dad passed away 2 years ago. They both lived in San Diego county in their later years.
Growing up in the same neighborhood my dad also knew Larry Sherry. As I was told, they never thought that Larry would ever be a great player due to a birth defect with his feet; needless to say they couldn’t have been more wrong about that. When Larry passed away a few years ago my Dad was invited to and attended his funeral.
When I was 13 years old my dad took me to a winter training camp in the Los Angeles area where Norm was coaching to see if my pitching talents were as good as my Dad thought they were. Of course they weren’t and I distinctly remember being blown away by the grown-ups. Not exactly a moral booster for a 13 year old, but a great experience nonetheless. I feel like Norm’s passing represents the end of a chapter in my life.
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A special item.
It is realized that not all the recipients of these reports care all that much about them. Here is a special link to something I found interesting. I’d place this under the category “sometimes you never know what you have.” youtu.be/VmdFNQnbS0k ________________________________________________________________________________
Robert Anson Grove passes.
www.galvnews.com/obituaries/article_f9639322-0119-56a4-b6... (Photo included in citation)
Only once was it my privilege to speak with Robert Grove but he was a fascinating man. He was a great conversationalist with interesting stories to share. He spent less than a month as a catcher for the 1949 Ponca City Dodgers. As the obituary indicates his time in the KOM league is not mentioned.
Thanks to Jack Morris who included me on his list for passing along this obituary.
TEXAS CITY, TX — Robert Anson Grove (Bob), 90, went home to be with the Lord on Tuesday, March 2, 2021.He was born on September 12, 1930 in Norfolk, Virginia to Donald M. Grove and Deloris Bridget Grove. After graduating from Ball High School in Galveston, TX Bob tried out for the Brooklyn Dodgers and was the catcher for their farm team in Sheboygan, WI. until he was drafted into the Army in 1953.
Bob married his high school sweetheart Mary Ellen Pierce on September 26, 1952. During their 66 years together, they were blessed with 3 daughters. In addition to being a loving husband and father he worked for the same family, Eugene B. Smith, at Moody Compress in Galveston, TX. He was an active member of St. John’s United Methodist Church in Texas City, TX where he served many years as the Finance Committee Chairman. Bob was also a ham radio operator (WB5FGD) and used this talent to serve others through the Shriners Burns Institute in Galveston and emergency preparedness during hurricane season. He was an outstanding golfer, tennis player and a master Easter Egg Hider.
He was preceded in death by his wife Mary Ellen Grove, his parents, brothers Don Grove Jr., Joe Grove, George Grove, Jack Grove, sister Zoe Anne Dundee (Mick) and son in law Kenneth Beasley.
He is survived by his sister Zoe Belle Calaway, his daughters Janet Grove Gonzales, Jo Ann Grove Konecny and her husband Larry, Jill Grove and her partner, Dianna Jarvis; grandchildren Brian Gonzales and wife Layla, Brandon Gonzales and wife Jackie, Bobby Gonzales and wife Crystal, Larry Konecny Jr. and wife Daniela, Candice Maintz and husband Bill, Laura Williams and husband Kyle, Andrew Konecny and wife Victoria and Gryffen James-Grove along with 14 great-grandchildren and other extended family members who he held dear.
Ed comment:
With the passing of Bob Grove there are six surviving members of the 1949 Ponca City Dodgers. They are Daniel Chepkauskas, Loren Doll, Dick McCoy, Theodore James Dean, John Nixon and Dean Antonson. Chepkauskas worked in the space industry, Doll and his partner Isrig operated huge cattle and grain operation in Western Kansas, Dean was in the production side of the movie industry. McCoy spent many years with the Omaha, Neb. Fire department and the readers can flunk me on Nixon and Antonson since I don’t recall their post-baseball careers. However, I know where both live and can put anyone in touch with those guys if they are curious about their means of support subsequent to their baseball career.
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Bye—This concludes yet another effort to recall and report something from the past. These reports are akin to bond fires. First there is a need for fuel then a spark to create a flame to get things going. Sometimes there isn’t the fuel or the spark to create a Flash Report and when that happens long periods exist between their production.
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
Taken with my husband's little compact.
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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)
"without music, life would be a mistake"
~ Nietzsche
this is my first attempt at applying a texture to an image - all thoughts are appreciated.
thanks to one of my very good Flickr friends for the link to a wonderful tutorial - check out his photostream: www.flickr.com/photos/jebooth/
thanks to NinianLif for the textures - they are awesome!
FREE texture from NinianLif
Please don't use this image on websites, blogs or other media without my explicit permission. If you wish to use this image, please, contact me through flickrmail or at vicenc.feliu@gmail.com. © All rights reserved...
Cloud Gate, a public sculpture by Indian-born British artist Anish Kapoor, is the centerpiece of the AT&T Plaza in Millennium Park within the Loop community area of Chicago, Illinois, United States. The sculpture and AT&T Plaza are located on top of Park Grill, between the Chase Promenade and McCormick Tribune Plaza & Ice Rink. Constructed between 2004 and 2006, the sculpture is nicknamed "The Bean" because of its bean-like shape. Made up of 168 stainless steel plates welded together, its highly polished exterior has no visible seams. It is 33 feet by 66 feet by 42 feet (10 m × 20 m × 13 m), and weighs 110 short tons (100 t; 98 long tons).
Kapoor's design was inspired by liquid mercury and the sculpture's surface reflects and distorts the city's skyline. Visitors are able to walk around and under Cloud Gate's 12-foot (3.7 m) high arch. On the underside is the "omphalos" (Greek for "navel"), a concave chamber that warps and multiplies reflections. The sculpture builds upon many of Kapoor's artistic themes, and is popular with tourists as a photo-taking opportunity for its unique reflective properties.
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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
This is a scanned print from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints,20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jims, on behalf of Jims wife. I initially turned them down, already having over 30,000 of my owns prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate . It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jims wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
It was the development of our second generation website with its photo gallery located quite cleverly on Flickr, rather than making our own site unwieldy, that led me to start uploading photos to Flickr. It was initially for my own and historic company photos but with unlimited storage and reasonable upload speeds I soon started uploading other stuff. Scanning one of Jims photos was a random choice one winters evening, initially very slow and time consuming I nevertheless stuck with it and things just snowballed. It was obvious that there are a lot of people interested in this type of thing. I can now scan and edit in Photoshop in a minute or so per print. Out of over 30,000 images on Flickr I have around 3500 of Jims photos. I don’t promote myself on Flickr – at all! So my viewing figures grow organically, without using the mutual favourite awarding etc. that is endemic on Flickr. The statistics tell me that travel (I don’t do porn) is the most popular genre. My travel photos, particularly later stuff receive far more views than transport. The transport stuff will hit a ceiling and then build very slowly over time, with lots of people coming back to them again and again. Travel of course is far more inclusive but there is an unbelievable amount out there, far more than the 1980’s UK transport stuff. The travel and landscape photos have pushed the views past 12 million, with a current average of around 40,000 views a day, peaking with an upload from a new destination at around 90,000 views. I recall being excited with a 100 views.
