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Centro antigo de Sao Paulo
456 anos da cidade de São Paulo: Um momento para refletir
Na próxima segunda-feira, 25, a cidade de São Paulo irá completar 456 anos. Nesta época, a mídia costuma fazer dossiês e oferecer opções para a população comemorar o nascimento da metrópole. No entanto, de uns anos para cá, inclusive em 2010, pode-se perceber que o “romantismo” que algumas pessoas apresentavam pela cidade de São Paulo está um pouco abalado.
Prova disso é o resultado de uma pesquisa divulgada nesta semana, onde foi constatado que 57% dos paulistanos deixariam a cidade se pudessem. O estudo encomendado pelo Movimento Nossa São Paulo revela que problemas como a constante violência, a precariedade dos serviços públicos e a falta de conscientização de certos individuos para questões que afetam a todos, fazem com que São Paulo seja uma cidade de dificil convivência.
Os problemas não param por ai. Nas últimas semanas estamos nos deparando com uma cidade sem infra-estrutura para lidar com chuvas e sem perspectiva de melhoras. Nos acostumamos a ver os rios Tietê e Pinheiros transbordarem. Cada vez mais, notícias anunciando número de mortos, em decorrência de chuvas torrenciais se tornam mais constantes nos veículos de comunicação.
Sabemos que São Paulo não é a única cidade brasileira que sofre com problemas como esses, mas acredito que essa data é importante para refletirmos sobre os rumos que a cidade está tomando. Só reclamar não adianta. Por isso que eu venho aqui no Respostas e pergunto a vocês o que os paulistanos têm feito pela cidade? Será que é um momento apenas para comemorar ou para refletir sobre o que pode ser feito para melhorar a qualidade de vida de quem vive aqui?
São Paulo é uma cidade linda, multicultural, repleta de possibilidades e oportunidades. Inspiração para muitos artistas de diversas esferas. Um lugar com identidade própria e o que caracteriza essa identidade, é o fato de ter todas as caras ao mesmo tempo. Um lugaronde a neurose urbana e a pressa constante fazem com os que aqui habitam vivam em um estressante, mas indipensável, ritmo frenético.
Impossível falar da cultura paulistana sem citar o samba paulistano. Berço de compositores como Adoniran Barbosa, Paulo Vanzolini e Eduardo Gudin entre outros. Eles que tantas vezes se inspiraram em São Paulo para criarem letras que foram batucadas em caixinhas de fósforo, mas que se eternizaram fazendo com que a chama do nosso samba permanecesse acesa até hoje. O que nossos sábios mestres do samba diriam se vissem os rumos que a cidade está tomando? Será que eles se sentiriam inspirados com a realidade de São Paulo ou entrariam nas estatísticas daqueles que desejam migrar daqui?
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" No Surrender " 1985 Film - A seedy night club is double booked by The Orange Lodge and Catholics in fancy dress .
No Surrender is a dark humour Alan Bleasdale film.
Set in Liverpool in the 1980's, it has many sub plots going on at the same time involving 2 sets of pensioners (one Catholic and the other Protestant), a band who can't play, a magician who can't do magic, an underworld gangland boss torturing the previous manager, a group of very old mentally handicaped patents and enough bad language to make a Chubby Brown show look PG!!!!
A normal night out these days.
www.youtube.com/watch?v=wkxnDSjF0jo
www.youtube.com/watch?v=zpv0zNozIG4&feature=related People more than old enough to know better !
en.wikipedia.org/wiki/Orange_Order
forums.icnorthwest.co.uk/viewtopic.php?f=29&t=14740&a... Do you think the Orange Lodge should pay for the July 12 policing costs?
thathideousman.blogspot.com/2011/03/book-notes-orange-ord...
www.southportvisiter.co.uk/southport-news/southport-south... Southport Orange Parade organisers given a clear message after 16 people were arrested
www.qlocal.co.uk/southport/news_list/Orange_Lodge_March_I...
www.liverpoolecho.co.uk/liverpool-news/local-news/2011/07... See Comments
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File Size : 5.8 mb
Camera Make : NIKON CORPORATION
Camera Model : NIKON D1X forums.dpreview.com/forums/read.asp?forum=1021&messag...
Software : Adobe Photoshop : Bibble Pro 4.10.1 RAW NEF File : Alien Skin Exposure : Digital Kodak Kodachrome 64 :
Lens : Nikon AF Nikkor 28-70mm f/3.5-4.5 www.kenrockwell.com/nikon/287035af.htm www.photozone.de/nikon--nikkor-aps-c-lens-tests/240-nikko...
6/5/13 2:20 PM
I don’t mind admitting these strobes are whipping my ass. So far I’ve winged it without the destructions. I have to wait for my wife to read me the destructions for the umbrellas. They are frustrating me. Then I have to buy a set of extension cords to plug the strobes in and figure out the hot shoe remote. @Sigmon Whitener, @Sammy Roberts, HELP! I’ll search the web for a tutorial. @Sammy, when you come to visit I may force you to help!
6/5/13 11:46:17 PM
Just setting up the umbrellas about whipped my butt. i got them up tonight. Now I have to run wires and figure out the remote synch. I have a synch that sets on my hot shoe and three extra cords that seem to go to no where. I may just turn these on and use available light.........I'll be forced sooner or later to go to a sight to see if anyone has a demo. I've got a lot of learning to do and these may just lie in the garage and replace my Van.
I get the soft box cloths, the snoot and I have some filters but the night might be over for me.
My extension cords etc are tied up with my PA in my trailer and it is pouring rain.
6/6/13 7:40 PM
I moved the strobes into the living room with built in Dry wall and outlets. I will be forced to dust the living room now. I may have set a trap for my wife and I to trip and fall down the steps! Yes, I did the floor job but didn’t know what I was doing there either. I will fix everything! First I have to learn how the synchs work!
I figured out how to turn on two of the three strobes but can’t figure out the sync receiver. I don’t think my D-600 has a plug in. Maybe the D-7000 does but it is in the shop. I will check the D-90. But just turning on the lights makes for some fun!
I really have to work on the light positions etc and have to give in and watch a tutorial on how to sync up the strobes. I have plugged in and out of every PA system known to man using adapters from hell but I can't find anywhere to plug into the D-600. I'll look at my other cameras. I may be doomed to buy another camera specifically for the strobes.
Practicing Pet Photography! Bad focus in the eyes...... I have to increase the aperture and shoot on manual. Obviously being behind the camera instead of using a remote would be better. However I thought maybe a running set up of a system might be fun for the group.
If I can make those strobes work correctly I may do some portrait work for friends. See the shadow off the magazine on my chest? I have to do things like turn the overhead light off. This is without the kicker or gold Umbrella flash. I also only used the modeling lights on the strobes as I can't figure out the syncs yet. If I do i may be dangerous. This means if you get any clients and need some excuse to come to Winston to shoot you can use my stuff. i have about three or four other backdrops to try. We need to get some curtains to take care of the outside light coming in. I am close but really need some practice.
Also you can see if you blow this up the magazine labels lose focus. So i also have to get the aperture down, which means setting the numbers higher f/16 an up....maybe that will help the depth of field.
www.flickr.com/photos/shanesflyingdiscshow/sets/721576339...
Chaturbhuj temple (Devanagri: चतुर्भुज मंदिर) is dedicated to Lord Vishnu. The name Chaturbhuj (Devanagri: चतुर्भुज) is a derived from Sanskrit words चतु: = four and भुजा = arms, which literally means One who has four arms; and refers to Lord Vishnu.
The temple is Date-able to CIRCA 1100 A.D. This temple is also known as Jatakari (Devanagri:जटकारी) Temple on the name of the village Jatakari (Devanagri:जटकारी), where it is located.
This temple is located near a village Jatakara at Khajuraho. This temple is also known as Jatakari Temple on the name of the village.
It is grouped under southern group of temples, due to is location in southern area of Khajuraho.
This is the only temple in Khajuraho which lacks erotic sculptures.
The temple consists of a sanctum without ambulatory, vestibule, mandapa and an entrance porch. The temple stands on a Modest (chabutara).
Around the wall, there are three bands of sculptures.
The main idol in the temple is of four-armed Lord Vishnu. It is 2.7 meters in height.
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The Khajuraho Group of Monuments in Khajuraho, a town in the Indian state of Madhya Pradesh, located in Chhatarpur District, about 620 kilometres southeast of New Delhi, is one of the most popular tourist destinations in India. Khajuraho has the largest group of medieval Hindu and Jain temples, famous for their erotic sculptures.
Between 950 and 1150, the Chandela monarchs built these temples when the Tantric tradition may have been accepted. In the days before the Mughal conquests, when boys lived in hermitages, following brahmacharya until they became men, they could learn about the world and prepare themselves to become householders through examining these sculptures and the worldly desires they depicted.
The name Khajuraho, ancient "Kharjuravāhaka", is derived from the Sanskrit words kharjura = date palm and vāhaka = "one who carries". Locals living in the Khajuraho village always knew about and kept up the temples as best as they could. They were pointed out to the English in the late 19th century when the jungles had taken a toll on the monuments. In the 19th century, British engineer T.S. Burt arrived in the area, followed by General Alexander Cunningham. Cunningham put Khajuraho on the world map when he explored the site on behalf of the Archaeological Survey of India and described what he found in glowing terms. The Khajuraho Group of Monuments has been listed as a UNESCO World Heritage Site, and is considered to be one of the "seven wonders" of India.
HISTORY
In the 27th Century of Kali Yuga the Mlechcha invaders started attacking Northern India, some Bargujar moved eastward to central India; they ruled over the Northeastern region of Rajasthan, called Dhundhar, and were referred to as Dhundhel or Dhundhela in ancient times, for the region they governed. Later on they called themselves Chandelas; those who were in the ruling class having gotra Kashyap were definitely all Bargujars; they were vassals of Gurjara – Pratihara empire of North India, which lasted from 500 CE to 1300 CE and at its peak the major monuments were built. The Bargujars also built the Kalinjar fort and Neelkanth Mahadev temple, similar to one at Sariska National Park, and Baroli, being Shiva
The city was the cultural capital of Chandel Rajputs, a Hindu dynasty that ruled this part of India from the 10 to 12th centuries. The political capital of the Chandelas was Kalinjar. The Khajuraho temples were built over a span of 200 years, from 950 to 1150. The Chandela capital was moved to Mahoba after this time, but Khajuraho continued to flourish for some time. Khajuraho has no forts because the Chandel Kings never lived in their cultural capital.
The whole area was enclosed by a wall with eight originates, each flanked by two golden palm trees. There were originally over 85 Hindu temples, of which only 25 now stand in a reasonable state of preservation, scattered over an area of about 20 square kilometres. The erotic sculptures were crafted by Chandella artisans. The temples, maintained by the locals, were pointed out to the English in the late 19th century when the jungles had taken a toll on the monuments. Today, the temples serve as fine examples of Indian architectural styles that have gained popularity due to their explicit depiction of sexual life during medieval times.You can see the erotic sculptures on Kandariya Mahadev Temple.
ARCHITECTURE
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.
The Saraswati temple on the campus of the Birla Institute of Technology and Science in Pilani, India, is modeled after the Khajuraho temples.
STATUES AND CARVINGS
The Khajuraho temples contain sexual or erotic art outside the temple or near the deities. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. It has been suggested that these suggest tantric sexual practices. Some 10% of the carvings contain sexual themes and those reportedly do not depict deities but rather sexual activities between people. The rest depict the everyday life. For example, those depictions show women putting on makeup, musicians, potters, farmers, and other folk. The mundane scenes are all at some distance from the temple deities. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities.
Another perspective of these carvings is presented by James McConnachie. In his history of the Kamasutra, McConnachie describes the zesty 10% of the Khajuraho sculptures as "the apogee of erotic art":
"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
While the sexual nature of these carvings have caused the site to be referred to as the Kamasutra temple, they do not illustrate the meticulously described positions. Neither do they express the philosophy of Vatsyayana's famous sutra. As "a strange union of Tantrism and fertility motifs, with a heavy dose of magic" they belief a document which focuses on pleasure rather than procreation. That is, fertility is moot.
The strategically placed sculptures are "symbolical-magical diagrams, or yantras" designed to appease malevolent spirits. This alamkara (ornamentation) expresses sophisticated artistic transcendence over the natural; sexual images imply a virile, thus powerful, ruler.
Between 950 and 1150, the Chandela monarchs built these temples when the Tantric tradition may have been accepted. In the days before the Mughal conquests, when boys lived in hermitages, following brahmacharya until they became men, they could learn about the world and prepare themselves to become householders through examining these sculptures and the worldly desires they depicted.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans, a contemporary stonemason and sculptor gave his expert opinion and forensically examined the tool marks and construction techniques involved in creating the stunning stonework at the sites. He also recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. These temples would have required hundreds of highly trained sculptors.
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Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.
GESCHICHTE
Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.
Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.
TEMPEL
Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.
Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.
Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.