My reasons for buying the collection were mixed. On the one hand it was a unique snapshot of the transport industry, predominantly in the north of England, from around 1980 onwards. This was my patch and my era. I passed my Class One a few days after my 21st birthday in 1980 and spent the next 17 years being a Jack the Lad on the road, waving at and crossing paths with many of the wagons that Jim photographed, in fact my owns wagons are in the mix. Jim did travel to Scotland extensively and into the Southern Hemisphere a number of times hence there is a broad range of material in his collection. I knew I wouldn’t get a chance like it again. On the other hand the reason I gave up hauling scrap around the North of England in a Foden eight wheeler was the diagnosis of an incurable form of Non-Hodgkin’s Lymphoma at the age of 38, although a low grade cancer I was already a widower with four young children and I was looking at an uncertain future and it terrified me. I wasn’t remotely ill but was treated with Chemotherapy, again, I wasn’t ill and didn’t need time off work. The shock however brought me to my senses and I came off the road, I joined the normal world, up at 6.30 not 4.30am. I didn’t realise it at the time but I had closed the door on my wagon driving days. I was worried that, at some point, I wouldn’t be able to work physically hard, bearing in mind the family business is a scrap yard – a physical sort of environment. I had it in my mind that there was a possibility that I could use my own and Jims photos to supplement my income, I had four kids to feed and I knew there wouldn’t be any family financial support – it’s not that sort of family. I still have the NHL although thankfully you wouldn’t know it. This type of thing is now considered treatable – not curable- after around forty endoscopies, a 100 stomach biopsies, bone marrow samples and endless scans of different types, I may well get to die of old age, not cancer. It was discovered almost by accident at the time, not illness on my part, and long may it stay that way! The lack of illness made the shock all the greater though.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jims work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC's - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non watermarked photos, I haven’t decided yet.
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jims photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
None of my photographs are free to use – without my permission - only free to view! If you breach my copyright you are stealing what is mine and if I find out, I will pursue the case until you rectify the situation. Arguments that attempt to justify copyright theft are just excuses for theft from people with little or no understanding of copyright law – or more frequently- deliberate, selective, misinterpretation of the law – to suit their own ends. I have never knowingly refused a reasonable request, I don’t join groups but am quite happy for people to add photos to groups. I dislike exchanging long and time consuming emails – I prefer to talk on the phone, being the opposite of anti-social in person, you can’t shut me up. I am generally speaking an anti-social, social networker, I just don’t have the time for it, in fact, I joke that I am going to start a social network for internet anti-social people, you’ll just register your name and that’s it – no networking and endless mindless twaddle. Face-less Book? The antidote to Facebook. I like to get out and chat to people face to face and welcome customers with an interest in photography in to my office to chat on a regular basis. I also print – and give- A4 prints to many of the drivers that visit our yard. I photograph wagons and plant that I come into contact with in a day’s work I don’t go looking to photograph them in my free time. Wagons are a necessary evil in my life these days and they cost me money – every day! For the extensive story and history of JB Schofield &sons Ltd look here; www.jbschofieldandsons.co.uk/
So far photography remains a hobby, and I refuse any offers to turn it into a business, the regulations surrounding scrap and transport and the running of the yard keep me occupied most of the time. In my free time I cycle hard for fitness, walk hard for pleasure, fitness, and the challenge, take photos for pleasure and the challenge, edit them because I have to, and lastly, drink wine because I want to. There isn't time for another business. The kids are now adults and all of them work for me, and with me, another challenge.
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.
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
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.
Foto para portada de suplemento de Diario Libre.
1 Corintios 13:1 Si yo hablo en lenguas de hombres y de ángeles, pero no tengo amor, vengo a ser como bronce que resuena o un címbalo que retiñe. 2 Si tengo profecía y entiendo todos los misterios y todo conocimiento; y si tengo toda la fe, de tal manera que traslade los montes, pero no tengo amor, nada soy. 3 Si reparto todos mis bienes, y si entrego mi cuerpo para ser quemado, pero no tengo amor, de nada me sirve. 4 El amor tiene paciencia y es bondadoso. El amor no es celoso. El amor no es ostentoso, ni se hace arrogante. 5 No es indecoroso, ni busca lo suyo propio. No se irrita, ni lleva cuentas del mal. 6 No se goza de la injusticia, sino que se regocija con la verdad. 7 Todo lo sufre, todo lo cree, todo lo espera, todo lo soporta.
Use this image without my permission is illegal. All Rights Reserved ste.t.©
Hey little sister what have you done
Hey little sister who's the only one
Hey little sister who's your superman
Hey little sister who's the one you want
Hey little sister shot gun!
It's a nice day to start again
It's a nice day for a white wedding
It's a nice day to start again.
Hey little sister who is your with
Hey little sister what's your fasinish
Hey little sister shot gun (oh yeah)
Hey little sister who's your superman
Hey little sister shot gun!
It's a nice day to start again (come on)
It's a nice day for a white wedding
It's a nice day to start again.
(Pick it up)
Take me back home
Hey little sister what have you done
Hey little sister who's the only one
I've been away for so long (so long)
I've been away for so long (so long)
I let you go for so long
It's a nice day to start again (come on)
It's a nice day for a white wedding
It's a nice day to start again.
There is nothin' fair in this world
There is nothin' safe in this world
And there's nothin' sure in this world
And there's nothin' pure in this world
Look for something left in this world
Start again
Come on
It's a nice day for a white wedding
It's a nice day to start again.
It's a nice day for a white wedding
It's a nice day to start again
white wedding
billy idol
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
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
----------------------
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.
This was the best I could do without trespassing and was taken through a distant fence.
And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw last week!!
Yes I'm back again.
However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.
I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.
I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.
So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!