WESTGRUPPE (Hindu-Tempel)
- Matangeshvara-Tempel (ca. 950)
- Varaha-Tempel (ca. 950)
- Lakshmana-Tempel (ca. 950)
- Devi-Tempel
- Vishvanatha-Tempel (ca. 1000)
- Nandi-Schrein
- Parvati-Schrein
- Jagadambi-Tempel
- Chitragupta-Tempel
- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)
OSTGRUPPE (Jain-Tempel)
- Parsvanatha-Tempel (ca. 960)
- Adinatha-Tempel (ca. 1050)
- Shantinatha-Tempel
- Ghantai-Tempel (ca. 990)
EINZELTEMPEL (Hindu-Tempel)
- Chausath-Yogini-Tempel (ca. 875)
- Lalguan-Mahadeva-Tempel (ca. 920)
- Brahma-Tempel (ca. 930)
- Khakra-Math-Tempel (ca. 980)
- Vamana-Tempel (ca. 1050)
- Javari-Tempel (ca. 1100)
- Chaturbuja-Tempel (ca. 1120)
- Duladeo-Tempel (ca. 1120)
ARCHITEKTUR
Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.
FRÜHZEIT
Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.
BLÜHTZEIT
Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.
Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.
Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.
SKULPTUREN
Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.
FRÜHZEITLICHE SKULPTUREN
Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.
SKULPTUREN DER BLÜHTEZEIT
Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.
Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.
ARCHÄOLOGISCHES MUSEUM
Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.
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Il Duomo di San Giorgio si erge nel cuore di Ragusa Ibla.
Antica chiesa madre della città prima del 1693, sorgeva all’estremità est dell'abitato, nei pressi dell'attuale Giardino ibleo, dove si trova ancora il grande portale quattrocentesco, di stile gotico-catalano, unica vestigia rimasta dell'antico tempio.
La chiesa fu gravemente danneggiata dal terremoto e restarono in piedi parte della facciata, alcune cappelle e parte della Cappella maggiore, per cui venne costruito un ampio locale adiacente alla navata sinistra del vecchio tempio, in cui poter svolgere le funzioni.
Nel secondo quarto del XVIII secolo, si decise di trasferire la chiesa nel sito della vecchia di San Nicola, che fino al XVI secolo era stata la parrocchia dei fedeli di rito greco e successivamente, passata al rito latino, era divenuta chiesa sacramentale di San Giorgio. Del progetto venne incaricato nel 1738 Rosario Gagliardi, architetto di Noto, uno dei protagonisti della ricostruzione barocca, di cui questo edificio è una delle opere migliori.
La prima pietra fu posta il 28 giugno del 1739, come ricorda una lapide murata sul lato destro della scalinata, e tuttavia, come ricorda l'enigmatica iscrizione posta sul lato opposto, i lavori poterono cominciare solo nel 1744. Il 5 ottobre 1775, con la salita delle campane, si conclusero i lavori della facciata. Secondo tradizione la cupola sarebbe stata progettata e realizzata nel 1820 dal capomastro ragusano Carmelo Cultraro, su modello di quella del Pantheon di Parigi, ma recenti studi e riscontri archivistici ne assegnano la paternità all'architetto Stefano Ittar.
Al Vescovo venne intitolato l'altare del transetto destro che probabilmente è posto nel luogo in cui sorgeva l'altare maggiore dell'antica chiesa. In questo duomo è stato girato la seconda serie di l'onore e il rispetto
L'interno
Il progetto di Rosario Gagliardi, di cui si conservano le tavole originali, è caratterizzato dalla monumentale facciata a torre che ingloba il campanile nel prospetto e termina con una cuspide a bulbo, richiamando i tabernacoli lignei, seicenteschi, delle chiese cappuccine.
La collocazione della chiesa al termine di un'alta scalinata e la posizione obliqua rispetto alla piazza sottostante accentuano l'imponenza e gli effetti plastici, creati da una lieve convessità del partito centrale e dalla presenza delle colonne libere. Due coppie di volute fanno da raccordo tra i diversi livelli ospitando, rispettivamente, le statue di San Giorgio e San Giacomo in basso, e quelle di San Pietro e San Paolo in alto.
Sulla cuspide, sotto la croce, si legge la data 1775, che indica la conclusione dei lavori della facciata.
Nel primo ordine del partito centrale si apre un grande portale con cornice mistilinea, ricca di fregi e rilievi a motivi vegetali, mentre le porte lignee hanno una preziosa decorazione scultorea, in sei riquadri, con la raffigurazione di episodi del martirio di San Giorgio, opera dell'intagliatore palermitano Vincenzo Fiorello, che li realizzò nel 1793.
L'interno, a croce latina, con le braccia chiuse da absidi semicircolari, è sereno ed equilibrato e viene diviso in tre navate da dieci robusti pilastri in pietra, con un'ampia zoccolatura in pece. Gli intagli che decorano il cornicione e i capitelli dei pilastri furono realizzati tra il 1779 ed il 1781 dagli scultori Giambattista Muccio e Giorgio Nobile di Ragusa.
Nell'incrocio del transetto con la navata centrale si eleva la cupola di gusto neoclassico, a doppia calotta, poggiante su due file di colonne.
Questa chiesa trova corrispondenza non tanto nell'architettura italiana, ma è molto più simile ai modelli dell'Europa del nord, come le chiese londinesi di Hawksmoor e quelle di Neumann in Franconia che sviluppano in facciata il tema del partito centrale a torre.[senza fonte]
Nelle cappelle delle navate laterali si trovano tele di alcuni dei più celebri artisti del settecento siciliano: Vito D'Anna, Antonio Manno, Giuseppe Tresca.
Sopra le porte laterali sono conservati i due simulacri che vengono portati in processione per le strade, durante la festa patronale di San Giorgio: la statua del Santo a cavallo opera dello scultore palermitano Girolamo Bagnasco, che la realizzò nel 1874, e la grande cassa-reliquiario in lamina d'argento sbalzata, opera del 1818 dell'argentiere palermitano Domenico La Villa.
Sulla navata centrale prospetta il grande organo (1887) a 3368 canne, capolavoro della ditta Serassi di Bergamo, che lo volle chiamare Organum maximum, in quanto sintesi della sua migliore arte organaria.
Nell'adiacente sacrestia si conserva un resto della monumentale ancona in pietra calcarea che lo scultore Antonello Gagini aveva scolpito per la vecchia chiesa di San Giorgio tra il 1573 e il 1576. Dalle rovine della chiesa furono recuperate tre nicchie e quattro statue che, pur assemblate in modo alquanto scorretto, danno tuttavia una idea della magnificenza dell'opera originaria.
Shelter area Refugee Camp in the Heart of the City
A free, interactive, awareness-raising event
The set contains 2010 photos of the Toronto MSF display- Refugee Camp in the Heart of the City.
Photos © Linda Dawn Hammond / IndyFoto.com 2010, with usage granted to Médecins Sans Frontières / Doctors Without Borders (MSF)
Médecins Sans Frontières / Doctors Without Borders (MSF) Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca
2011
Join Médecins Sans Frontières / Doctors Without Borders (MSF) at
Refugee Camp in the Heart of the City, a free, interactive, awareness-raising exhibit. You'll be personally guided through the camp by an experienced MSF field worker and gain insight into the daily realities of 43 million people uprooted by war and conflict.
The exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee crisis.
DATES & LOCATIONS
St. John’s: Bannerman Park, September 8-11, 2011
Halifax: Garrison Grounds, September 15-18, 2011
Moncton: Riverfront Park, September 22-25, 2011
Québec: Place d’Youville, September 29-October 3, 2011
We encourage you forward this invitation to anyone you know who may have the opportunity to visit the exhibit.
Thank you!
In Spring 2010, Médecins Sans Frontières / Doctors Without Borders (MSF) brought The Refugee Camp in the Heart of the City exhibit to Ontario and Québec on a four-city tour.
Ottawa: Confederation Park, May 13-16, 2010
Montréal: Parc Jeanne-Mance, May 20-23, 2010
Toronto: Christie Pits, May 27-30, 2010
Waterloo: Waterloo Public Square, June 3-6, 2010
The goal of the exhibit is to raise awareness about the plight of the world’s 42 million refugees and internally displaced people (IDPs) uprooted by war and conflict.
The Refugee Camp in the Heart of the City exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee or IDP crisis.
During the tour, each visitor will learn some of the challenges a refugee or IDP faces in trying to access food, shelter, water and medical care. The 740 m2 (8,000 square feet) exhibit is designed to accommodate approximately 800 to 1,200 visitors per day, and consists of the following areas:
•Shelter area
•Food distribution area
•Latrine area
•Water supply
•Health clinic
•Nutrition treatment centre
•Cholera treatment centre
•Vaccination tent
About the Refugee Camp exhibit
Guided by MSF aid workers, visitors are asked to imagine that they are among the millions of people fleeing violence and persecution in, for example, Somalia, Colombia, the Democratic Republic of Congo, or Sudan.
The exhibit is made up of materials used by MSF in its emergency medical work around the world, including emergency refugee housing, a food distribution tent, water pump, health clinic, vaccination tent, therapeutic feeding center, and a cholera treatment center. It addresses questions such as:
•Will I be safe?
•What will I eat?
•How do I find water?
•Can I get medical care?
•Where will I live?
Learn more about the issues refugees and internally displaced persons (IDPs) face with this interactive guide.
The exhibit is free and open to the public. If you are planning to come with a group of 15 or more please schedule a group visit for your city. Individuals are welcome without reservations.
The Refugee Camp in the Heart of the City was first launched in France in 1995, and has toured in countries in Asia, Europe, the Middle East and North America. In 2008, the exhibit attracted close to 30,000 visitors during a 4 city tour of Western Canada and 4 city tour of California.
Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca
Mariah Carey - Touch My Body
Mariah Carey (born March 27, 1969 or 1970) is an American singer, songwriter, record producer, and actress. In 1990, she rose to fame with the release of "Vision of Love" from her eponymous debut album. The album produced four chart-topping singles in the US and began what would become a string of commercially successful albums which solidified the singer as Columbia's highest selling act. Carey and Boyz II Men spent a record sixteen weeks atop the Billboard Hot 100 in 1995–96 with "One Sweet Day," which remains the longest-running number-one song in US chart history. Following a contentious divorce from Sony Music head Tommy Mottola, Carey adopted a new image and traversed towards hip hop with the release of Butterfly (1997). In 1998, she was honored as the world's best-selling recording artist of the 1990s at the World Music Awards and subsequently named the best-selling female artist of the millennium in 2000.
Carey parted with Columbia in 2000, and signed a record-breaking $100 million recording contract with Virgin Records America. In the weeks prior to the release of her film Glitter and its accompanying soundtrack in 2001, she suffered a physical and emotional breakdown and was hospitalized for severe exhaustion. The project was poorly received and led to a general decline in the singer's career. Carey's recording contract was bought out for $50 million by Virgin and she signed a multi-million dollar deal with Island Records the following year. After a relatively unsuccessful period, she returned to the top of music charts with The Emancipation of Mimi (2005). The album became the best-selling album in the US and the second best-seller worldwide in 2005 and produced "We Belong Together," which became her most successful single of the 2000s, and was later named "Song of the Decade" by Billboard. Carey once again ventured into film with a well-received supporting role in Precious (2009), and was awarded the "Breakthrough Performance Award" at the Palm Springs International Film Festival.
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St Michael's Church, Bath viewed from Northgate Street. It was the first church to be found outside the city walls and is therefore also known as St Michael's Without.
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The full portfolio available from Stock photography by Tim Large at Alamy
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purpleport.com/portfolio/timlarge/?referrer=timlarge
Location:- Bristol, UK
©Timothy Large - TACraftPhotography
She just arrived and... WOW!
Love her face so much, I think she is one of the prettiest dolls I own.
I don't like the low part of her dress very much but I adore the jewelry and heels.
Welcome home dear Erin.
Absolutely no use of TurnAround_2048 photographs without prior written permission.
Member: Pinoy Bus Fanatic (PBF)
Basic Details:
Line: Magicline Express, Corp.
Fleet No.: 8614
License Plate No.: ******
Coachbuilder: Santarosa Motorworks, Inc.
Model: Daewoobus BF106 (BF106 Cityliner)
Route of operation: Ninoy Aquino International Airport, Pasay / Parañaque City - Grotto, Brgy. Tungkong Mangga, City of San Jose del Monte, Bulacan
Seating configuration/capacity: 3x2 / 56
Location: Epifanio de los Santos Ave., Malibay, Pasay City
Date: 2016-02-25
Engine:
Engine Manufacturer: Doosan Infracore, Corp.
Engine Type: DE08TiS
Number of Cylinders & Arrangement: 6, Inline
Displacement, cc:
Power Output:
> In bhp: 236.71
> In PS: 240.00
> In kW: 176.52
Chassis:
Chassis Manufacturer: Zyle Daewoo Bus, Corp.
Chassis Type: BF106 (VIN PL5FJ50HD9KXXXXXX)
Chassis Length: 10.30 m
Transmission:
Method: Manual Transmission
Nr. of Gears:
> Forward: 6
> Reverse: 1
Notes:
1) Specifications are subject to change without prior notice.
2) The license plate of the bus concerned was blurred to prevent any conflict.
3) I have taken this photo for the enjoyment of anyone interested in buses.
4) For any corrections, comment it.
5) Violent and personal comments will be deleted without any notice. Personal comments should be in FlickrMail, not in the comments. I don't want my reputation be ruined.