© All rights reserved. Use without permission is illegal.
karma is complex and difficult to define. It is a concept whose meaning, importance and scope varies between Hinduism, Buddhism, Jainism and other traditions that originated in India, and various schools in each of these traditions.
Now as a man is like this or like that,
according as he acts and according as he behaves, so will he be;
a man of good acts will become good, a man of bad acts, bad;
he becomes pure by pure deeds, bad by bad deeds;
And here they say that a person consists of desires,
and as is his desire, so is his will;
and as is his will, so is his deed;
and whatever deed he does, that he will reap.
—Brihadaranyaka Upanishad, 7th Century BC
On May 18th, 10 top European street artists competed to create their own masterpiece on a 2 x 2m canvas in Noordwijk, the Netherlands, using ‘space’ as inspiration. A three-member jury will decide, together with the online audience, which artist created the very best artwork within the deadline of one day. For the winning artist awaits a very special prize: he or she will become the first street artist to make a piece of art weightless. By means of a parabolic flight, this artist becomes the first street artist in space. Graffiti without gravity!
Credits: ESA-G.Porter
Photo Copyright 2012, dynamo.photography.
All rights reserved, no use without license
++++++++ from wikipedia.org ++++++++
The Alishan National Scenic Area is a mountain resort and natural preserve located in the mountains of Chiayi County in Taiwan.[citation needed]
Contents
1 Geography
2 Climate
3 Topography
4 Vegetation and wildlife
5 History
6 Attractions and landmarks
7 See also
8 References
9 Bibliography
10 External links
Geography
Alishan Forest Park.
Dawn view from Alishan.
Alishan is 415 square kilometres (41,500 ha) in area. Notable characteristics include mountain wilderness, four villages, waterfalls, high altitude tea plantations, the Alishan Forest Railway, and a number of hiking trails. The area is popular with tourists and mountain climbers. Alishan, or Mount Ali, itself has become one of the major landmarks associated with Taiwan. The area is famous for its production of high mountain tea and wasabi.[citation needed]
Alishan is well known for its sunrises, and on a suitable morning one can observe the sun come up on a sea of clouds in the area between Alishan and Yüshan. Alishan and Sun Moon Lake are two of the best known scenic spots in Asia. The indigenous people of the area, the Thao people, have only recently been recognized as a discrete ethnic group. They have long been confused with the Tsou people.
Climate
Alishan National Scenic Area spans a broad range in altitude. Lower elevations, such as in Leye Township, share the same subtropical and tropical climate as the rest of southern Taiwan, while the climate changes to temperate and alpine as the elevation increases. Snow sometimes falls at higher elevations in the winter.[citation needed]
Alishan National Scenic Area covers most, but not all, of Alishan Rural Township in Chiayi County, as well as parts of neighboring townships in Taiwan.[citation needed]
Average temperatures are moderate:[citation needed]
Low elevations: 24 °C in the summer, 16 °C in the winter.
Medium elevations: 19 °C in the summer, 12 °C in the winter.
High elevations: 14 °C in the summer, 5 °C in the winter.
Topography
Alishan is mountainous:[citation needed]
Number of peaks above 2000 meters: 25
Highest point: Da Ta Shan (大塔山), 2,663 meters.
Average height of Alishan Mountain Range: 2,500 meters.
Vegetation and wildlife
Important trees in the area include:[citation needed]
Taiwania cryptomerioides, a large coniferous tree in the cypress family Cupressaceae (the same family as the next three species)
Chamaecyparis formosensis, or Formosan Cypress
Chamaecyparis taiwanensis
Cunninghamia konishii
Pinus taiwanensis, or Taiwan Red Pine
Picea morrisonicola, or Yüshan Spruce
Pseudotsuga sinensis var. wilsoniana, or Taiwan Douglas-fir
Abies kawakamii, a species of conifer in the Pinaceae family, only found in Taiwan
Tsuga chinensis var. formosana, Taiwan or Chinese Hemlock
Ulmus uyematsui, a species of elm only found in the Alishan region
History
Longyin Temple of Chukou Village in Alishan National Scenic Area.
Boardwalk at Alishan National Scenic Area.
The Alishan area was originally settled by the Tsou tribe of the Taiwanese aborigines; the name derives from the aboriginal word Jarissang. Ethnic Han Chinese settlers first settled on the plains near modern-day Chiayi as early as the late Ming Dynasty (around the mid-17th century), but did not move into the mountains until the late 18th century, establishing the towns of Ruili (瑞里), Ruifeng (瑞峰), Xiding (隙頂), and Fenqihu (奮起湖). The resulting armed clashes between the settlers and the aborigines pushed the aborigines even further into the mountains.[citation needed]
Following the cession of Taiwan to Japan at the end of the First Sino-Japanese War, Japanese expeditions to the area found large quantities of cypress (檜木, or hinoki in Japanese). This led to the development of the logging industry in the area and the export of local cypress and Taiwania wood. A series of narrow-gauge railways were built in the area during this time to facilitate the transportation of lumber from the mountains to the plains below, part of which continues to operate as the Alishan Forest Railway. Several new villages also began to sprout up along the railway lines. It was also during this time that the first tourists began to visit the area. Plans were even drawn up to incorporate the area into the new Niitaka (New Highest) Arisan National Park (新高阿里山国立公園).[citation needed]
With the exhaustion of forest resources by the 1970s, domestic and international tourism overtook logging to become the primary economic activity in the area. The tourism industry continued to expand with the completion of the Alisan highway in the 1980s, displacing the railroad as the primary mode of transportation up the mountain. To combat the problems associated with the growing crowds of tourists and the expanding tea and wasabi plantations, the area was declared a national scenic area in 2001.[citation needed]
On 1 December 2014, fire broke out at Alishan spreading over more than 5 hectares of land. The area affected was located near Tapang No. 3 Bridge. The fire was believed to happen due to dry ground which was vulnerable to fire because of the absence of rain in the area for months.[1]
Attractions and landmarks
A Japanese-built train on the Alishan Forest Railway.
Fenqihu (奮起湖) is a small town of low wooden buildings built into the mountainside at 1,400 meters, midpoint of the Alishan Forest Railway. It is famous for natural rock formations, mountain streams, forests, and the ruins of a Shinto temple in the vicinity, as well as for its production of high altitude food products such as bamboo shoots and aiyu jelly (愛玉). The local box lunches (奮起湖便當, Fenqihu bento), which were once sold to passengers on the rail line, are also well known.[citation needed]
Taiwan (/ˌtaɪˈwɑːn/ (About this sound listen)), officially the Republic of China (ROC), is a state in East Asia. Its neighbors include China (officially the People's Republic of China, PRC) to the west, Japan to the northeast, and the Philippines to the south. Taiwan is the most populous state that is not a member of the United Nations and the largest economy outside the UN.