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Dal punto di vista storico sono stati i Saraceni ad occuparsi intensamente dell’olivicoltura in terra salentina, secondo quanto attestato da Bonaventura da Lama, il quale, nel 1724, fa riferimento ai fatti avvenuti tra il 769 ed il 963, un arco temporale in cui l’area oggi denominata Salento venne popolata da boschi di ulivi; si devono ai Saraceni anche l’introduzione del torchio per la produzione di olio e la coltivazione della varietà Cellina. Probabilmente quelli che sono giunti ai nostri giorni non sono gli ulivi originariamente impiantati dai Saraceni, come presumibile dalle continue modifiche subite dal paesaggio. I maestosi uliveti che popolano i paesaggi salentini contemporanei possono essere il risultato di impianti ed innesti su olivastri realizzati dai monaci basiliani e dalle popolazioni che con loro giunsero nel Salento dal Peloponneso, dalla Morea e dalle isole dell’arcipelago greco.
Degne di particolare menzione sono le piante secolari, colossali e maestose, veri monumenti naturali attualmente oggetto d’attenzione e tutela grazie ad una legge regionale. La Puglia intera, nonché il Salento, vengono spesso ricordati dai turisti di passaggio, nonché dai visitatori abituali per le bellezze naturalistiche: il mare, le lunghe spiagge e gli oliveti. Distese di tronchi deformati dal tempo, tutti uguali eppur diversi nella struttura, nella forma, nella chioma ormai imponente, gli ulivi secolari si stagliano sul panorama salentino, conferendogli odori e colori tipici e, ormai, tradizionali. L’albero di ulivo è, certamente, uno dei simboli per eccellenza del Salento: ne sono stati stimati circa 50-60 milioni su tutto il territorio e molti di essi sono secolari. Le caratteristiche geologiche, nonché la scarsa necessità di cure, fanno sì che gli ulivi resistano per anni, lustri, e, addirittura, secoli, alle intemperie, alla forza distruttrice del vento e della pioggia e all’insopportabile caldo torrenziale delle estati salentine. Chi li guarda resta spesso incantato e ammaliato nel pensare che quegli alberi, probabilmente, potrebbero raccontare più storie e tradizioni di un libro di “culacchi”. Ma è soprattutto la loro forma che lascia a bocca aperta, grandi e bambini: la pianta cresce molto lentamente e col passare del tempo il tronco si trasforma, diventando sempre più contorto, piegandosi su se stesso e, dopo lungo tempo, spaccandosi nel mezzo. È in questo momento che diviene casa per molteplici razze d’animaletti, di varia taglia. La corteggia assume diverse sfumature di colore a seconda dell’età del tronco, nonché della penetrazione della luce solare che brucia e secca il legno; laddove il sole non batte, infatti, il legno tende a restare più umido e, talvolta, a marcire.
Sebbene l’aspetto caratteristico degli ulivi, in special modo di quelli secolari, sia il tronco, non bisogna dimenticare che il vero elemento essenziale si cela nella grande chioma: miriadi di palline piccole e scure dalle quali ricavare l’oro verde del Salento, l’olio d’oliva, ormai esportato e conosciuto in tutto il mondo.
Al di là del valore commerciale, questi alberi hanno un valore storico e, per taluni aspetti, anche affettivo e per questo devono essere costantemente tutelati e salvaguardati da eventuali disboscamenti od espianti: spesso, infatti, i privati scelgono di adornare le proprie ville espiantando ulivi secolari che, se non ricollocati in un terreno idoneo, rischiano di seccare. Ma, ancora, soprattutto negli ultimi anni, con l’avvento di una condizione di crisi economico-finanziaria, spesso si sceglie di disboscare intere aree prima destinate alla coltivazione di alberi di ulivo per lasciar posto a nuove colture più produttive o, peggio, all’installazione di impianti tecnologici.
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.
(++ more inside ++)
They made up their minds and they started packing
They left before the sun came up that day
An exit to eternal summer slacking
But where were they going without ever knowing the way
They drank up the wine and they got to talking
They now had more important things to say
And when the car broke down, they started walking
Where were they going without ever knowing the way
Anyone can see the road that they walk on is paved in gold
And it's always summer, they'll never get cold
They'll never get hungry, they'll never get old and gray
You can see their shadows wandering off somewhere
They won't make it home, but they really don't care
They wanted the highway, they're happier there today, today
Their children woke up and they couldn't find 'em
They left before the sun came up that day
They just drove off and left it all behind 'em (leaving it all behind)
Where were they going without ever knowing the way?
Anyone can see the road that they walk on is paved in gold
And it's always summer, they'll never get cold
They'll never get hungry, they'll never get old and gray
You can see their shadows wandering off somewhere
They won't make it home, but they really don't care
They wanted the highway, they're happier there today, today
Anyone can see the road that they walk on is paved in gold
And it's always summer, they'll never get cold
They'll never get hungry, they'll never get old and gray
You can see their shadows wandering off somewhere
They won't make it home, but they really don't care
They wanted the highway, they're happier there today, today
(The Way, Fastball)
There are probably ten billion shots of the ceiling of the San Francisco Public Library from this vantage on the fifth floor.
Monument to Charles Morrison / Moryson / Morison 1st Baronet (18 April 1587 – 20 August 1628) of Cashiobury Watford and wife Mary Hicks, by Nicholas Stone costing £400
He was the son & heir of Sir Charles Morrison the elder 1599 www.flickr.com/gp/52219527@N00/p4uWb1 of Cassiobury, Watford & Dorothy www.flickr.com/gp/52219527@N00/1e29dn daughter of Nicholas Clark / Clerke, of North Weston and Elizabeth daughter of Thomas Ramsey & Susannah Isham: Dorothy was the widow of Henry Long of Shingay
He is also shown kneeling on his father's monument here www.flickr.com/gp/52219527@N00/Q204G4
He was made Knight of the Bath (KB) in 1603 at the English coronation of King James I and was created a baronet on 29 June 1611. He was an MP at various times between 1621 and 1628.
He m 1606 at Low Leyton, Mary younger co-heiress daughter of Baptist Hicks, 1st Viscount Campden & Elizabeth flic.kr/p/KMikLP daughter of Richard May of London and sister of Sir Humphrey May Alderman of London.
She was the younger sister of Juliana who m Sir Edward Noel, flic.kr/p/LBfa1M
Children - 2 sons who died young www.flickr.com/gp/52219527@N00/6Gq9W0 and an heiress daughter
1. Elizabeth m 1627 www.flickr.com/gp/52219527@N00/WbV32A Arthur 1st Baron Capell of Hadham ex 1649 flic.kr/p/8r4yTR only son of Sir Henry Capell of Rayne Hall Essex & Theodosia daughter of Sir Edward Montague of Boughton Castle & Elizabeth www.flickr.com/gp/52219527@N00/69Uq6t daughter of James Harington of Exton flic.kr/p/Kvqctt (despite his prior engagement to Salisbury’s daughter) Cassiobury becoming the chief seat of the Capel family.
Charles left strict instructions to his ‘dear and best deserving wife’ to forbid a funeral service. This was not for motives of economy, for in his will dated February 1628 he bequeathed £50 to the poor of Watford and £400 to his household servants. He left his nephew the 4th earl of Bedford (Sir Francis Russell) £50 ‘to buy him a horse’, with a request to continue his friendship to the family, £40 to his father-in-law for the same purpose, and £20 to his cousin Edward Alford +++ for a mere nag, ‘ever acknowledging his faithful love to me and mine’.
His widow buried him, in accordance with his instructions, in the north aisle of Watford church, and provided this monument at a cost of £400 in tribute to 21 years of married life ‘without quarrel or cloud’. The epitaph praises his "piety, virtue and intelligence, and his outstanding prudence and dexterity in managing the public business of the province in which he flourished, besides the gentleness and elegance of his manners, humanity and beneficence"
His widow Mary m2 (2nd wife) Sir John Cooper, 1st Bart of Rockbourne, Hants a "handsome gambler" who died soon after from consumption She m3 Sir Edward Alford son of +++
www.historyofparliamentonline.org/volume/1604-1629/member...
Picture with thanks - copyright John Salmon CCL www.geograph.org.uk/photo/4850121
Children's drawings from war torn areas, How Will I Cope Display, Refugee Camp in the Heart of the City
A free, interactive, awareness-raising event
The set contains 2010 photos of the Toronto MSF display- Refugee Camp in the Heart of the City.
Photos © Linda Dawn Hammond / IndyFoto.com 2010, with usage granted to Médecins Sans Frontières / Doctors Without Borders (MSF)
Médecins Sans Frontières / Doctors Without Borders (MSF) Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca
2011
Join Médecins Sans Frontières / Doctors Without Borders (MSF) at
Refugee Camp in the Heart of the City, a free, interactive, awareness-raising exhibit. You'll be personally guided through the camp by an experienced MSF field worker and gain insight into the daily realities of 43 million people uprooted by war and conflict.
The exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee crisis.
DATES & LOCATIONS
St. John’s: Bannerman Park, September 8-11, 2011
Halifax: Garrison Grounds, September 15-18, 2011
Moncton: Riverfront Park, September 22-25, 2011
Québec: Place d’Youville, September 29-October 3, 2011
We encourage you forward this invitation to anyone you know who may have the opportunity to visit the exhibit.
Thank you!
In Spring 2010, Médecins Sans Frontières / Doctors Without Borders (MSF) brought The Refugee Camp in the Heart of the City exhibit to Ontario and Québec on a four-city tour.
Ottawa: Confederation Park, May 13-16, 2010
Montréal: Parc Jeanne-Mance, May 20-23, 2010
Toronto: Christie Pits, May 27-30, 2010
Waterloo: Waterloo Public Square, June 3-6, 2010
The goal of the exhibit is to raise awareness about the plight of the world’s 42 million refugees and internally displaced people (IDPs) uprooted by war and conflict.
The Refugee Camp in the Heart of the City exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee or IDP crisis.
During the tour, each visitor will learn some of the challenges a refugee or IDP faces in trying to access food, shelter, water and medical care. The 740 m2 (8,000 square feet) exhibit is designed to accommodate approximately 800 to 1,200 visitors per day, and consists of the following areas:
•Shelter area
•Food distribution area
•Latrine area
•Water supply
•Health clinic
•Nutrition treatment centre
•Cholera treatment centre
•Vaccination tent
About the Refugee Camp exhibit
Guided by MSF aid workers, visitors are asked to imagine that they are among the millions of people fleeing violence and persecution in, for example, Somalia, Colombia, the Democratic Republic of Congo, or Sudan.
The exhibit is made up of materials used by MSF in its emergency medical work around the world, including emergency refugee housing, a food distribution tent, water pump, health clinic, vaccination tent, therapeutic feeding center, and a cholera treatment center. It addresses questions such as:
•Will I be safe?
•What will I eat?
•How do I find water?
•Can I get medical care?
•Where will I live?
Learn more about the issues refugees and internally displaced persons (IDPs) face with this interactive guide.
The exhibit is free and open to the public. If you are planning to come with a group of 15 or more please schedule a group visit for your city. Individuals are welcome without reservations.
The Refugee Camp in the Heart of the City was first launched in France in 1995, and has toured in countries in Asia, Europe, the Middle East and North America. In 2008, the exhibit attracted close to 30,000 visitors during a 4 city tour of Western Canada and 4 city tour of California.
Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca
Φτάσανε πριν από λίγο και με το αίμα τους να στάζει από τα χίλια τους φρέσκο ποτάμι αιμοβόρων ανθρώπων, αιμοσταγών μακελάρηδων που κρυμμένοι είναι μέσα στα όμορφα ρούχα τους.
Για αυτήν και για αυτόν ομιλώ τώρα προσπαθώντας να τους παρουσιάσω ως το τσίρκο του Αδάμ και της Εύας, που παρέμεινε έξω από τον παράδεισο κουβαλώντας ένα γερμανικό MG-42.
Αυτός Βρετανικής καταγωγής με το ρολόι του να γυρνά ανάποδα σημεία των καιρών και σε χνώτα αλλωνών, και τότε είναι που καταλαβαίνεις πως γεννιούνται οι άθλιοι υποκριτές.
Ηθοποιός που γατζώθηκε πάνω σε κορμί γυναικός προκειμένου να αναρριχηθεί μέσα σε μια χώρα διαφορετική, και εκ πρώτης όψεως εκπορνευμένος φαίνεται ολόγυμνος σαν και αυτή.
Αυτή φυσικά προσπαθεί να ρίξει γέφυρες αντίπερα του ατλαντικού ωκεανού που μια ημέρα θα γίνει ο τάφος της όμως, προκειμένου να πουλήσει όσο περισσότερα δισκάκια ποδηλάτου μπορεί.
Τέτοια και άλλα πολλά κάνουν σχεδιάζοντας τη μοίρα τους που κάποια στιγμή στο μέλλον θα κοπεί, και πριν καλά καλά καταλάβουν το γιατί πέθαναν τόσοι πολλοί στη Γερμανική κατοχή.
Στο δεύτερο παγκόσμιο πόλεμο τους έχω τοποθετήσει άρτια πλασμένους σαν πιόνια που είναι κάποιων που δεν φαίνονται όμως, και στο τέλος αυτοί θα γελάνε μαζί τους περισσότερο από όλους.