The island of Taiwan, formerly known as Formosa, was inhabited by Taiwanese aborigines before the 17th century, when Dutch and Spanish colonies opened the island to mass Han immigration. After a brief rule by the Kingdom of Tungning, the island was annexed by the Qing dynasty, the last dynasty of China. The Qing ceded Taiwan to Japan in 1895 after the Sino-Japanese War. While Taiwan was under Japanese rule, the Republic of China (ROC) was established on the mainland in 1912 after the fall of the Qing dynasty. Following the Japanese surrender to the Allies in 1945, the ROC took control of Taiwan. However, the resumption of the Chinese Civil War led to the ROC's loss of the mainland to the Communists, and the flight of the ROC government to Taiwan in 1949. Although the ROC continued to claim to be the legitimate government of China, its effective jurisdiction has since the loss of Hainan in 1950 been limited to Taiwan and its surrounding islands, with the main island making up 99% of its de facto territory. As a founding member of the United Nations, the ROC continued to represent China at the United Nations until 1971, when the PRC assumed China's seat, causing the ROC to lose its UN membership.
In the early 1960s, Taiwan entered a period of rapid economic growth and industrialization, creating a stable industrial economy. In the 1980s and early 1990s, it changed from a one-party military dictatorship dominated by the Kuomintang to a multi-party democracy with a semi-presidential system. Taiwan is the 22nd-largest economy in the world, and its high-tech industry plays a key role in the global economy. It is ranked highly in terms of freedom of the press, healthcare,[15] public education, economic freedom, and human development.[d][13][16] The country benefits from a highly skilled workforce and is among the most highly educated countries in the world with one of the highest percentages of its citizens holding a tertiary education degree.[17][18]
The PRC has consistently claimed sovereignty over Taiwan and asserted the ROC is no longer in legitimate existence. Under its One-China Policy the PRC refused diplomatic relations with any country that recognizes the ROC. Today 20 countries recognize the ROC as the sole legal representative of China,[19] but many other states maintain unofficial ties through representative offices and institutions that function as de facto embassies and consulates. Although Taiwan is fully self-governing, most international organizations in which the PRC participates either refuse to grant membership to Taiwan or allow it to participate only as a non-state actor. Internally, the major division in politics is between the aspirations of eventual Chinese unification or Taiwanese independence, though both sides have moderated their positions to broaden their appeal. The PRC has threatened the use of military force in response to any formal declaration of independence by Taiwan or if PRC leaders decide that peaceful unification is no longer possible.[20]
Contents
1 Etymology
2 History
2.1 Prehistoric Taiwan
2.2 Opening in the 17th century
2.3 Qing rule
2.4 Japanese rule
2.5 After World War II
2.6 Chinese Nationalist one-party rule
2.7 Democratization
3 Geography
3.1 Climate
3.2 Geology
4 Political and legal status
4.1 Relations with the PRC
4.2 Foreign relations
4.3 Participation in international events and organizations
4.4 Opinions within Taiwan
5 Government and politics
5.1 Major camps
5.2 Current political issues
5.3 National identity
6 Military
7 Administrative divisions
8 Economy and industry
9 Transportation
10 Education, research, and academia
11 Demographics
11.1 Ethnic groups
11.2 Languages
11.3 Religion
11.4 Largest cities
12 Public health
13 Culture
13.1 Sports
13.2 Calendar
14 See also
15 Notes
16 References
16.1 Citations
16.2 Works cited
17 Further reading
18 External links
18.1 Overviews and data
18.2 Government agencies
Etymology
See also: Chinese Taipei, Formosa, and Names of China
Taiwan
Taiwan (Chinese characters).svg
"Taiwan" in Traditional (top) and Simplified (bottom) Chinese characters
Chinese name
Traditional Chinese 臺灣 or 台灣
Simplified Chinese 台湾
Transcriptions
Standard Mandarin
Hanyu Pinyin Táiwān
Bopomofo ㄊㄞˊ ㄨㄢ
Gwoyeu Romatzyh Tair'uan
Wade–Giles T'ai²-wan¹
Tongyong Pinyin Táiwan
IPA [tʰǎi.wán]
other Mandarin
Xiao'erjing تَاَىْوًا
Wu
Romanization The平-uae平
Xiang
IPA dwɛ13 ua44
Hakka
Romanization Thòi-vàn
Yue: Cantonese
Yale Romanization Tòiwāan
Jyutping Toi4waan1
Southern Min
Hokkien POJ Tâi-oân
Tâi-lô Tâi-uân
Eastern Min
Fuzhou BUC Dài-uăng
China
Traditional Chinese 中國
Simplified Chinese 中国
Literal meaning Middle or Central State[21]
Transcriptions
Standard Mandarin
Hanyu Pinyin Zhōngguó
Bopomofo ㄓㄨㄥ ㄍㄨㄛˊ
Gwoyeu Romatzyh Jong'gwo
Wade–Giles Chung1-kuo2
Tongyong Pinyin Jhongguó
MPS2 Jūng-guó
IPA [ʈʂʊ́ŋ.kwǒ]
other Mandarin
Xiao'erjing ﺟْﻮﻗُﻮَع
Sichuanese Pinyin Zong1 gwe2
Wu
Romanization Tson平-koh入
Gan
Romanization Tung-koe̍t
Xiang
IPA Tan33-kwɛ24/
Hakka
Romanization Dung24-gued2
Yue: Cantonese
Yale Romanization Jūnggwok
Jyutping Zung1gwok3
Southern Min
Hokkien POJ Tiong-kok
Eastern Min
Fuzhou BUC Dṳ̆ng-guók
Pu-Xian Min
Hinghwa BUC De̤ng-go̤h
Northern Min
Jian'ou Romanized Dô̤ng-gŏ
Republic of China
Traditional Chinese 中華民國
Simplified Chinese 中华民国
Postal Chunghwa Minkuo
Transcriptions
Standard Mandarin
Hanyu Pinyin Zhōnghuá Mínguó
Bopomofo ㄓㄨㄥ ㄏㄨㄚˊ ㄇㄧㄣˊ ㄍㄨㄛˊ
Gwoyeu Romatzyh Jonghwa Min'gwo
Wade–Giles Chung¹-hua² Min²-kuo²
Tongyong Pinyin Jhonghuá Mínguó
MPS2 Jūng-huá Mín-guó
IPA [ʈʂʊ́ŋxwǎ mǐnkwǒ]
other Mandarin
Xiao'erjing ﺟْﻮ ﺧُﻮَ مٍ ﻗُﻮَع
Wu
Romanization tson平 gho平 min平 koh入
Gan
Romanization tung1 fa4 min4 koet7
Hakka
Romanization Chûng-fà Mìn-koet
Yue: Cantonese
Yale Romanization Jūngwà màn'gwok
Jyutping Zung1waa4 man4gwok3
Southern Min
Hokkien POJ Tiong-hôa Bîn-kok
Tâi-lô Tiong-hûa Bîn-kok
Eastern Min
Fuzhou BUC Dṳ̆ng-huà Mìng-guók
Japanese name
Kanji 台湾
Kana たいわん
Kyūjitai 臺灣
Transcriptions
Romanization Taiwan
There are various names for the island of Taiwan in use today, derived from explorers or rulers by each particular period. The former name Formosa (福爾摩沙) dates from 1542,[verification needed] when Portuguese sailors sighted the main island of Taiwan and named it Ilha Formosa, which means "beautiful island".[22] The name "Formosa" eventually "replaced all others in European literature"[23] and was in common use in English in the early 20th century.[24]
In the early 17th century, the Dutch East India Company established a commercial post at Fort Zeelandia (modern-day Anping, Tainan) on a coastal sandbar called "Tayouan",[25] after their ethnonym for a nearby Taiwanese aboriginal tribe, written by the Dutch and Portuguese variously as Taiouwang, Tayowan, Teijoan, etc.[26] This name was also adopted into the Chinese vernacular (in particular, Hokkien, as Pe̍h-ōe-jī: Tāi-oân/Tâi-oân) as the name of the sandbar and nearby area (Tainan). The modern word "Taiwan" is derived from this usage, which is seen in various forms (大員, 大圓, 大灣, 臺員, 臺圓 and 臺窩灣) in Chinese historical records. The area of modern-day Tainan was the first permanent settlement by Western colonists and Chinese immigrants, grew to be the most important trading centre, and served as the capital of the island until 1887. Use of the current Chinese name (臺灣) was formalized as early as 1684 with the establishment of Taiwan Prefecture. Through its rapid development, the entire Formosan mainland eventually became known as "Taiwan".[27][28][29][30]
In his Daoyi Zhilüe (1349), Wang Dayuan used "Liuqiu" as a name for the island of Taiwan, or the part of it near to Penghu.[31] Elsewhere, the name was used for the Ryukyu Islands in general or Okinawa, the largest of them; indeed the name Ryūkyū is the Japanese form of Liúqiú. The name also appears in the Book of Sui (636) and other early works, but scholars cannot agree on whether these references are to the Ryukyus, Taiwan or even Luzon.[32]
The official name of the state is the "Republic of China"; it has also been known under various names throughout its existence. Shortly after the ROC's establishment in 1912, while it was still located on the Chinese mainland, the government used the short form "China" Zhōngguó (中國), to refer to itself, which derives from zhōng ("central" or "middle") and guó ("state, nation-state"), [e] A term which also developed under the Zhou Dynasty in reference to its royal demesne[f] and the name was then applied to the area around Luoyi (present-day Luoyang) during the Eastern Zhou and then to China's Central Plain before being used as an occasional synonym for the state under the Qingera .[34] During the 1950s and 1960s, after the government had fled to Taiwan due to losing the Chinese Civil War, it was commonly referred to as "Nationalist China" (or "Free China") to differentiate it from "Communist China" (or "Red China").[36] It was a member of the United Nations representing "China" until 1971, when it lost its seat to the People's Republic of China. Over subsequent decades, the Republic of China has become commonly known as "Taiwan", after the island that comprises 99% of the territory under its control. In some contexts, especially official ones from the ROC government, the name is written as "Republic of China (Taiwan)", "Republic of China/Taiwan", or sometimes "Taiwan (ROC)."[37] The Republic of China participates in most international forums and organizations under the name "Chinese Taipei" due to diplomatic pressure from the People's Republic of China. For instance, it is the name under which it has competed at the Olympic Games since 1984, and its name as an observer at the World Health Organization.[38]
History
Main articles: History of Taiwan and History of the Republic of China
See the History of China article for historical information in the Chinese Mainland before 1949.
Prehistoric Taiwan
Main article: Prehistory of Taiwan
A young Tsou man
Taiwan was joined to the mainland in the Late Pleistocene, until sea levels rose about 10,000 years ago. Fragmentary human remains dated 20,000 to 30,000 years ago have been found on the island, as well as later artefacts of a Paleolithic culture.[39][40][41]
Around 6,000 years ago, Taiwan was settled by farmers, most likely from mainland China.[42] They are believed to be the ancestors of today's Taiwanese aborigines, whose languages belong to the Austronesian language family, but show much greater diversity than the rest of the family, which spans a huge area from Maritime Southeast Asia west to Madagascar and east as far as New Zealand, Hawaii and Easter Island. This has led linguists to propose Taiwan as the urheimat of the family, from which seafaring peoples dispersed across Southeast Asia and the Pacific and Indian Oceans.[43][44]
Han Chinese fishermen began settling in the Penghu islands in the 13th century, but Taiwan's hostile tribes and its lack of valuable trade products meant that few outsiders visited the island until the 16th century, when visits to the coast by fishermen from Fujian and Chinese and Japanese pirates became more frequent.[45]
Opening in the 17th century
Main articles: Dutch Formosa, Spanish Formosa, and Kingdom of Tungning
Fort Zeelandia, the Governor's residence in Dutch Formosa
The Dutch East India Company attempted to establish a trading outpost on the Penghu Islands (Pescadores) in 1622, but were militarily defeated and driven off by the Ming authorities.[46]
In 1624, the company established a stronghold called Fort Zeelandia on the coastal islet of Tayouan, which is now part of the main island at Anping, Tainan.[30] David Wright, a Scottish agent of the company who lived on the island in the 1650s, described the lowland areas of the island as being divided among 11 chiefdoms ranging in size from two settlements to 72. Some of these fell under Dutch control, while others remained independent.[30][47] The Company began to import labourers from Fujian and Penghu (Pescadores), many of whom settled.[46]
In 1626, the Spanish Empire landed on and occupied northern Taiwan, at the ports of Keelung and Tamsui, as a base to extend their trading. This colonial period lasted 16 years until 1642, when the last Spanish fortress fell to Dutch forces.
Following the fall of the Ming dynasty, Koxinga (Zheng Chenggong), a self-styled Ming loyalist, arrived on the island and captured Fort Zeelandia in 1662, expelling the Dutch Empire and military from the island. Koxinga established the Kingdom of Tungning (1662–1683), with his capital at Tainan. He and his heirs, Zheng Jing, who ruled from 1662 to 1682, and Zheng Keshuang, who ruled less than a year, continued to launch raids on the southeast coast of mainland China well into the Qing dynasty era.[46]
Qing rule
Main article: Taiwan under Qing Dynasty rule
Hunting deer, painted in 1746
In 1683, following the defeat of Koxinga's grandson by an armada led by Admiral Shi Lang of southern Fujian, the Qing dynasty formally annexed Taiwan, placing it under the jurisdiction of Fujian province. The Qing imperial government tried to reduce piracy and vagrancy in the area, issuing a series of edicts to manage immigration and respect aboriginal land rights. Immigrants mostly from southern Fujian continued to enter Taiwan. The border between taxpaying lands and "savage" lands shifted eastward, with some aborigines becoming sinicized while others retreated into the mountains. During this time, there were a number of conflicts between groups of Han Chinese from different regions of southern Fujian, particularly between those from Quanzhou and Zhangzhou, and between southern Fujian Chinese and aborigines.
Northern Taiwan and the Penghu Islands were the scene of subsidiary campaigns in the Sino-French War (August 1884 to April 1885). The French occupied Keelung on 1 October 1884, but were repulsed from Tamsui a few days later. The French won some tactical victories but were unable to exploit them, and the Keelung Campaign ended in stalemate. The Pescadores Campaign, beginning on 31 March 1885, was a French victory, but had no long-term consequences. The French evacuated both Keelung and the Penghu archipelago after the end of the war.
In 1887, the Qing upgraded the island's administration from Taiwan Prefecture of Fujian to Fujian-Taiwan-Province (福建臺灣省), the twentieth in the empire, with its capital at Taipei. This was accompanied by a modernization drive that included building China's first railroad.[48]
Japanese rule
Main articles: Taiwan under Japanese rule and Republic of Formosa
Japanese colonial soldiers march Taiwanese captured after the Tapani Incident from the Tainan jail to court, 1915.
As the Qing dynasty was defeated in the First Sino-Japanese War (1894–1895), Taiwan, along with Penghu and Liaodong Peninsula, were ceded in full sovereignty to the Empire of Japan by the Treaty of Shimonoseki. Inhabitants on Taiwan and Penghu wishing to remain Qing subjects were given a two-year grace period to sell their property and move to mainland China. Very few Taiwanese saw this as feasible.[49] On 25 May 1895, a group of pro-Qing high officials proclaimed the Republic of Formosa to resist impending Japanese rule. Japanese forces entered the capital at Tainan and quelled this resistance on 21 October 1895.[50] Guerrilla fighting continued periodically until about 1902 and ultimately took the lives of 14,000 Taiwanese, or 0.5% of the population.[51] Several subsequent rebellions against the Japanese (the Beipu uprising of 1907, the Tapani incident of 1915, and the Musha incident of 1930) were all unsuccessful but demonstrated opposition to Japanese colonial rule.
Japanese colonial rule was instrumental in the industrialization of the island, extending the railroads and other transportation networks, building an extensive sanitation system, and establishing a formal education system.[52] Japanese rule ended the practice of headhunting.[53] During this period the human and natural resources of Taiwan were used to aid the development of Japan and the production of cash crops such as rice and sugar greatly increased. By 1939, Taiwan was the seventh greatest sugar producer in the world.[54] Still, the Taiwanese and aborigines were classified as second- and third-class citizens. After suppressing Chinese guerrillas in the first decade of their rule, Japanese authorities engaged in a series of bloody campaigns against the mountain aboriginals, culminating in the Musha Incident of 1930.[55] Also, those intellectual and labours who participated in left-wing movement of Taiwan were arrested and massacred (e.g. Tsiúnn Uī-Suí(蔣渭水), masanosuke watanabe(渡辺政之辅)).[56]
Around 1935, the Japanese began an island-wide assimilation project to bind the island more firmly to the Japanese Empire and people were taught to see themselves as Japanese under the Kominka Movement, during which time Taiwanese culture and religion were outlawed and the citizens were encouraged to adopt Japanese surnames.[57] The "South Strike Group" was based at the Taihoku Imperial University in Taipei. During World War II, tens of thousands of Taiwanese served in the Japanese military.[58] For example, former ROC President Lee Teng-hui's elder brother served in the Japanese navy and was killed in action in the Philippines in February 1945. The Imperial Japanese Navy operated heavily out of Taiwanese ports. In October 1944, the Formosa Air Battle was fought between American carriers and Japanese forces based in Taiwan. Important Japanese military bases and industrial centres throughout Taiwan, like Kaohsiung, were targets of heavy American bombings.[59] Also during this time, over 2,000 women were forced into sexual slavery for Imperial Japanese troops, now euphemistically called "comfort women."[60]
In 1938, there were 309,000 Japanese settlers in Taiwan.[61] After World War II, most of the Japanese were expelled and sent to Japan.[62]
After World War II
Main article: Taiwan after World War II
General Chen Yi (right) accepting the receipt of General Order No. 1 from Rikichi Andō (left), the last Japanese Governor-General of Taiwan, in Taipei City Hall
On 25 October 1945, the US Navy ferried ROC troops to Taiwan in order to accept the formal surrender of Japanese military forces in Taipei on behalf of the Allied Powers, as part of General Order No. 1 for temporary military occupation. General Rikichi Andō, governor-general of Taiwan and commander-in-chief of all Japanese forces on the island, signed the receipt and handed it over to General Chen Yi of the ROC military to complete the official turnover. Chen Yi proclaimed that day to be "Taiwan Retrocession Day", but the Allies considered Taiwan and the Penghu Islands to be under military occupation and still under Japanese sovereignty until 1952, when the Treaty of San Francisco took effect.[63][64] Although the 1943 Cairo Declaration had envisaged returning these territories to China, in the Treaty of San Francisco and Treaty of Taipei Japan has renounced all claim to them without specifying to what country they were to be surrendered. This introduced the problem of the legal status of Taiwan.
The ROC administration of Taiwan under Chen Yi was strained by increasing tensions between Taiwanese-born people and newly arrived mainlanders, which were compounded by economic woes, such as hyperinflation. Furthermore, cultural and linguistic conflicts between the two groups quickly led to the loss of popular support for the new government, while the mass movement led by the working committee of the communist also aimed to bring down the Kuomintang government.[65][66] The shooting of a civilian on 28 February 1947 triggered island-wide unrest, which was suppressed with military force in what is now called the February 28 Incident. Mainstream estimates of the number killed range from 18,000 to 30,000. Those killed were mainly members of the Taiwanese elite.[67][68]
Chinese Nationalist one-party rule
Main articles: Chinese Civil War, Chinese Communist Revolution, and History of the Republic of China § Republic of China on Taiwan (1949–present)
For the history of Republic of China before 1949, see Republic of China (1912–49).
The Nationalists' retreat to Taipei: after the Nationalists lost Nanjing (Nanking) they next moved to Guangzhou (Canton), then to Chongqing (Chungking), Chengdu (Chengtu) and Xichang (Sichang) before arriving in Taipei.
After the end of World War II, the Chinese Civil War resumed between the Chinese Nationalists (Kuomintang), led by Chiang Kai-shek, and the Communist Party of China, led by Mao Zedong. Throughout the months of 1949, a series of Chinese Communist offensives led to the capture of its capital Nanjing on 23 April and the subsequent defeat of the Nationalist army on the mainland, and the Communists founded the People's Republic of China on 1 October.[69]
On 7 December 1949, after the loss of four capitals, Chiang evacuated his Nationalist government to Taiwan and made Taipei the temporary capital of the ROC (also called the "wartime capital" by Chiang Kai-shek).[70] Some 2 million people, consisting mainly of soldiers, members of the ruling Kuomintang and intellectual and business elites, were evacuated from mainland China to Taiwan at that time, adding to the earlier population of approximately six million. In addition, the ROC government took to Taipei many national treasures and much of China's gold reserves and foreign currency reserves.[71][72][73]
After losing most of the mainland, the Kuomintang held remaining control of Tibet, the portions of Qinghai, Xinjiang, and Yunnan provinces along with the Hainan Island until 1951 before the Communists subsequently captured both territories. From this point onwards, the Kuomintang's territory was reduced to Taiwan, Penghu, the portions of the Fujian province (Kinmen and Matsu Islands), and two major islands of Dongsha Islands and Nansha Islands. The Kuomintang continued to claim sovereignty over all "China", which it defined to include mainland China, Taiwan, Outer Mongolia and other areas. On mainland China, the victorious Communists claimed they ruled the sole and only China (which they claimed included Taiwan) and that the Republic of China no longer existed.[74]
A Chinese man in military uniform, smiling and looking towards the left. He holds a sword in his left hand and has a medal in shape of a sun on his chest.
Chiang Kai-shek, leader of the Kuomintang from 1925 until his death in 1975
Martial law, declared on Taiwan in May 1949,[75] continued to be in effect after the central government relocated to Taiwan. It was not repealed until 1987,[75] and was used as a way to suppress the political opposition in the intervening years.[76] During the White Terror, as the period is known, 140,000 people were imprisoned or executed for being perceived as anti-KMT or pro-Communist.[77] Many citizens were arrested, tortured, imprisoned and executed for their real or perceived link to the Communists. Since these people were mainly from the intellectual and social elite, an entire generation of political and social leaders was decimated. In 1998 law was passed to create the "Compensation Foundation for Improper Verdicts" which oversaw compensation to White Terror victims and families. President Ma Ying-jeou made an official apology in 2008, expressing hope that there will never be a tragedy similar to White Terror.[78]
Initially, the United States abandoned the KMT and expected that Taiwan would fall to the Communists. However, in 1950 the conflict between North Korea and South Korea, which had been ongoing since the Japanese withdrawal in 1945, escalated into full-blown war, and in the context of the Cold War, US President Harry S. Truman intervened again and dispatched the US Navy's 7th Fleet into the Taiwan Strait to prevent hostilities between Taiwan and mainland China.[79] In the Treaty of San Francisco and the Treaty of Taipei, which came into force respectively on 28 April 1952 and 5 August 1952, Japan formally renounced all right, claim and title to Taiwan and Penghu, and renounced all treaties signed with China before 1942. Neither treaty specified to whom sovereignty over the islands should be transferred, because the United States and the United Kingdom disagreed on whether the ROC or the PRC was the legitimate government of China.[80] Continuing conflict of the Chinese Civil War through the 1950s, and intervention by the United States notably resulted in legislation such as the Sino-American Mutual Defense Treaty and the Formosa Resolution of 1955.
With President Chiang Kai-shek, the US President Dwight D. Eisenhower waved to crowds during his visit to Taipei in June 1960.
As the Chinese Civil War continued without truce, the government built up military fortifications throughout Taiwan. Within this effort, KMT veterans built the now famous Central Cross-Island Highway through the Taroko Gorge in the 1950s. The two sides would continue to engage in sporadic military clashes with seldom publicized details well into the 1960s on the China coastal islands with an unknown number of night raids. During the Second Taiwan Strait Crisis in September 1958, Taiwan's landscape saw Nike-Hercules missile batteries added, with the formation of the 1st Missile Battalion Chinese Army that would not be deactivated until 1997. Newer generations of missile batteries have since replaced the Nike Hercules systems throughout the island.
During the 1960s and 1970s, the ROC maintained an authoritarian, single-party government while its economy became industrialized and technology oriented. This rapid economic growth, known as the Taiwan Miracle, was the result of a fiscal regime independent from mainland China and backed up, among others, by the support of US funds and demand for Taiwanese products.[81][82] In the 1970s, Taiwan was economically the second fastest growing state in Asia after Japan.[83] Taiwan, along with Hong Kong, South Korea and Singapore, became known as one of the Four Asian Tigers. Because of the Cold War, most Western nations and the United Nations regarded the ROC as the sole legitimate government of China until the 1970s. Later, especially after the termination of the Sino-American Mutual Defense Treaty, most nations switched diplomatic recognition to the PRC (see United Nations General Assembly Resolution 2758).
Up until the 1970s, the government was regarded by Western critics as undemocratic for upholding martial law, for severely repressing any political opposition and for controlling media. The KMT did not allow the creation of new parties and those that existed did not seriously compete with the KMT. Thus, competitive democratic elections did not exist.[84][85][86][87][88] From the late 1970s to the 1990s, however, Taiwan went through reforms and social changes that transformed it from an authoritarian state to a democracy. In 1979, a pro-democracy protest known as the Kaohsiung Incident took place in Kaohsiung to celebrate Human Rights Day. Although the protest was rapidly crushed by the authorities, it is today considered as the main event that united Taiwan's opposition.[89]
Democratization
Main articles: Democratic reforms of Taiwan and Elections in Taiwan
Chiang Ching-kuo, Chiang Kai-shek's son and successor as the president, began to liberalize the political system in the mid-1980s. In 1984, the younger Chiang selected Lee Teng-hui, a Taiwanese-born, US-educated technocrat, to be his vice-president. In 1986, the Democratic Progressive Party (DPP) was formed and inaugurated as the first opposition party in the ROC to counter the KMT. A year later, Chiang Ching-kuo lifted martial law on the main island of Taiwan (martial law was lifted on Penghu in 1979, Matsu island in 1992 and Kinmen island in 1993). With the advent of democratization, the issue of the political status of Taiwan gradually resurfaced as a controversial issue where, previously, the discussion of anything other than unification under the ROC was taboo.
After the death of Chiang Ching-kuo in January 1988, Lee Teng-hui succeeded him as president. Lee continued to democratize the government and decrease the concentration of government authority in the hands of mainland Chinese. Under Lee, Taiwan underwent a process of localization in which Taiwanese culture and history were promoted over a pan-China viewpoint in contrast to earlier KMT policies which had promoted a Chinese identity. Lee's reforms included printing banknotes from the Central Bank rather than the Provincial Bank of Taiwan, and streamlining the Taiwan Provincial Government with most of its functions transferred to the Executive Yuan. Under Lee, the original members of the Legislative Yuan and National Assembly(a former supreme legislative body defunct in 2005）,[90] elected in 1947 to represent mainland Chinese constituencies and having held the seats without re-election for more than four decades, were forced to resign in 1991. The previously nominal representation in the Legislative Yuan was brought to an end, reflecting the reality that the ROC had no jurisdiction over mainland China, and vice versa. Restrictions on the use of Taiwanese Hokkien in the broadcast media and in schools were also lifted.[citation needed]
US Secretary of State Hillary Clinton and Taiwan's special envoy to the APEC summit, Lien Chan, November 2011
Democratic reforms continued in the 1990s, with Lee Teng-hui re-elected in 1996, in the first direct presidential election in the history of the ROC.[91] During the later years of Lee's administration, he was involved in corruption controversies relating to government release of land and weapons purchase, although no legal proceedings commenced. In 1997,"To meet the requisites of the nation prior to national unification",[92] the Additional Articles of the Constitution of the Republic of China was passed and then the former "constitution of five powers" turns to be more tripartite. In 2000, Chen Shui-bian of the Democratic Progressive Party was elected as the first non-Kuomintang (KMT) President and was re-elected to serve his second and last term since 2004. Polarized politics has emerged in Taiwan with the formation of the Pan-Blue Coalition of parties led by the KMT, favouring eventual Chinese reunification, and the Pan-Green Coalition of parties led by the DPP, favouring an eventual and official declaration of Taiwanese independence.[93][clarification needed] In early 2006, President Chen Shui-bian remarked: “The National Unification Council will cease to function. No budget will be ear-marked for it and its personnel must return to their original posts...The National Unification Guidelines will cease to apply."[94]
The ruling DPP has traditionally leaned in favour of Taiwan independence and rejects the so-called "One-China policy".
On 30 September 2007, the ruling DPP approved a resolution asserting a separate identity from China and called for the enactment of a new constitution for a "normal country". It also called for general use of "Taiwan" as the country's name, without abolishing its formal name, the Republic of China.[95] The Chen administration also pushed for referendums on national defence and UN entry in the 2004 and 2008 elections, which failed due to voter turnout below the required legal threshold of 50% of all registered voters.[96] The Chen administration was dogged by public concerns over reduced economic growth, legislative gridlock due to a pan-blue, opposition-controlled Legislative Yuan and corruption involving the First Family as well as government officials.[97][98]
The KMT increased its majority in the Legislative Yuan in the January 2008 legislative elections, while its nominee Ma Ying-jeou went on to win the presidency in March of the same year, campaigning on a platform of increased economic growth and better ties with the PRC under a policy of "mutual nondenial".[96] Ma took office on 20 May 2008, the same day that President Chen Shui-bian stepped down and was notified by prosecutors of possible corruption charges. Part of the rationale for campaigning for closer economic ties with the PRC stems from the strong economic growth China attained since joining the World Trade Organization. However, some analysts say that despite the election of Ma Ying-jeou, the diplomatic and military tensions with the PRC have not been reduced.[99]
My full collection (without duplicates), of twelve 17'' LE Disney Store Collector Dolls. The 10 Heroines are joined by two Villains. They are:
Top row: Snow White, Tiana, Belle
Middle row: Blonde Rapunzel, Wedding Rapunzel, Celebration Merida, Cinderella
Bottom row: Mother Gothel, Formal Merida, Queen Elinor, Sgt. Calhoun, Lady Tremaine
Group shots of my collection of 17-18'' Limited Edition Disney Store Collector Dolls. Now that the Merida and Queen Elinor Doll Set has just been released (on Nov 13, 2012), that makes a total of 12 different dolls in this line in my collection. I am missing the Alice in Wonderland and Queen of Hearts dolls that were released in late 2011. I don't include the Jack and Sally 18'' dolls since they are resin dolls, and don't consider the Buzz, Woody or Jessie dolls from Toy Story as part of this line. The dolls, in order of their release, are:
Snow White (Snow White and the Seven Dwarfs, 2009)
Tiana (The Princess and the Frog, 2010)
Belle (Beauty and the Beast, 2010)
Blonde Rapunzel (Tangled, 2011)
Mother Gothel (Tangled, 2011)
Wedding Rapunzel (Tangled Ever After, 2012)
Celebration Merida (Brave, 2012)
Cinderella (Cinderella, 2012)
Lady Tremaine (Cinderella, 2012)
Sergeant Calhoun (Wreck-It Ralph, 2012)
Formal Merida (Brave, 2012)
Queen Elinor (Brave, 2012)
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.
This was the best I could do without trespassing and was taken through a distant fence on long zoom.
And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw Very Recently!!
Yes I'm back again.
However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.
I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.
I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.
So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!