Αυτούς τους αποκαλούν γάμους συμφερόντων κι όσες μαχαιρίες έδωσες τόσες και θα λάβεις στο κορμί σου μωρή της απάντησαν, δίνοντας της το μαχαίρι να σκοτώσει όσους περισσότερους μπορεί.
Τώρα αν η προηγούμενη σχέση ήταν ο Άγγλος ασθενής ας ρωτήσετε τη ζουρλή που το έκανε μαζί του, προκειμένου να εισχωρήσει σε προκεχωρημένη γραμμή που έχει έξοδο σε Βρετανική Θάλασσα.
Μα όπως έγραψα πριν εξαπατήθηκε και χρησιμοποιήθηκε σεξουαλικά κι ύστερα από όλα αυτά, επέστρεψε ξανά κατόπιν εντολής φυσικά για να συνεχίσει το έργο στο σώμα του ηθοποιού.
Ο βίος ανθόσπαρτος θα φαίνεται μα το τσάι καυτό θα πέφτει στο κορμί τους υποφέροντας ολημερίς, μα στο κάτω κάτω της γραφής η πέτσα τους αναίσθητη είναι από καιρό γεμάτη λίπος ζωικό.
Υ.Γ...Αχαμνά..."MG-42"
Parked without a centerstand. That's the only thing I miss.
Bridgestone T31 (Feedback, Prestaties op natte weg en Sportiviteit) on the front
Bridgestone Battlax BT-021 on the rear.
120/70 ZR17 front
190/50 ZR17 rear
In principle, machines with less than 25,000 kilometers are very rare, if one is found, it usually costs 3,000 euros or more. Important for all: You should be in a checkbook. While the chassis components and the frame age well, the engine can certainly cause problems, especially when it comes to racetrack booby. The first SRAD (model T) had a cylinder head gasket that was too thin, which was also adopted three times in the MOTORRAD 50,000 kilometer endurance test of that time. This problem has been resolved since 1997. In the endurance test motorcycle, the cylinder head also warped. In addition, the piston pins and the upper connecting rod bearings showed heavy wear. The timing chain tensioner also often causes problems, so it is essential to watch out for unusual noises in this area. The model W from 1998 with injection eliminated many of these devils of defects and is more steadfast, despite seven horsepower more power.
My friend got me into this song…. don't judge me.
I tried to edit this one, but over edited it (making colours go wild). So, this one is slightly toned down.
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And, my sister surprised me with her appearence. She moved to ontario right after christmas this year, and I never seen her since. She showed up while I was working (serving soup and sandwiches >.<)
Well, she left yesterday after a week of being home, and today my mother was cleaning out her room. She noticed I had things set up to take videos (if you wanna look at the video). So, she cleaned it out, and is giving it to me for a studio room! This is from my first photoshoot in my new studio. And, the expensive backdrops? closet curtains.
*Fun tidbit of knowledge- When I was younger, I wanted to put curtains up instead of closet doors. Anyway, my sister wanted it too. And, then my parents. And so, on my deathbed, when I think of how I changed the world, I would think of closet curtains.
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And, one of my friends took this picture as me preparing to go out on stage to perform. so, take it how you want.
All glued, done on glass in recycled frame. Glass gems, jewellery, ball chain, buttons, beads, stained glass .Was going to put something in the space at bottom but think it has enough going on.
Without mysteries life would be very dull indeed.
What would be left to strive for if everything were known?
Charles de Lint
The main entrance to Kirby Hall is now without a roof and floors, and is simply a shell. The walls themselves are very impressive with beautiful decoration. This is pictured from inside the main courtyard.
Kirby Hall was one of the great Elizabethan country houses, located near Gretton, Northamptonshire. It was built for Sir Humphrey Stafford of Blatherwick, beginning in 1570. He had hoped that Queen Elizabeth I would stay here, but in fact she never did. In 1575 the property was purchased by Sir Christopher Hatton of Holdenby, who later became Elizabeth's Lord Chancellor. His descendent Sir Christopher Hatton III had Inigo Jones rebuild Kirby in grand Jacobean style, creating a superb symmetrical house set in stylish formal gardens. The gardens were proudly described by the fourth Sir Christopher Hatton as the finest in England.
The house is now in a semi-ruined state with many parts roof-less although the Great Hall and state rooms remain intact. The gardens with their elaborate ‘cutwork’ design complete with statues and urns have been recently restored. The house remained in the possession of the Hatton family until 1764, though having several other estates they had gradually lost interest in the property and it had started to decay. The house never really recovered. It is currently managed by English Heritage.
う〜む、前住居の補修費の見積もりがまだ来ない。。。
いくらになるのやら〜？（電話したら担当者不在というw）
Praktisix × Arsat 80mm F2.8 FUJI Pro 400
Thank you for visiting.
Don't use this image without my explicit permission.
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無断画像"転載"および物品や出版物への無断使用 (無断2次利用) を禁じます。
Without oils on their feathers the Anhinga has to sun after fishing to dry out. Something I did not know until recently. But this one really did not like us hanging around while sunning.
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.
EHANG GHOST SPECIFICATIONS AND FEATURES: Transmitter: PCM or 2.4GHz (at least Six Channels), Battery: 5400mah Li-po battery, Flight Precision: ± 0.5meters, Maximum angle of rotation: 360°, Drone Speed: 6 - 15meters/second, Control distance: 1000 meters (With G-Box Bluetooth), G-Box: 433mHz, 80mw, standard Bluetooth communication device, Flight time: Without guard rings and camera: about 26 minutes, With guard rings and without camera: about 14 minutes, Without guard rings and with camera: about 20 minutes, Drone Weight: With guard rings - 790 grams, 5400 mAh Battery: 320 grams, 2700mAh Battery: 180 grams, Gimbal: 225grams, 3-blade propeller: 10 grams per piece, Guard ring: 40 grams per piece, HD Camera: 60 grams, Landing gear: 31 grams per piece, Diagonal Distance: 36.0 cm, Motor: EHang EH9812 and EH9812R (reversible Motor), Drone Height: 10.0 cm, Height with Landing Gears: 19.0 cm, Battery: XT60 connector, 3-cells, 11.1 Volts, 5400 mAh, Li-po, GPS: UBlox 6M parallele compacted compass, Wind Resistance: < 10.7 meters /second, Night mode has LED lights to track drone in the sky, The Pilot can integrate with a third-party recording monitor to preview the photos and videos as the drone is flying, The G-BOX is a wireless interface unit designed specifically for controlling and interfacing with the GHOST Drone. The GHOST App cannot operate the Ghost without a G-BOX, Independently Flight Control System with ultra-fast processing capacity enable quick response at millisecond level. Ehang Ghost 2D Gimbal: extremely stable and high-precision Gimbal made of aircraft aluminum alloy material. Simple overall design makes the gimbal light and stable even the drone is heavily shaking, AUTO-RETURN: Auto return mode will be activated if the connection is lost, DATA SYNC: Flight data os the Drone’s current condition shows in the App, within 1000 meters-communication distance, POINT-TO-POINT FLYING: point the finger on the map and the Drone flies to that spot. No more “blind Flying”, TILT MODE: Tilt mode is an innovation to realize leveraging gestures to control the Drone, ONE-CLICK HOVER COMMAND: One-click hover command plays as a brake tohold Ghost at its current spot in the air for emergency situation, MICRO CONTROL MODE: It can adjust the Drone’s position in any direction over shorter distances, AUTO FOLOW MODE: The Ghost will automatically folow the Pilot when he/she makes turns and change direction, always keeping the camera on the Pilot. Original Ehang Ghost 3-Leaf CW/CCW Propeller, Propeller Guards, Motor and Propeller Assembled, Original Motor: EHang EH9812, Ehang EH9812R, (Reversible Motor). GPS - UBlox 6M compacted compass, Battery Charger (Ehang Ghost), Flight Controll Board (Ehang Ghost) G-Box: 433mHz, 80mw, Standard Bluetooth, 3S Battery, 11.1 volts, 5400 mAh, Li-po, ESC - Electronic Speed Controller (Ehang Ghost), Available Models: 1 - EHang Ghost Basic, 2 - Ghost Aerial with 2D gimbal and 3 - Ghost Aerial Plus with HD camera. Ehang Ghost: Deep and Vivid Colors.
IDEAFLY APOLLO SPECIFICATIONS AND FEATURES: Cool Appearance and Convenient for Carrying: the portable, streamlined design reflects the aesthetics of its industrial design, while also allowing the Pilot to easily pack it into a backpack for transport. Precise Hovering and Self-leveling with GPS: IdeaFly Apollo has an integrated flight control system including compass and GPS that provide precise position hold, fail safe and semi-autopilot. The aircraft flies stably under the control of iFly, barometer and GPS. Fail-Safe Mode: If the Apollo loses the signal from the controller for any reason or reaches preset 100 meter high or 300 meter distance limits, the return to home feature will initialize. The aircraft will ascend to 18 meters, then make a straight-line course back to the home position specified during GPS calibration. Once home the Quadcopter will safely descend to the ground and power itself off. 2 Axis Stabilization Gimbal: IdeaFly Apollo has an external adjustable gimbal designed for Boscam and GoPro cameras. Other similar light weight camera can also be mounted on the gimbal. Compared to those simple camera mounts that come with the kits made by other manufacturers, the gimbal on Apollo is controlled by the flight controller system and is self-leveling. A pilot can also tilt the camera to look up and down by turning the position on the transmitter. The Pilot conveniently capture flight footage for exciting POV shots. 2.4GHz Transmitter included: IdeaFly Apollo contains a remote controller and receiver, which help the Pilot avoid the inconvenience of purchasing such things. The only thing needed to do is to add TX batteries (8 x AA dry cell or NiMH). Stabilized Manual, Auto Hover, and Return to Home Modes: The IdeaFly Apollo quadcopter has three different flight modes. The stabilized manual mode is semi-autopilot and a pilot has more control than other modes. In auto hover mode the quadcopter will stop as soon as you release the controls, and will stay hovering at a fixed horizontal and vertical position. This setting is the easiest to fly and is generally preferred for shooting video as the Quadcopter won't drift or be as susceptible to wind gusts. If return to home mode is trigged the aircraft will return the takeoff position automatically. To work Return to Home requires proper calibration and connection to more than four GPS satellites. Low Voltage Protection : The IdeaFly Apollo offers two levels of low voltage protection, a function of the iFly autopilot system. It prevents your multi-rotor from crashing or other harmful consequences caused by low battery voltage. In the first level of protection, the LED indicator blinks red to warn the Pilot. In the second level protection the system will trigger the aircraft to land automatically. High-Intensity LED Indicators: LED status light on quadcopter provides with various kinds of feedback and warnings. Colors alternate between red, blue and purple and can either be flashing or solid.
Elsa has been deboxed. She is inserted in the base, but is without her cape.
I got the Beast Kingdom MC-005 Elsa 1/4 Scale Figure from Big Bad Toy Store today (Wednesday October 3, 2018). She is made from resin, has an excellent paint job, and stands 15 inches tall to the top of her head, or 16.5 inches to the top of her raised hand, or 18 inches tall on her stand. The base is 9.5 inches in diameter and 1 1/4 inches thick, with a non skid bottom. There is a silver plaque on the base which has the Edition number, 291, which is also on a separate Certificate of Authenticity. But there is no indication of the Edition size.
She is in her iconic Let It Go pose, same as the Maquette and many other figures. She comes in three parts, her body and dress, her cape, and the base. She has to be inserted into the base to stand, and the cape is inserted into her back. She is very stable on the base. There is silver glitter on her bodice and the snowflake and icicle patterns in her cape, and it does shed a little. She is a very accurate and very beautiful depiction of Snow Queen Elsa.
I show her being deboxed, then on the base without her cape, and finally fully assembled with her cape on.
Frozen Master Craft MC-005 Queen Elsa of Arendelle PX Previews Exclusive Statue
BY BEAST KINGDOM
BRANDS FROZEN, DISNEY
IN STOCK
$214.99
Sold by Big Bad Toy Store
Premiered in 2014, the animated motion picture Frozen has propelled Disney's motion pictures to new heights! In addition to instant fame to all characters in the movie, Frozen has also elevated Elsa to the number three spot on Disney's ranking for the most popular princess.
Beast Kingdom's MC-005 Frozen Elsa is based on the appearance of Elsa when she became the Snow Queen in the movie with her confident and resolute demeanor. The sculptor has painstakingly stayed true to the source materials from Disney so as to portray the perfect recreation of Elsa's elegance. With precise and detailed sculpting, this statue faithfully captures the look of confidence and elegant posture of Elsa.
Coupled with professional paint work and special paint materials, all details on the statue are accurate reproduction of the color scheme as seen in the animation. As she stands atop of her pearl luster base, Elsa is ready to unleash her powerful cryokinetic magic. Want to witness that breathtaking world of ice?
Come to Beast Kingdom and join Elsa in a return to the stunning scenery in the world of Frozen!
Product Features
1/4 scale
Previews Exclusive statue!
Features details from the film
Stands on her ice base!
Box Contents
Elsa of Arendelle 1/4 scale statue
More images at the manufacturer's Facebook page announcement of the figure: