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Some of my photos from Wekfest East in NJ. I had the pleasure of working with some awesome people at Canibeat to cover the event.
Check out the feature on the Canibeat site: www.canibeat.com/2013/09/wekeast-wekfest-east-coast-elite...
Also check out my entire coverage on my website: www.jschusteritsch.com/wekfest2013
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event | 2010 Tauplitzalm Bergpreis, Styria 💚 Austria
📷 | Fiat Abarth 124 sport rally engine :: rumoto images # 1628
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Chella (anticamente Sala Colonia in latino, oggi in arabo شالة) è un sito archeologico a nord di Rabat, in Marocco. Il sito è la prova della più antica presenza umana nel delta del fiume Bou Regreg, lungo le cui rive Fenici e Cartaginesi stanziarono diverse basi. A circa 3 km dal centro, il complesso si trova al di fuori delle mura della città e occupa il sito della romana Sala, su una bassa collina coperta di vegetazione, rifugio delle cicogne nella stagione riproduttiva. Gli scavi hanno rivelato la presenza di un importante agglomerato e infatti Chella conserva le vestigia di una città romana, con i resti del Decumano Massimo, di un foro presso il quale si riconoscono le tracce della Curia, di una fontana monumentale e di un arco di trionfo. Il sito rimase poi in stato di abbandono per diversi secoli, fino a che i Merinidi lo scelsero per edificarvi la loro necropoli. Circondata da una cinta di mura fortificate, ad essa si accede attraverso una porta monumentale, riccamente decorata e aperta ad arco acuto, ai cui lati sono poste due massicce torri merlate semi-ottagonali. Nella parte superiore del portale è presente un’iscrizione in caratteri cufici, dalla quale si apprende che la costruzione dello stesso fu intrapresa dal sultano Abu Said (1310-31) e terminata nel 1339 sotto il regno di Abu el-Hassan, il più grande sultano della sua dinastia. All’interno della necropoli si trovano alcune tombe di marabout e, presso una sorgente trasformata in fontana per abluzioni, la necropoli reale con la tomba di Abu el-Hassan, la cui stele, finemente decorata, è sovrastata da una tettoia a muqarnas. Nelle vicinanze sono presenti la moschea di Abu Yussef Yacub con un minareto decorato con maioliche policrome ora in rovina e una zaouia con un oratorio. Nella terrazza ai piedi del complesso si estende un incantevole giardino alimentato dalle acque della vicina sorgente Ayn Mdafa, che serpeggia nell’incavo della valletta.
Le Chellah, ou Chella (en arabe : شالة), est le site d'une nécropole mérinide située sur l'emplacement d'une cité romaine, à Rabat, au Maroc. Depuis 2005, ce site accueille chaque année le festival Jazz au Chellah. Le site du Chellah fut sans doute la plus ancienne agglomération humaine à l'embouchure du Bou Regreg. Les Phéniciens et les Carthaginois, qui ont fondé plusieurs comptoirs au Maroc, ont probablement habité les bords du Bouregreg. Le Chellah conserve, en revanche, les vestiges d'une ville romaine. Les fouilles ont révélé la présence d'une agglomération d'une certaine importance ; celle de la ville citée sous les noms de Sala, par Ptolémée, et de Sala Colonia, dans l'itinéraire d'Antonin. Les restes du Decumanus Maximus, ou voie principale, ont été dégagés ainsi que ceux d'un forum, d'une fontaine monumentale, d'un arc de triomphe, d'une basilique chrétienne, etc. La voie principale de Sala a été suivie par des sondages exécutés en direction du port antique sur le Bouregreg, port aujourd'hui ensablé. Ainsi, la ville romaine dépassait l'enceinte mérinide en direction du fleuve. Les Banou Ifren s'emparèrent de la ville2 au XIe siècle, et elle fut une de leurs métropoles jusqu'à ce que qu'elle passe sous le pouvoir des Almoravides. Le Chellah était abandonné depuis plusieurs siècles quand les Mérinides choisirent son site pour y édifier leur nécropole. Comme l'indique l'inscription en écriture coufique, qui surmonte la porte d'entrée, les travaux ont été achevés en 1339, sous le règne d'Abû al-Hasan `Alî. L'occupation du site a été progressive, et les aménagements successifs ont abouti à la réalisation d'une somptueuse nécropole. Protégée par une enceinte importante à laquelle on accède par une porte monumentale, la nécropole mérinide contient notamment une salle d'ablutions, une zaouïa avec un oratoire, un minaret paré de zellige et plusieurs salles funéraires, telle celle d'Aboul Hassan dont la stèle, finement décorée, repose sous un auvent à mouqanas. Plus tard, Abû `Inân Fâris, son fils, affecta, pour l'entretenir, les revenus d'un bain mérinide de Rabat, le hammâm Ej-Jdîd. La porte de la nécropole est une porte majestueuse et guerrière. Puissante, elle est flanquée de deux bastions semi-octogonaux avec des encorbellements surmontés de merlons pointus. Cette porte de forteresse ouvre sur une petite oasis, un havre de paix d'une dizaine d'hectares où la tranquillité des lieux est interrompue de temps à autre par le claquement de bec des cigognes. Paysage clos et enchanteur, jardin à l'atmosphère magique où le sanctuaire du fondateur est au creux d'un vallon dans lequel serpente la source d'Aïn Mdafa.
Chellah, (Arabic: شالة) or Sala Colonia is a necropolis and complex of ancient Roman Mauretania Tingitana and medieval ruins at the outskirts of Rabat, Morocco. First spot of Salé, this latter was completed towards the north of the river. It is the most ancient human settlement on the mouth of the Bou Regreg River. The Phoenicians and the Carthaginians, who founded several colonies in Morocco, probably inhabited the banks of the Bou Regreg. Chellah is the site of the ruins of the Roman town known as Sala Colonia, referred to as Sala by Ptolemy. Excavations show an important port city with ruined Roman architectural elements including a decumanus maximus or principal Roman way, a forum and a triumphal arch. One of the two main Roman roads in Morocco reached the Atlantic through Iulia Constantia Zilil (Asilah), Lixus (Larache) and Sala Colonia. Another may have been built toward south, from Sala Colonia to modern Casablanca, then called Anfa. The Romans had two main naval ouposts on the Atlantic: Sala near modern Rabat and Mogador in north of Agadir. Roman expeditions sailed from there to find the Canary islands. The site was abandoned in 1154 in favour of nearby Salé. The Almohad dynasty used the ghost town as a necropolis. In the mid-14th century, a Merinid sultan, Abu l-Hasan, built monuments and the main gate, dated to 1339. These later Merinid additions included a mosque, a zawiya, and royal tombs, including that of Abu l-Hasan. Many structures in Chellah/Sala Colonia were damaged by the 1755 Lisbon earthquake. The site has been converted to a garden and tourist venue.
No visit to York would be complete without a walk around the City Walls. At 3.4 kilometres long, the beautifully preserved walls are the longest medieval town walls in England. About 2.5 million people walk along all or part of the City walls each year, enjoying some amazing views. The completion of the entire circuit will take approximately 2 hours. There are five main bars or gateways, one Victorian gateway, one postern (a small gateway) and 45 towers.
York City Walls
The city or ‘bar’ walls of York are the most complete example of medieval city walls still standing in England today. Beneath the medieval stonework lie the remains of earlier walls dating as far back as the Roman period.
The Roman walls survived into the 9th century when, in AD 866, York was invaded by the Danish Vikings. The Vikings buried the existing Roman wall under an earth bank and topped with a palisade – a tall fence of pointed wooden stakes.
The wooden palisade was replaced in the 13th and 14th centuries with the stone wall we see today.
The medieval city walls originally included 4 main gates or ‘bars’ (Bootham Bar, Monk Bar, Walmgate Bar and Micklegate Bar), 6 postern or secondary gates and 44 intermediate towers. The defensive perimeter stretched over 2 miles encompassing the medieval city and castle.
By the late 18th century, however, the walls were no longer required as defences for the city and had fallen into disrepair. In 1800, the Corporation of York applied for an Act of Parliament to demolish them. In addition to the poor condition of the walls at the time, the narrow gateways of the bars were inconvenient and the walls themselves hindered the city’s expansion.
Many other cities, including London, were removing their outdated, medieval city walls at this time. In York, however, the city officials met with fierce and influential opposition and by the mid-nineteenth century the Corporation had been forced to back down.
Unfortunately, the call for preservation came too late for some parts of the walls – the barbicans at all but one of the gateways (Walmgate Bar) had been torn down along with 3 postern gates, 5 towers and 300 yards of the wall itself.
Since the mid-nineteenth century the walls have been restored and maintained for public access, including the planting of spring flowers on the old Viking embankment. Today the walls are a Scheduled Ancient Monument and a Grade 1 listed building.
Bootham Bar
There has been a gateway here for nearly 2000 years - Bootham Bar is on the site of one of the four main entrances to the Roman fortress.
The existing structure is not Roman but it has been around for quite a while. The archway itself dates from the 11th century and the rest of the structure is largely from the 14th century. In 1501 a door knocker was installed as Scots were required to knock first and seek permission from the Lord Mayor to enter the city.
The bar was damaged during the siege of York in 1644. Like Micklegate Bar, it was sometimes used to display the heads of traitors, the heads of three rebels opposing Charles II’s restoration were placed here in 1663.
Bootham Bar was the last of the gates to lose its barbican, demolished in 1835.
Fishergate Bar
1315AD - 1487AD
Fishergate Bar is one of six gateways in the city walls. It faces South towards Selby. Nearby used to be the large flooded area known as the King’s Fishpond.
‘Barram Fishergate’ is the first documented reference to the bar, in 1315. A central stone above the archway reveals the date of the current bar. It contains the York coat of arms and an inscription which reads:
‘A.doi m.cccc.lxxx.vii Sr Willm Tod knight mayre this wal was mayd in his days lx yadys’
This tells us that sixty yards of the wall, including the bar, was built in 1487 under Sir William Tod, mayor of York.
But just two years later, in 1489, Fishergate Bar suffered considerable damage in the Yorkshire peasants’ revolt against Henry VII. The rebels burned the gates of the bar after murdering the Earl of Northumberland. The gateway was bricked up soon after and wasn’t re-opened until 1834, to give better access for the cattle market.
Micklegate Bar
Micklegate Bar was the most important of York’s four main medieval gateways and the focus for grand events. The name comes from 'Micklelith', meaning great street.
It was the main entrance to the city for anyone arriving from the South. At least half a dozen reigning monarchs have passed through this gate and by tradition they stop here to ask the Lord Mayor's permission to enter the city.
The lower section of the bar dates from the 12th century, the top two storeys from the 14th. The building was inhabited from 1196. Like the other main gates, Micklegate Bar originally had a barbican built on the front, in this case demolished in 1826.
For centuries the severed heads of rebels and traitors were displayed above the gate, the many victims include Sir Henry Purcey (Hotspur) in 1403 and Richard, Duke of York in 1460. The last of the severed heads was removed in 1754.
Monk Bar
Monk Bar is the largest and most ornate of the bars, it dates from the early 14th century. It was a self-contained fortress, with each floor capable of being defended. On the front of the bar is an arch supporting a gallery, including 'murder-holes' through which missiles and boiling water could be rained down upon attackers.
Monk Bar has the city’s only working portcullis, in use until 1970. Like the other main gateways, Monk Bar originally had a barbican on the front. This was demolished in 1825.
The rooms above the gateway have had various uses over the years, including as a home and as a jail for rebellious Catholics in the 16th century.
The Red Tower
1490AD - 1491AD
The Red Tower, built in 1490, forms the only brick section of York’s famous city walls. Because it was built of brick its construction did not sit well with the local stone masons. So much so that it was the cause of dispute, and even murder.
The masons who worked on the majority of York’s walls and buildings were unhappy about the employment of tilers to build the Red Tower; their unhappiness led to them attempting to sabotage the building of the tower. The tilers had to ask for protection from the city council to stop the masons from threatening them and breaking their tools.
This protection made little difference, however. In 1491, the tiler John Patrik was murdered. Two leading masons, William Hindley and Christopher Homer, were charged with the murder but quickly acquitted.
The first recorded use of the name “The Red Tower” was in 1511, presumably in reference to its red brick colour rather than its bloody past.
Despite forming an important and unique part of the city walls, the Red Tower fell quickly into disrepair. It had to be repaired multiple times, notably in 1541 and 1545, and was in ruins by 1736. It was roughly restored in 1800 and became known as ‘Brimstone House’ – probably a reference to its former use as a manufactory for gunpowder. It has two storeys, and a garderobe. The way that the tower appears now is thanks to G F Jones’ restorations in 1857-8.
Walmgate Bar
Walmgate Bar is the most complete of the four main medieval gateways to the city, it is the only bar to retain its barbican, portcullis and inner doors.
Its oldest part is a 12th century stone archway, the walled barbican at the front dates from the 14th century, the wooden gates from the 15th century and the timber-framed building on the inside from the 16th century.
It was burned by rebels in 1489 and battered by cannon during the siege of 1644.
Baile Hill
William the Conqueror ordered two castles to be built in York, one on either side of the River Ouse.
They formed a defensive system in response to the recent violent unrest.
'York Castle' was later reinforced and eventually rebuilt in stone and so now appears much more substantial. But originally both castles were of a similar size and layout.
Baile Hill is the name given to all that remains of York's other castle. It was the man-made mound, or motte, of the castle.
Excavations in 1979 revealed remains of timber buildings and a strong fence at the summit of the mound, together with a staircase up one side. The surrounding bailey was defended by a bank of earth built on top of the original Roman city wall.
Barker Tower
This river-side tower was built in the 14th century. It was positioned at the boundary of the medieval city-centre and, in conjunction with Lendal Tower on the opposite bank, was used to control river traffic entering the city. A great iron chain was stretched across the river between the two towers and boatmen had to pay a toll to cross it. The chain also served as a defence for the city. As early as 1380 Thomas Smyth was named as the tower’s ‘keeper of the chain’.
For boats coming downstream it would be the second toll in quick succession; St Mary's Abbey had its own tower and toll collection system a little further up the river.
Barker tower was leased for long periods to various ferrymen (and at least one woman) who ran passengers across the Ouse until Lendal Bridge was built in 1863. The ferry ran 'in summer and winter, fair weather and foul, Sundays and weekdays'.
The ferry was put out of business when Lendal Bridge opened in 1863. The tower has had plenty of other uses over the years, including as a mortuary for a brief time in the 19th century.
Central station, Dresden
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Carrozzeria Touring Superleggera è forte di una storia e di una tradizione che contano più di 80 anni: le prime fuoriserie carrozzate Touring, un’Alfa Romeo e un’Isotta Fraschini, furono infatti realizzate nel 1928.
Negli anni il nome Touring è sempre stato sinonimo di eleganza, qualità e innovazione tecnica: il brevetto di costruzione Superleggera, che vede pannelli d’alluminio battuti a mano applicati a una struttura rigida e leggera in sottili tubi d’acciaio, è del 1936. Proprio il brevetto Superleggera ha permesso a Touring di realizzare con pari maestria sia pezzi unici sia modelli prodotti in piccola serie sia, anche, vetture prodotte in numeri più importanti: come l’Alfa Romeo 1900 Sprint, la Lancia Flaminia Coupé, l’Aston Martin DB5, le Lamborghini 350 e 400 GT, le Maserati 3500 e 5000 GT. Un percorso, quello della Touring, che è progredito negli anni permettendo all’atélier milanese di rivestire anche alcune delle più importanti Ferrari di serie della prima ora, come le 166 e 212 in versione Coupé, Spider e Barchetta (spider corsa 2 posti). E anche un’altra coupé biposto carrozzata Touring, la 328, è stata la prima BMW a passare alla storia tra le 25 auto più importanti di sempre. Oggi Carrozzeria Touring Superleggera ripropone ai suoi clienti quegli stessi valori e quello stesso sapere, rivisitati attraverso l’acquisizione delle più moderne esperienze e tecnologie.
La Carrozzeria Touring, nota anche come Touring Superleggera, è una carrozzeria italiana fondata nel 1926, specializzata nella realizzazione di autovetture concept car e one-off, nel disegno e nella progettazione di carrozzerie su commissione e nell'assemblaggio di automobili complete per conto di altre case automobilistiche. È nota soprattutto per aver ideato la tecnica di realizzazione della scocca denominata Superleggera.
La Touring venne fondata a Milano nel 1926 dall'avvocato Felice Bianchi Anderloni e dall'amico, esperto di amministrazione, Gaetano Ponzoni, che rilevarono la Carrozzeria Falco di Vittorio Ascari, fratello del pilota dell'Alfa Romeo Antonio. Ascari fondò poi la carrozzeria Dux. Era un periodo di grande crescita delle carrozzerie indipendenti, favorite dal fatto che le case consegnavano ai clienti anche i telai (che, all'epoca erano separati dalla scocca) "nudi", da carrozzare a piacimento. Non a caso Anderloni e Ponzoni costruirono il loro primo stabilimento in Via Ludovico da Breme (periferia nord di Milano), non lontano dal Portello (allora sede dell'Alfa Romeo) e da via Monterosa (sede della Isotta Fraschini). Nelle vicinanze c'era anche la Citroën Italiana. E proprio su base Alfa Romeo e Isotta Fraschini furono costruite, a partire dal 1928, le prime carrozzerie. Nel 1929 la Touring venne incaricata di allestire due autotelai "Lictoria Sex", nelle versioni torpedo e coupé-cabriolet, destinate alla regina Elena. La Touring tuttavia non s'accontentava di questo e, considerando il peso e la resistenza aerodinamica due nemici da battere, acquisì alla fine degli anni venti la licenza di costruzione Weymann. Il sistema Weymann consentiva di sostituire le pesanti lamiere in ferro, da chiodare alla rigida struttura in legno, con pannelli in pegamoide impermeabilizzata, applicata su leggeri telai in legno con giunti di fissaggio snodabili, che consentiva di avere una carrozzeria leggera e, al tempo stesso, molto silenziosa perché priva di scricchiolii. La scarsa resistenza nel tempo della pegamoide (che si seccava, raggrinzendo) spinse i tecnici Touring a cercare nuove soluzioni. Il metodo Superleggera venne introdotto dalla Touring nel 1936. La tecnica (mutuata dalla costruzione di aeroplani) prevedeva una scocca in sottili (ma resistenti) tubi d'acciaio alla quale venivano applicati i pannelli in alluminio della carrozzeria. Telaio e scocca, inoltre, erano tutt'uno, anticipando di parecchi anni l'avvento della scocca portante. Inoltre, negli stessi anni, la Touring costruì una sorta di rudimentale galleria del vento, per migliorare la profilatura delle proprie carrozzerie. Rimase infatti importante anche l'attività di design. Dopo la parentesi bellica, l'attività riprese procedendo anche nella direzione di concedere alle grandi Case la licenza per costruire modelli secondo la tecnica Superleggera nei loro stabilimenti. Le Inglesi Bristol Cars e Aston Martin e l'americana Hudson approfittarono subito di questa possibilità, per ridurre le enormi spese di trasporto tra Inghilterra e Italia o tra Stati Uniti e Italia. Nel dopoguerra sono state progettate (e in alcuni casi anche assemblate direttamente) con la tecnica Superleggera alcune fra le più belle autovetture Italiane, come le Alfa Romeo 6C 2500 Freccia d'Oro (1947), 6C 2500 Villa d'Este (1949), 2000 Spyder e 2600 Spyder, le Aston Martin DB5, le Iso Rivolta Grifo. le Lamborghini 350 GT e Lamborghini 400 GT 2+2, le Lancia Flaminia GT e le Maserati 5000 GT. Ma la vera sopravvivenza economica della Touring sarebbe dovuta arrivare dall'accordo col gruppo Rootes, siglato nel 1962, per l'assemblaggio in Italia (e dunque l'introduzione all'interno del MEC come italiane, dato che l'Inghilterra non ne faceva parte) di almeno 10.000 esemplari dei modelli Hillman Imp e Sunbeam Alpine e Venezia. Per svolgere questo compito la Touring affrontò notevoli investimenti, come la costruzione di un nuovo stabilimento a Nova Milanese. L'improvvisa morte di lord William Rootes, nel dicembre 1963, portò al naufragio del contratto e dello stesso Gruppo Rootes, poi rilevato dalla Chrysler nel 1967. Le vicende della Rootes si rivelarono determinanti per la Touring che si ritrovò senza commesse con forti investimenti da ripianare. Ad affossare la piccola carrozzeria contribuirono anche le norme restrittive per le automobili di grossa cilindrata che ridussero gli ordinativi dei contratti già in atto con Lancia, Lamborghini e Maserati. L'azienda entrò in amministrazione controllata nel marzo 1964 e a nulla valsero le piccole commesse che furono subito concesse dalle maggiori case nazionali. Tra le più consistenti le 2.000 "Primula Coupé" commissionate dall'Autobianchi e la produzione del modello "Giulia GTC" che la casa di Arese affidò alla Touring, pur trattandosi di un progetto realizzato dalla Bertone. La "GTC" non incontrò il favore del pubblico e la tiratura fu limitata a 1.000 esemplari. Subito dopo aver terminato il pregevole prototipo "C4", versione cabriolet della Fiat 124 berlina, il 31 dicembre 1966, la Touring chiuse i battenti. Nel 2006 il marchio Touring venne rilevato dall'azienda privata Zeta Europe BV, specializzata in ingegneria automobilistica di altissimo livello. Di lì a poco la storica carrozzeria milanese torna a nuova vita, con il nome di Touring Superleggera e con sede a Rho. L'esordio della nuova Touring avvenne al Concorso d'eleganza Villa d'Este del 2008, dove venne esposta la Maserati Bellagio, una versione station wagon della Quattroporte V. Seguirono poi la Maserati A8GCS, altra fuoriserie col marchio del Tridente, stavolta su base Maserati GranSport, e la Bentley Continental Flying Star, giardinetta di lusso. Nel 2012 al Salone di Ginevra viene presentata la Disco Volante 2012, reinterpretazione in chiave moderna della storica Alfa Romeo 1900 C52.
Well, here's a somewhat decent, unedited, random photo of me chilling in my room, taken just so I could do all the things that people have recently tagged me in without cluttering up today's photo.
Here we go!
I was tagged by Nicole to post some of my favorite lyrics, so I'll just post a few until I get bored. :)
Lyrics
Long live all the mountains we moved
I had the time of my life fighting dragons with you
I was screaming, long live the look on your face
And bring on all the pretenders, one day we will be remembered
- Long Live by Taylor Swift
If I die young bury me in satin
Lay me down on a bed of roses
Sink me in the river at dawn
Send me away with the words of a love song
- If I Die Young - The Band Perry
Let's burn our dreams into the skyline
Tatoo our sweat tears, forever you and I
Hold your breath 'til we cause the sundown
This is the moment
Time is racing, slow it down
- Stay Young by We the Kings
Who cares if you disagree?
You are not me
Who made you king of anything?
So you dare tell me who to be?
Who died and made you king of anything?
- King of Anything - Sara Bareilles
I'm a new soul
I came to this strange world
Hoping I could learn a bit bout how to give and take.
But since I came here,
Felt the joy and the fear
Finding myself making every possible mistake
- New Soul by Yael Naim
I will rise above
I will live for love
I will answer to the call
For the bond between
For the depth unseen
For my God forsake it all
'Cause I'm a fire
I'm a flood
I'm a revolution
I am a war
Already won
I'm a revolution
- Revolution by Starfield
And next I was tagged by Alexa and Jacqueline to write down ten of my pet peeves/hates.
My Pet Peeves/Hates
1. When people put their feet on my chair. I ALWAYS put my feet on everyone else's chair, but I can't stand it when they do it to me. I'm so weird.
2. I will not tolerate someone tickling me. Ever.
3. Having a messy room. Which I have right now. Cleaning it up straight after this.
4. When I stain my clothes.
5. When people cuss/curse. Almost everyone I know does it in some way, but I never will. I see no reason for it and it's just so low class.
6. Bad acting, whether in a movie or play, even and especially if it's me that's doing the bad acting.
7. The hunger that so many people in so many countries are facing right now.
8. Christopher Paolini for not finishing his Inheritance series... what is wrong with him?!
9. Sometimes homework.
10. Being sick.
And THEN I was tagged by Britt just to write ten things (again).
Ten Things
1. I've read the book Blink by Ted Dekker many times, and so should you.
2. I think my sister and I are going to redo our room over spring break. We'll see.
3. I love getting mail from real people (aka not banks, advertisements, etc.)
4. A lot of times I hate texting, for many jumbled up reasons.
5. That's Stripes in the above picture.
6. All of our cats are named after their colors Blacky (black), Stripes (tabby), and Smokey (gray).
7. I spell the color in between black and white gray instead of grey. Both are correct.
8. I probably don't appreciate my iPhone enough.
9. I love using a GPS because I get lost frequently.
10. If you read everything I've written then you may have an imaginary cookie.
I'm not tagging anybody because this is too much to do. Tag yourself at your own peril.
Copyright © 2011 Ruggero Poggianella. All rights reserved. Please, do not use my photos without my written permission.
La Cappella Palatina è una basilica a tre navate dedicata ai santi Pietro e Paolo. Fu fatta costruire per volere di Ruggero II e venne consacrata il 28 aprile 1140 come chiesa della famiglia reale. Le tre navate sono separate da colonne in granito e marmo cipollino a capitelli compositi che sorreggono una struttura di archi ad ogiva. Completa la costruzione la cupola, eretta sopra le tre absidi del santuario. La cupola e il campanile originariamente erano visibili dall'esterno prima di venire inglobate nel Palazzo Reale in seguito alle costruzioni successive. La cupola, il transetto e le absidi sono interamente decorate nella parte superiore da mosaici bizantini, tra i più importanti della Sicilia, raffiguranti il Cristo Pantocratore benedicente, gli evangelisti e scene bibliche varie.
I mosaici di datazione più antica sono quelli della cupola, risalenti alla costruzione originaria del 1143.
Il soffitto in legno della navata centrale e le travature della altre navate sono decorate con intagli e dipinti di stile arabo. In ogni spicchio sono presenti stelle lignee con rappresentazioni di animali, danzatori e scene di vita della corte islamica.
Danneggiata dal terremoto del settembre 2002 fu sottoposta a restauri, conclusi nel luglio 2008. Il progetto dei restauri redatto dall'architetto Guido Meli dirigente del centro regionale per il restauro della Regione Siciliana venne finanziato dal mecenate tedesco Reinold Wurth per oltre tre milioni di euro.
Le decorazioni dei mosaici rappresentano scene di carattere aulico e venatorio con grande dedizione nell'esecuzione degli animali tra cui, oltre i mitilogici centauri appaiono leopardi, pavoni, cervi, cigni sullo sfondo di una vegetazione di alberi e palme. Le rappresentazioni dai canoni sontuosi ma con accenti di rigidità, delineano la chiarissima matrice greco-bizantina dell'opera. La volta della sala risale invece al periodo successivo di Federico II, come testimoniato dalla rappresentazione dell'aquila sveva.
La Cappella Palatina si trova nel sontuoso Palazzo dei Normanni, che oggi ospita il parlamento siciliano.
La Cappella è sicuramente il luogo più celebre della città di Palermo. I lavori di costruzione iniziarono nel 1130, anno in cui fu Ruggero II fu incoronato re di Sicilia, e terminarono nel 1143.
La Cappella è importante perché rappresenta la sintesi culturale e politica operata dai Normanni. Infatti, essa fonde in modo mirabile le espressioni architettoniche più rilevanti per la Sicilia: l'europea, la siciliana, la bizantina, l'araba. La Cappella si presenta sotto forma di basilica a tre navate sorrette da colonne di granito con capitelli corinzi riccamente decorati. L'elegante mosaico bizantino presente al suo interno, che si ritroverà nella chiesa della Martorana e nel Duomo di Monreale, è stato definito come uno dei più belli e meglio conservati di tutta Italia. È ormai certo che i mosaici sono stati eseguiti in due momenti successivi: si ritiene che i più antichi risalgano agli anni intorno al 1240, mentre quelli della navata centrale dovrebbero risalire agli anni 1260-1270.
I mosaici della navata centrale riportano scene dell’antico testamento; quelli del presbiterio ricordano episodi della vita di Cristo, e quelli delle navate laterali episodi della vita di San Pietro e San Paolo. Splendidi sono i mosaici più antichi, nella cupola che sovrasta il coro: rappresentano il Cristo Pantocratore (onnipotente), circondato da angeli ed arcangeli, e i quattro Evangelisti che paiono assorti in meditazione.
I mosaici di datazione più antica sono quelli della cupola, risalenti alla costruzione originaria del 1143.
Il soffitto in legno della navata centrale e le travature della altre navate sono decorate con intagli e dipinti di stile arabo. In ogni spicchio sono presenti stelle lignee con rappresentazioni di animali, danzatori e scene di vita della corte islamica.
Danneggiata dal terremoto del settembre 2002 fu sottoposta a restauri, conclusi nel luglio 2008. Il progetto dei restauri redatto dall'architetto Guido Meli dirigente del centro regionale per il restauro della Regione Siciliana venne finanziato dal mecenate tedesco Reinold Wurth per oltre tre milioni di euro.
Le decorazioni dei mosaici rappresentano scene di carattere aulico e venatorio con grande dedizione nell'esecuzione degli animali tra cui, oltre i mitilogici centauri appaiono leopardi, pavoni, cervi, cigni sullo sfondo di una vegetazione di alberi e palme. Le rappresentazioni dai canoni sontuosi ma con accenti di rigidità, delineano la chiarissima matrice greco-bizantina dell'opera. La volta della sala risale invece al periodo successivo di Federico II, come testimoniato dalla rappresentazione dell'aquila sveva.
La Cappella Palatina si trova nel sontuoso Palazzo dei Normanni, che oggi ospita il parlamento siciliano.
La Cappella è sicuramente il luogo più celebre della città di Palermo. I lavori di costruzione iniziarono nel 1130, anno in cui fu Ruggero II fu incoronato re di Sicilia, e terminarono nel 1143.
La Cappella è importante perché rappresenta la sintesi culturale e politica operata dai Normanni. Infatti, essa fonde in modo mirabile le espressioni architettoniche più rilevanti per la Sicilia: l'europea, la siciliana, la bizantina, l'araba. La Cappella si presenta sotto forma di basilica a tre navate sorrette da colonne di granito con capitelli corinzi riccamente decorati. L'elegante mosaico bizantino presente al suo interno, che si ritroverà nella chiesa della Martorana e nel Duomo di Monreale, è stato definito come uno dei più belli e meglio conservati di tutta Italia. È ormai certo che i mosaici sono stati eseguiti in due momenti successivi: si ritiene che i più antichi risalgano agli anni intorno al 1240, mentre quelli della navata centrale dovrebbero risalire agli anni 1260-1270.
I mosaici della navata centrale riportano scene dell’antico testamento; quelli del presbiterio ricordano episodi della vita di Cristo, e quelli delle navate laterali episodi della vita di San Pietro e San Paolo. Splendidi sono i mosaici più antichi, nella cupola che sovrasta il coro: rappresentano il Cristo Pantocratore (onnipotente), circondato da angeli ed arcangeli, e i quattro Evangelisti che paiono assorti in meditazione
Even without attending Open House this year, I took a lot of shots during September. THis these are the shots from the sixth out of seven churches I visited on the Saturday of the Heritage Weekend, with Elham to follow in due course. But on top of these there are then the shots from the day I spent on the Marsh with John Vigar, seven more that day, and then the six Suffolk, one Essex and one Norfolk church from my road trip to Fakenham a couple of weeks back.
In short, there will be many more pictures of churches for at least a few weeks, maybe a couple of months.
Just to you know.
By now the Saturday of the heriage weekend was getting on, I left Alkham at about two, and drove along to Folkestone, up the M20 and then up the Elham Valley beyond Lyminge where the first signpost pointed across the valley and up the valley side.
This was the third time I had tried to get into St Martin, and depsite having been there before, I struggled to find it again.
The road turned then would along the top of the valley, with turn offs heading back down the valley having no signs. I thought I had gone through the village, when I did come to the welcome to Acrise sign.
Half a mile on was the crossroads, and so I knew down the gravel track to the right was the way to the church. I parked up, got the camera gear and followed a couple who were walking their dog down to the church. Sun streamed through the mature trees on either side, creating a green tunnel with the church at the end.
The church was much older than I remembered, I walked round to the porch and found the door open. In I went.
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An atmospheric church hidden away in the undergrowth of the `big house`. The large round headed windows are seventeenth century, and are filled with dark nineteenth century glass. The extraordinary chancel arch dates from the thirteenth century, but incorporates earlier deeply cut mouldings, assembled to create a unique and atmospheric piece. The manorial pew, complete with table dated 1758 and tiny eighteenth century schoolchildren's chairs, stands on the south side. The chancel was `very well restored` in the nineteenth century, and it is the character of that period that prevails at the east end.
www.kentchurches.info/church.asp?p=Acrise
t Martin’s Church, Acrise, dating back some 900 years, continues to retain the simplicity and atmosphere of its original early Norman construction. Comprised of a nave and chancel, topped by massive wooden tie beams and king posts, it lies quietly hidden from the road. Approached through an avenue of trees, rooks seemingly act as sentinels, protecting the small church and ancient yard they have chosen as their home.
Acrise owes its name to the abundance of oaks that grew on the high ground in the area – oak rise. There are still many old oak trees to be found within the parish, which even today has only a small population of around two hundred people. Listed in the Domesday Book (1086) as being held by Ansketel of Rots from Bishop Odo of Bayeaux, it comprised one manor, woodland and a church.
St Martin’s was probably built by Ansketel shortly after the Domesday entry and replaced an earlier Saxon church. Whilst much of the work is now hidden by later 14th century alterations, parts of original windows and priest’s door remain testimony to the early Norman origin.
The church was dedicated to the popular St Martin who was born in Hungary in 316AD, serving as a Roman army officer before turning to Christianity. Outside the town gates of Amiens he famously gave half his military cloak to a beggar in whom he saw Christ. Subsequently, in a dream, he saw Christ wearing the garment. Baptised, Martin devoted himself to promoting rural monasticism throughout Western Europe.
Records show that there was a painted image of St Martin within the church. This would have been a reminder to the medieval parishioners that ‘Martinmas’ (11th November) was a key time of the year, being the day for hiring new servants and salting meat for the winter. Some say that you can still see traces of the painting to the side of the chancel arch.
Numerous very striking wall monuments dating back to Elizabeth I illustrate a strong association with the families that lived locally and at the adjacent manor house, Acrise Place. Notably, the Papillons resided there for some two hundred years from 1666 – the year of the great fire of London They were intimately connected with St Martin’s and would have sat in the unusual box shaped ‘Squires pew’, present to this day.
The musicians’ gallery was restored in 1824 and although no record exists of when it was originally constructed, tiny chairs (circa 1805), still in use, remain from when it accommodated the Sunday school. A magnificently carved and painted Royal Coat of Arms (circa 1690), from the reign of William and Mary, hangs in front of the gallery.
Substantially unaltered since the 14th century, St Martin’s has played its part in the history of the last millennium but never more so than in 1214. Then it would probably have been the first church in the land to ring out its bells to mark the end of the Pope’s six long years of Interdict. King John, camped nearby on Barham Downs with an army of soldiers, awaited a French invasion. England had been ex-communicated for John’s refusal to appoint the Pope’s choice as Archbishop of Canterbury, with the consequence that priests were unable to christen, marry nor bury their flock.
The French king, Phillip, saw his opportunity to enter into a crusade and invade these shores. John thwarted the plan by offering the crown of England, in exchange for the lifting of the Interdict, to the Pope’s Legate at Hoad’s Farm, a mile distant from St Martin’s. Church bells rang out across the whole country at the news and undoubtedly, St Martin’s would have been the first to ring a peel.
It is only possible to touch briefly on the history of St Martin’s, with its roots stretching back to the last time England was conquered. It stood its ground in 1944, playing its part when Acrise was home to British, American and Canadian troops preparing for the D Day landings. St Martin’s continues to stand, unbowed, a tribute to the craftsmen that fashioned it all those centuries ago.
So come and walk up the tree-lined avenue, listen as the rooks chatter a welcome and enter through the door as countless generations have done before. Pause, reflect and step back into history.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
[explore #333 on 22.08.08]
I don't like stolen 'chance' shots. I like to be the director of my pictures, I like to choose lights and poses and put my ideas into my shots.
but I really don't have anything better to post tonight, and I'm also trying to get ready for the beach tomorrow [..], so here's a stupid makeshift shot portraying a japanese (or korean, or something similar..) guy who take a picture of the altar of the fatherland, in rome.
I'm not sure you can see it from this photo, but from my perspective I couldn't understand if he was drinking or taking a picture, cause he was holding both mobilephone and bottle in his hands.
non mi fanno impazzire le foto 'casuali' rubate. mi piace essere regista delle mie foto, scegliere luci e pose e metterci dentro le mie idee.
ma davvero non ho nulla di meglio da postare stasera, e sto anche cercando di esser pronta per la prova costume domani [..], ragionpercui ecco una stupida foto di fortuna di un tizio giapponese (o coreano, o qualcosa di simile) che fotografa l'altare della patria a roma.
non credo che si veda dalla foto, ma dal mio punto di vista non riuscivo a capire se stesse scattando una foto o bevendo, o tutte e due cose insieme, dato che aveva sia il cellulare che la bottiglia nelle mani.
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I was experimenting with the Sony Cybershot to see the difference using or surpressing the flash can make taking night shots...see the adjacent pic of this same fire with the flash turned on...
Lydia Lunch
Circolo Magnolia (MI)
17 Aprile 2013
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
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L'immagine non può essere usata in nessun caso senza autorizzazione scritta dell'autore.
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Lydia Lunch (born Lydia Anne Koch, June 2, 1959, Rochester, New York) is an American singer, poet, writer, and actress whose career was spawned by the New York No Wave scene. The Boston Phoenix named Lunch "one of the 10 most influential performers of the 1990s."
Her work typically features provocative and confrontational delivery and has maintained an anti-commercial ethic, operating independently of major labels and distributors.
Dopo essere arrivata a New York City all'età di 16 anni, Lunch si stabilì in una casa comunale in cui si ritrovavano artisti e musicisti, tra cui Kitty Bruce (figlia di Lenny Bruce). Dopo essere divenuta amica dei Suicide, entrò a far parte di un'altra band No Wave, i Teenage Jesus & the Jerks, nel 1976. Con lei entrò anche il suo partner artistico, James Chance. In seguito Lunch apparve in un album di Chance: Off White (accreditato a James White and the Blacks; Lunch usò lo pseudonimo "Stella Rico") del 1978.
Apparve poi in due film diretti dai registi (marito e moglie) Scott B e Beth B; nel cortometraggio Black Box (1978) recitò la parte di una torturatrice, mentre nelVortex (1983) indossò i panni di una investigatrice privata di nome "Angel Powers". In quel periodo apparve anche in alcuni film di Vivienne Dick, inclusi She Had her Gun All Ready (1978) e Beauty Becomes The Beast (1979).
Nella sua carriera solista di musicista Lunch collaborò con altre grandi personalità del rock alternativo, come J. G. Thirlwell, Kim Gordon, Thurston Moore,Nick Cave, Billy Ver Plank, Steven Severin, Robert Quine, Sadie Mae, Rowland S. Howard, Michael Gira, Einstürzende Neubauten, Sonic Youth, Die Haut eBlack Sun Productions. Inoltre recitò, scrisse e diressi diversi film underground, a volte collaborando con il regista e musicista Richard Kern. Più recentemente ha pubblicato dei dischi parlati, collaborando con altri musicisti underground, come Exene Cervenka, Henry Rollins, Don Bajema, Hubert Selby Jr. e Emilio Cubeiro. Nel 2009 ha pubblicato l'eccellente album "Big Sexy Noise" (5 stelle per la rivista RollingStone), con un omonimo "supergruppo".
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La Ford Mustang è un'autovettura sportiva statunitense prodotta dalla Ford Motor Company dal 1964. Si tratta di uno dei prodotti più venduti dell'industria automobilistica mondiale, imitata da molti costruttori e tuttora in produzione. La sua struttura originaria derivava dalla Ford Falcon. Fortemente voluta dal manager della società dell'epoca Lee Iacocca, poteva essere considerata una piccola muscle car equipaggiata di un motore da 2,8 L di cilindrata, erogante una potenza di 105 CV (78 kW). La presentazione della Mustang coincise perfettamente con la prima ondata della generazione dei cosiddetti Baby Boomers, cioè di quei giovani nati subito dopo la fine della seconda guerra mondiale. Questi giovani si affacciavano sul mondo del lavoro in un contesto di un'economia forte. A questa generazione nessun costruttore di automobili aveva pensato e pertanto non esistevano modelli di auto indirizzati specificatamente a loro.
Fu Iacocca ad identificare questo settore del mercato e a proporre loro una vettura giovane e sofisticata.
La Ford però in quel periodo risentiva di una situazione economica difficile dovuta agli scarsi risultati, e seguente dismissione, della Edsel avvenuto alla fine del 1959. Quando Iacocca propose la sua nuova vettura si trovò di fronte una direzione, con al vertice Robert McNamara, poco propensa ad imbarcarsi in una nuova rischiosa avventura. Iacocca però perseverò ed ottenne il via libera per la produzione alla metà del 1962. Gli vennero concessi 18 mesi per progettare e realizzare la vettura che sarebbe divenuta la Mustang. Alla fine il progetto venne portato a termine in un tempo inferiore e utilizzando un budget minore di quanto preventivato. La chiave di volta di questo successo fu data dalla decisione di utilizzare il maggior numero possibile di componenti meccaniche già prodotte dalla Ford. Per quanto riguardava il design della vettura ci si basò sul manuale interno spingendo al massimo la tecnologia produttiva dell'epoca.
Fu utilizzata anche, all'epoca, la nuova tecnologia che permetteva di ottenere superfici vetrate curve con assenza di distorsioni. Come detto la piattaforma di partenza era quella della Falcon. Il telaio però venne completamente rivisto per adeguarlo alle caratteristiche della nuova vettura. Fu aggiunto anche un innovativo sistema strutturale, detto Torque Box, che permetteva di incrementare la rigidità, la solidità e la maneggevolezza della vettura, rispetto a quelle dell'epoca, facilitandone nello stesso tempo la produzione. In pratica questa componente diventava un singolo pezzo da realizzare. Anche il lancio pubblicitario della Mustang fu un grande successo. La vettura venne presentata al New York Fair il 17 aprile del 1964. Due giorni dopo, 19 aprile, venne presentata in contemporanea sulle tre televisioni americane. La risposta del pubblico fu enorme ed immediata e si verificò un quasi terremoto in tutte le concessionarie Ford del paese. L'idea iniziale che portò alla realizzazione della Mustang si deve a Donald N. Frey e a Lee Iacocca, allora general manager della Ford. Il primissimo concept della vettura, denominata Ford Mustang I, fu realizzato in appena 100 giorni e debuttò il 7 ottobre 1962, durante il GP degli Stati Uniti a Watkins Glen (New York). Profondamente diverso dal modello che nacque in seguito, era una spyder a due posti con motore centrale, lunga appena 3.919 millimetri e larga 1.549 mm. Infatti, nelle prime intenzioni di Iacocca, l'auto doveva fare concorrenza alla Chevrolet Corvair Monza. Il motore utilizzato fu il 1498cc V4 della Ford Taunus, in versione da 109cv. Per "saggiare" la risposta dei potenziali acquirenti, i vertici Ford promossero dei tour dimostrativi nei college, ricercando una clientela giovane; tuttavia, la risposta del pubblico fu poco entusiasta, così l'auto rimase allo stadio di concept car, e il progetto dovette ricominciare da capo, arrivando poi all'auto che si conosce oggi. Il design dell'auto venne affidato a David Ash e a Joseph Oros, dello studio di design della Lincoln – Mercury, marchi di proprietà della Ford, che risultarono vincitori di una gara interna voluta da Iacocca. La versione base doveva essere costituita da una vettura hardtop sulla quale sarebbe stato montato un motore a sei cilindri in linea. La cilindrata di questa unità motrice era di 2,8 L mentre la potenza sviluppata raggiungeva i 105 hp (78 kW). La trasmissione doveva essere affidata ad un cambio manuale a tre marce. Il prezzo di vendita della prima Mustang doveva essere di 2.368 dollari USA dell'epoca ma alla fine quest'ultimo crebbe di alcune centinaia di dollari. Il design della Mustang ricevette molti riconoscimenti e premi. Il suo muso lungo, che ricordava la Lincoln Continental, il suo abitacolo corto e un tocco di stile internazionale che faceva pensare alle Ferrari le valsero nel 1964 il prestigioso premio quale Motor Trend Car of the Year e, prima vettura a riceverlo, il premio “Eccellenza” nel design proposto dalla Tiffany. Nello stesso anno la Mustang fu anche la pace-car alla 500 miglia di Indianapolis. Nonostante il suo progetto fosse indirizzato a farla identificare come vettura sportiva nella realizzazione della Mustang si era ampiamente fatto ricorso a componenti di altre vetture della Ford. Così sospensioni e trasmissione provenivano dalla Ford Falcon e dalla media Ford Fairlane. La piattaforma utilizzata era quella della Falcon del 1964 con sezioni laterali scatolate e con cinque elementi di rinforzo saldati. Sebbene la lunghezza della Mustang e della Falcon fosse identica, 4,613 m, l'interasse della Mustang era più corto, 2,743 m. Anche la larghezza differiva di poco, la Mustang era di 86 mm più stretta della Falcon, mentre quasi identica rimase la carreggiata delle due vetture. La Mustang pesava a secco 1.170 kg per la versione che montava il sei cilindri in linea e 1.360 kg nella versione dotata di motore a V8. Come per la Falcon e la Fairlane la Mustang adottava lo schema delle sospensioni indipendenti all'anteriore e lo SLA (Short-Long-Arm), con molle montate sul braccio superiore. Le sospensioni posteriori erano del tipo Hotchkiss con l'assale montato su molle. I freni erano quelli standard della Falcon: a tamburo da 229 mm di diametro per la versione sei cilindri e da 254 mm per la versione dotata di V8. Lo sterzo era caratterizzato da un rapporto di riduzione di 27:1 ed erano necessarie 5 rotazioni complete del volante per raggiungere il massimo angolo di sterzata. Poteva però essere montato, come optional, anche uno sterzo più diretto, con rapporto di 21,7:1, che migliorava le prestazioni in questo campo, anche se a prezzo di un maggiore sforzo fisico da parte del conducente. Molto del fascino della Mustang derivava dalla lista degli optional disponibili che rendeva possibile realizzare quasi una vettura su misura per ogni cliente. Erano disponibili diverse tipologie di trasmissioni: quattro marce manuale e tre marce automatico Cruise-O-Matic. Come motori era possibile montare un sei cilindri in linea da 4,2 L e da 164 Hp (122 kW) oppure un motore da 4,7 L da 210 hp (157 kW). A partire dal giugno del 1964 divenne disponibile la versione K-Code da 271 hp (202 kW) del motore. Quest'ultimo faceva parte di un kit nel quale erano comprese molle delle sospensioni più dure, ammortizzatori più rigidi, barre anti-rollio anteriori, ruote più larghe e sterzo manuale. Questo kit ad alte prestazioni era l'optional più costoso della gamma Mustang e nel 1965 ne furono montati solo 7.273 su un totale di 680.992 Mustang vendute. Altri optional erano costituiti dal differenziale autobloccante, cerchi ruota e relative coperture di disegno più elaborato, freni più potenti, aria condizionata, consolle centrale, tetto in vinile, diversi impianti radio, sedili e diversi altri accessori. Verso la fine del 1965 divennero disponibili, sempre a richiesta, i freni a disco anteriori. Furono poi aggiunti dei pacchetti specificatamente rivolti agli interni, Interior Decor Group o Pony Interior. Naturalmente il prezzo di acquisto della vettura, basso inizialmente, saliva con queste personalizzazioni di diverse centinaia di dollari che rendevano la Mustang una delle vetture con il più alto margine di profitto per i concessionari e per la ditta stessa. Due erano le tipologie di carrozzeria disponibili: decapottabile e hardtop. Fu con il model year 1965, cioè dopo soli cinque mesi dalla presentazione del modello, che vennero introdotti i primi importanti cambiamenti. Per prima cosa venne rivista la gamma dei motori disponibili. Venne tolto il 2,8 L che fu sostituito da un 3,3 L che forniva 120 hp (89 kW) a 4.400 giri al minuto. Con l'introduzione del modello 1965 venne eliminato anche la versione che montava il 4,2 L che fu rimpiazzata da due nuovi modelli dotati del 4,7 L (289inch) V8. La prima, di ingresso alla gamma, con carburatore doppio corpo e 200 hp (149 kW) di potenza. La gamma continuava con un modello dotato di carburatore a quattro corpi che forniva 225 hp (168 kW) per concludersi con il modello ad alte prestazioni, o HiPo, che invece era rimasto invariato. Altra importante variante fu l'introduzione della carrozzeria fastback, cioè due porte più portellone posteriore. Con questo modello ci fu anche il passaggio, avvenuto su tutta la produzione Ford, dai generatori a corrente continua (DC) Dinamo a quelli a corrente alternata (AC) Alternatore e venne introdotto anche il nuovo pacchetto optional GT, o ad alte prestazioni, nel quale erano compresi sia il precedente pacchetto HiPo che altre componenti. Questo kit era disponibile con i motori da 200 e da 225 hp e con tutte le tipologie di carrozzeria, dal cabrio, soft top, hard top e coupé. Il modello 1966 della Mustang vide l'introduzione di modifiche minori negli allestimenti e di alcuni nuovi optional. Questi ultimi erano rappresentati dalla trasmissione automatica anche per le versioni più potenti, nuovi colori per gli interni e per la carrozzeria, un sistema audio Stereosonic ad otto tracce e con ricezione in AM oltre ad una delle prime radio AM/FM disponibili su una vettura. Il modello 1967 fu il primo a subire delle riprogettazioni importanti e che vide l'ingresso nella gamma del motore Big block V8. Il modello che funse da base per l'introduzione di questo motore fu quello dotato del 4.7 L. Su questa vettura venne montato il motore a V da 6,4 L (391inch) che forniva 320 hp (239 kW), già montato sulla Ford Thunderbird. Con il model year 1968 venne introdotto il motore Supercobra da 6,5 L. Venne usata una versione limitata a 335 hp (250 kW) e non quella originale da 410 hp (305 kW). L'anno successivo venne introdotta la muscle car Boss 429, una vettura costruita a mano e creata per ottenere l'omologazione NASCAR. Questa vettura fu disponibile solo nel biennio 1969 – 1970. La carrozzeria era simile alla fastback ed era stata denominata dalla Ford Sport Roof. Gli interni, lussuosi, erano denominati Mach 1. Per i colori la Ford si mantenne su schemi sobri, rispetto a quelli sgargianti dell'epoca. Altre caratteristiche che permettevano di riconoscere questa vettura erano le decalcomanie Boss 429 poste su entrambi i parafanghi anteriori, le ruote Magnum 500 da 15 pollici (380 mm) di diametro con gomme Goodyear Polyglass e la presa d'aria realizzata sul cofano. Per ottenere maggiori benefici nelle competizioni, e con le tariffe assicurative, la potenza del motore era stata limitata a 375 hp (280 kW). Però era possibile ottenere con poche modifiche effettuate direttamente in fabbrica (montaggio della testata in alluminio con camera di combustione emisferica e sostituzione della guarnizione della testata con un mix di O-ring e altre guarnizioni – sostituzione impianto di scarico e rimozione del limitatore all'aspirazione) un incremento di 75/100 hp (56/74 kW). Se la vettura veniva portata a questo livello di prestazioni non erano più disponibili l'aria condizionata e la trasmissione automatica. Nello stesso periodo per ottenere le omologazioni nella Trans-Am fu creata la Boss 302 nella quale la Ford cercò di unire la potenza di una muscle car con la maneggevolezza di una vettura sport. Su questa vettura era montato il 4,8 L V8 del 1968. Su questo motore furono montate le testate del futuro 5,8 L (351inch) che verrà presentato nel 1970 con la denominazione di Cleveland. La potenza erogata dal motore era di 290 hp (216 kW) mentre la trasmissione era del tipo manuale a quattro marce. Originariamente la vettura doveva essere denominata Trans-Am ma la Ford fu battuta dalla Pontiac che applicò la stessa denominazione ad una versione speciale della Firebird. L'aspetto estetico della vettura era stato curato da Larry Shinoda e la vettura venne soprannominata Baby Boss. Nei primi due anni di produzione furono vendute quasi 1.5 milioni di Mustang, stabilendo così il nuovo record delle vendite. Le vetture venivano prodotte negli stabilimenti di San Josè (California), Dearborn e Metuchen (New Jersey). Le altre case automobilistiche si trovavano nella condizione di non poter reagire. La General Motors produceva la Convair Monza, una vettura a motore posteriore che poteva competere con la Mustang ma le cui vendite rimasero sempre molto lontane da quelle realizzate dalla vettura Ford. Fu solo nel 1967, con la presentazione della Chevrolet Camaro e della Pontiac Firebird, che la GM poté contare su dei modelli comparabili alla Mustang. La AMC presentò, nel 1968, la sua Javelin e in seguito la AMX, una due posti capace di elevate prestazioni. La Chrysler aveva presentato qualche settimana prima della Mustang la sua Barracuda che però non ottenne lo stesso successo della sua concorrente, anche se in seguito divenne una delle più potenti Muscle-car disponibili. In Germania la prima serie fu venduta col nome T5, poiché Mustang identificava un veicolo commerciale della Krupp, e venne acquistata prevalentemente dai militari americani stanziati nel paese. Dopo la fusione tra la Lincoln e la Mercury, ambedue marchi del gruppo Ford, un'altra Mustang fece la sua apparizione: la Mercury Cougar. Questa vettura altro non era che un Mustang di fascia alta. Presentata nel 1967 ottenne nello stesso anno il premio quale Motor Trend Car.
Graffiti 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
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.
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.
Immanuel Casto
Magazzini Generali - Milano
19 Ottobre 2013
ph © Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Immanuel Casto è una nuova ondata di atteggiamento musicale, di gusto italiano nell’essere, ma di influenze estere nel sound. Immanuel raccoglie tutto quello che gli altri avrebbero voluto essere e fare, senza scendere a compromessi audio/visivi. Una descrizione priva di giudizio, una fotografia lucida del presente che si svela, senza enfasi né commenti, nel suo intrinseco cinismo. L’artista ha il coraggio di riconoscere sesso, sangue e soldi, come i protagonisti della cronaca e dell’intrattenimento, parlandone senza moralismi e inutili pudori, ma anzi con impudenza e ironia. Il tutto immerso in sonorità dance e synth-pop e confezionato con un’immagine algida e glamour.
Immanuel Casto, all’anagrafe Manuel Cuni, nasce a Bergamo il 16 settembre 1983. Durante l’adolescenza inizia il percorso di studi artistici legati al teatro e alle arti visive, dedicandosi specialmente alla grafica. Nel 2002 si sposta a Bologna e dopo aver lavorato in ambito teatrale con Paolo Magagna (Teatro dell’Ascolto), Marina Pitta e Gianfranco Rimondi (Teatro dei dispersi) comincia giovanissimo una carriera come Art Director presso l’agenzia di comunicazione e grafica D-sign. Parallelamente, nel 2004 sviluppa il suo progetto musicale costruendo il personaggio Immanuel Casto.
Cinque anni di carriera vissuti embrionalmente su Youtube, collezionando milioni di visite grazie a raffinati e alquanto spiazzanti videoclip, e perfezionando un preciso stile musicale da lui definito ‘Porn Groove‘. Senza alcun supporto discografico nei negozi o rotazione televisiva, Immanuel Casto segna presto numerosi concerti sold-out nei principali club italiani e un hype popolare sempre piu’ crescente.
Le pungenti liriche diventano oggetto di costante viralità web, creando grossi dibattiti dentro e fuori la rete. Ai brani degli esordi, ‘Anal Beat‘, ‘50Bocca 100Amore‘, ‘Che bella la cappella‘, ‘Io La do‘, ‘Il Tempo degli Abusi‘ (contenuti nel disco ‘Porn Groove 2004-2009‘ JLe/Pirames) si aggiungono le evoluzioni stilistiche di ‘Touche’ (par l’amour), ‘Escort 25‘, ‘Crash‘, ‘Killer Star‘, ‘Revival‘ (nel disco del 2011 ‘Adult Music‘ JLe/Universal).
Il nuovo disco ‘Freak & Chic‘, anticipato dai singoli ‘Zero Carboidrati‘ e ‘Tropicanal‘, è atteso dopo l’estate 2013.
Immanuel ha inoltre curato la colonna sonora della recente web fiction “Kubrick, una storia porno”, prodotta da Magnolia, e ha realizzato come regista il suo primo cortometraggio ‘A Wonderful Life‘.
Immanuel Casto non è solo musica e arti visive: dal 2012 è diventato realtà il gioco di carte ‘Squillo‘ da lui ideato e prodotto insieme a JLe Management e Raven Distribution. ‘Il primo gioco di carte dedicato allo sfruttamento della prostituzione’ diventa subito un cult del gaming da tavolo, registrando ottimi dati di vendita e consacrando il grande valore poliedrico di Immanuel Casto.
DICONO DI LUI
“Un personaggio di culto che usa linguaggio spiazzante per esternare un messaggio di denuncia sociale” La Repubblica
“L’elettronica di Casto dichiara guerra all’ipocrisia, alla Chiesa degli scandali, alla morbosità dei media. Tutto finisce sul palcoscenico e diventa spettacolo”.Il Fatto Quotidiano
“Il re musicale del web ante litteram, uno degli artisti italiani più provocatori degli ultimi anni”.Panorama
“Cantare del sesso (esplicito) senza rinunciare ad essere chic”.El Pais
Color my world daily - Tuesday: orange
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Without the cape and leotard, it's hard to tell. Found this little critter hanging out in the sun, Thursday morning. About the size of a golf ball.
Portland, Oregon.
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www.youtube.com/watch?v=6AwUpiRprN4
I could hardly believe it
When I heard the news today
I had to come and get it straight from you
They said you were leavin'
Someone swept you heart away
From the look upon your face
I see it's true
So tell me all about it,
Tell me 'bout the plans you're makin'
Then tell me one thing more before I go
Tell me how am I supposed to live without you
Now that I've been lovin' you so long
How am I supposed to live without you
How am I supposed to carry on
When all that I've been livin' for is gone
I didn't come here for cryin'
Didn't come here to breakdown
It's just a dream of mine is coming to an end
An how can I blame you
When I built my world around
The hope that someday we'd be
So much more than friends
And I don't wanna know the price
I'm gonna pay for dreaming
When even now it's more than I can take
Tell me how am I supposed to live without you
Now that I've been lovin' you so long
How am I supposed to live without you
How am I supposed to carry on
When all that I've been livin' for is gone
And I don't wanna face the price
I'm gonna pay for dreaming
Now that your dream has come true
Tell me how am I supposed to live without you
Now that I've been lovin' you so long
How am I supposed to live without you
How am I supposed to carry on
When all that I've been livin' for is gone.
autor: Michael Bolton
Banda / Artista : Michael Bolton
Nombre de la Cancion Traducida: ¿Cómo se supone que voy a vivir sin ti?
¿Cómo se supone que voy a vivir sin ti?
Difícilmente pude creerlo
Cuando escuché las noticias hoy
Tuve que venir y escucharlo directamente de ti
Ellos decían que te ibas
Alguien barrió con tu corazón
En la mirada que tenías en tu cara
Me di cuenta que es verdad
Entonces dime todo acerca de eso
Cuéntame acerca de los planes que estás haciendo
Y luego dime una sola cosa antes que me vaya
Dime como se supone que voy a vivir sin ti
Ahora que te he amado por tanto tiempo
Dime como se supone que voy a vivir sin ti
Como se supone que voy a seguir
Cuando por todo lo que he estado viviendo se ha ido
No vine acá a llorar
No vine a hacerte un escándalo
Es sólo un sueño mío que se está esfumando
Y como puedo culparte
Cuando yo construí un mundo alrededor
De la esperanza de que algún día seríamos
Algo más que amigos
Y no quiero saber el precio
Que voy a tener que pagar por soñar
Cuando incluso ahora es más de lo que puedo aguantar.
Dime como se supone que voy a vivir sin ti
Ahora que te he amado por tanto tiempo
Dime como se supone que voy a vivir sin ti
Como se supone que voy a seguir
Cuando por todo lo que he estado viviendo se ha ido
Y no quiero saber el precio
Que voy a tener que pagar por soñar
Ahora que tu sueño se hizo realidad
Dime como se supone que voy a vivir sin ti
Ahora que te he amado por tanto tiempo
Dime como se supone que voy a vivir sin ti
Como se supone que voy a seguir
Cuando por todo lo que he estado viviendo se ha ido.
Letra Subida por: panzas (Colaborador Oficial Songstraducidas.Com)
Without a proper water network in the camp, water supply can vary depending on several factors such as truck congestion.
‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾
En l'absence d'un véritable réseau de distribution d'eau, l'approvisionnement du camp peut varier en fonction de plusieurs facteurs, dont les embouteillages de camions.
Photo credit: UNICEF Jordan/2013/Noorani
Cancer can be treated in a number of ways. Surgery, Chemotherapy, Radiation Therapy, Immunotherapy, and Monoclonal Antibody Therapy are among the most popular. The choice of cancer therapy is made by looking at the stage of the disease and the state of the patient. The goal of cancer treatment is the complete removal of the cancer without significantly damaging the rest of the body. Sometimes a surgeon can remove the cancer easily, other times this is not possible. Chemotherapy and Radiation can be quite affective in killing cancer cells, but they are also toxic to healthy cells.
The Breast Cancer Run
Surgery
Theoretically, non-blood based cancers can be cured if entirely removed by surgery. This is easier said than done. If the cancer spreads to other parts of the body before surgery, it is usually impossible to remove all the cancer through surgery. Two of the most well know surgical procedures for removing cancer are mastectomy (where one or both of the breast are removed in an effort to treat breast cancer) and a prostatectomy (where all or part of the prostate gland are removed). Cancer can recur if a single cell is left behind after surgery. With this in mind a pathologist will carefully examine your surgical specimen to make sure there is a margin of healthy tissue present.
Surgery is also used to determine the stage (extent) of cancer. Staging is very important for determining a prognosis and treatment.
A Radiation Mask
Radiation Therapy
Radiation Therapy is the use of radiation to kill cancer cells and shrink tumors. Radiation can be giving externally through External Beam Radiotherapy (EBRT) or internally through Brachytherapy. The effects of radiation are concentrated on the area being treated. Radiation Therapy damages the DNA of the cancer cells making it impossible for them to grow and divide. Radiation Therapy damages both healthy and cancer cells, but healthy cells are able to recover from the Radiation. Radiation is given over several rounds so the healthy cells have a chance to recover between treatments.
Radiation is used to treat almost every type of cancer. The amount of Radiation that is given depends on the type of cancer and how close it is to major organs. As with every form of cancer treatment, radiation is not without side effects.
Steve after Radiation
Side Effects of Radiation Therapy
The side effects of Radiation Therapy can appear during treatment or years later. The nature of the side effects depend on where the radiation was received and how much. Some of the immediate side effects from radiation are burning on the skin, swelling, infertility, and fatigue. Some of the long term side effects fibrosis (loss of elasticity in the tissue that was treated), hair loss, dryness, and cancer.
Mia in the Hospital
Chemotherapy
Chemotherapy is the treatment of cancer with anticancer drugs. Most chemotherapy targets all rapidly dividing cells, and not just cancer cells. This means that often chemotherapy damages healthy cells as well as cancer cells. However, most healthy cells repair themselves after the chemotherapy has ended. Most patients are given a combination of chemotherapy drugs. It is important that you talk all drugs that are prescribed in combination with your chemotherapy.
Targeted Therapy
Targeted Therapy first became available in the late 1990s and it has proven to be very effective in treating some types of cancer. If you have questions about Targeted Therapy and how it can help you or your loved one, talk to your doctor. Your doctor will know what Targeted Therapies may be right for your cancer.
Josh and his family after surgery
Immunotherapy
Immunotherapy is a set of strategies that will trigger a patient’s immune system to fight the tumor. Immunotherapy has been very affective on Renal Cell Carcinoma, Melanoma, and prostate cancer.
Hormonal Therapy
Hormonal therapy is used to block or provide certain hormones. They have been particularly effective in Breast and Prostate Cancers.
Tom getting chemo
Symptom Control
Some treatments are designed not to kill the cancer cells, but to control the symptoms of the cancer. This is very important for helping maintain a high quality of life for the cancer patient. Symptom Control is used for all stages of cancer, but particularly for end of life care. There is somewhat of a social stigma attached to the use of high power pain killers. Cancer patients should feel free to ask their doctor or Hospice provider about any medicine they take, especially if the patient feels the medicine is doing more harm than good. That being said, do not stop taking any medicines without consulting your health care provider first.
Complementary and Alternative Medicines
Consult your doctor and do lots of research before beginning any alternative treatment. Do not stop your other therapies or medicines in order to take an Alternative Medicine. No Alternative Treatments have been shown to effectively treat any form of cancer, and none are FDA approved.
Roger perparing for surgery
Clinical Trials
Clinical Trials test new treatments on people with cancer. The goal of these studies is to find better ways to treat cancer and help cancer patients. Patients who take part in clinical trails get the best available standard of care for their cancer, however there is no guarantee that the new treatment will work. If the treatment does work, those in the trial are among the first to benefit from the new treatment.
Article From www.cancer.sc/content,treatment/
I had an old Thonet chair without legs and also had a big blue pot. I just fitted them together and painted the original flower pattern on the seat. Now I have a cool new chair. I really like it.
Thonet chair with blue pot leg by Lakbear.
Please take a look my other diy stools and chairs ideas:
www.flickr.com/photos/lakbearrr/sets/72157653696083395
www.flickr.com/photos/lakbearrr/sets/72157651833705599
www.flickr.com/photos/lakbearrr/sets/72157649955855821
www.flickr.com/photos/lakbearrr/sets/72157649651933117
Please, don't hesitate to contact me here for more info: szentantal@gmail.com
If you like this project, please join to my Facebook group: www.facebook.com/Lakbear2014
The Barbican Estate is a residential estate built during the 1960s and the 1970s in the City of London, in an area once devastated by World War II bombings and today densely populated by financial institutions. It contains, or is adjacent to, the Barbican Arts Centre, the Museum of London, the Guildhall School of Music and Drama, the Barbican public library, the City of London School for Girls and a YMCA, forming the Barbican Complex. The complex is a prominent example of British brutalist architecture and is Grade II listed as a whole[1] with the exception of the late Milton Court. Milton Court once contained a fire station, medical facilities and some flats and was demolished to allow the construction of a new apartment complex which also contains additional facilities for the Guildhall School of Music and Drama.
St Giles-without-Cripplegate is a Church of England church in the City of London, located within the modern Barbican complex.When built it stood without (that is, outside) the city wall, near the Cripplegate. The church is dedicated to St Giles, patron saint of beggars and cripples. It is one of the few medieval churches left in the City of London, having survived the Great Fire of 1666.
There was a Saxon church on the site in the 11th century but by 1090 it had been replaced by a Norman one. In 1394 it was rebuilt in the perpendicular gothic style. The stone tower was added in 1682.
The church has been badly damaged by fire on three occasions: In 1545, in 1897 and during an air raid of the Blitz of the Second World War on the night of 24 August 1940. German bombs completely gutted the church but it was restored using the plans of the reconstruction of 1545. A new ring of twelve bells was cast by Mears and Stainbank in 1954, and this was augmented with a sharp second bell cast in 2006 by the Whitechapel Bell Foundry.
The church was designated a Grade I listed building on 4 January 1950.
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Alfa Romeo Giulietta Spider
La Giulietta Spider è stata una autovettura costruita dall’Alfa Romeo dal 1955 al 1962.
L'importatore Alfa Romeo degli Stati Uniti, "Hoffmann" di New York, chiese ai vertici dell'Alfa Romeo di produrre una versione "spider" della Alfa Romeo Giulietta Sprint e si impegnò immediatamente ad acquistarne 2500 esemplari da proporre sul mercato nordamericano, da sempre molto ricettivo per le versioni "aperte" delle vetture sportive. Nel 1955 l’Alfa Romeo bandì un vero e proprio concorso per la realizzazione della futura Giulietta spider. Bertone presentò una vettura disegnata da Franco Scaglione, ma il progetto non passò perché Bertone produceva già la Giulietta Sprint, e forse non sarebbe stato in grado di realizzare un’ulteriore linea di produzione. Vinse quindi il progetto di Pininfarina che si ispirò ad un altro modello creato dalla sua penna e cioè la Lancia Aurelia B24.
Le finiture dell'abitacolo erano migliori rispetto a quelle della coupé - vale a dire l’Alfa Romeo Giulietta Sprint - e fu un modello di grande successo, appartenuta, tra gli altri, a Walter Chiari. I primi esemplari furono allestiti con un parabrezza panoramico stile America e vetri laterali scorrevoli che si agganciavano alla capote; successivamente venne adottato un parabrezza piatto più convenzionale e i finestrini laterali discendenti in cristallo.
La Giulietta Spider montava un motore a quattro cilindri in linea longitudinale da 1.290 cm³ di cilindrata erogante 65 hp di potenza, che permetteva alla vettura di raggiungere la velocità massima di 160 km/h.
Il basamento era in lega leggera con canne dei cilindri riportate in ghisa. La testata era in lega leggera, con candela al centro della camera di scoppio. L’alimentazione comprendeva un carburatore doppio corpo Solex semiinvertito, distribuzione con due valvole per cilindro, disposte a V, comandate da due alberi a camme in testa con azionamento a catena. La trazione era posteriore. I freni erano a tamburo sulle quattro ruote. Le sospensioni anteriori erano a ruote indipendenti, con bracci trasversali, molle elicoidali, ammortizzatori telescopici e barra antirollio. Quelle posteriori erano a ponte rigido, con molle ad elica verticali.
La versione Veloce aveva due carburatori tipo Weber a doppio corpo invece che uno ed un rapporto di compressione 9:1; ciò permetteva alla vettura di raggiungere i 180 km/h, rispetto ai 165 km/h della versione normale. Tali prestazioni, superiori a quelle della concorrenza, ponevano la Giulietta al vertice delle categoria delle spider.
1955: la vettura di pre-serie della Giulietta Spider sigla del modello "750 D" aveva finestrini che scorrevano orizzontalmente, tasche laterali sulle portiere realizzate sfruttando l'intercapedine delle lamiere, plancia in metallo e la strumentazione interamente compresa in tre strumenti circolari. Il volante era a tre razze. Un modello è conservato al Museo Storico dell’Alfa Romeo.
1956: la prima serie delle Alfa Romeo Giulietta Spider serie "750 D" in versione "normale" e "750 F" nella versione "Veloce", aveva diversi particolari diversi dai modelli di pre serie: rostri bombati e ghiere dei fanali più strette, vetri discendenti ma senza deflettori, portiere con un rivestimento interno (con viti a vista), plancia sempre in lamiera ma con la parte superiore in similpelle nera, portaoggetti senza sportello, volante a due razze con ghiera del clacson.
1959: la seconda serie delle Alfa Romeo Giulietta Spider "serie 101" ricevette un pianale allungato di 50 mm, finti deflettori sui finestrini, catarifrangenti di forma rotonda fissati sotto i fari posteriori, sedili regolabili e vano porta oggetti con sportello. Il rapporto di compressione della serie normale fu aumentato e portato a 8:1, con un aumento della potenza da 65 a 80 cavalli a 6000 giri al minuto.
1961: la terza serie "serie 101" aveva fanaleria posteriore maggiorata, plancia imbottita, sportellino del portaoggetti, specchietto retrovisore con scatto antiabbagliante, portacenere e accendisigari sul pianale, vicino al cambio.
Without a doubt, our favorite location we visited in Iceland was Jökulsárlón. This was unlike any place we had ever seen. We visited this spot no less than 4 times while we were in the area. We can't wait to go back.
For our third stop at Jökulsárlón, we showed up around 5:00am local time hoping to see the Aurora. It didn't show because of the clouds, but I did get treated to a beautifully calm sunrise while my wife slept in the car. It was incredibly peaceful and serine. Especially considering this was the first time since we arrived in Iceland that the wind had completely stopped and the air was still.
The icebergs you see here are breaking away from the Breiðamerkurjökull, seen here on the left, and slowly drifting out to the sea.
From Wikipedia:
Jökulsárlón (translated "glacial river lagoon") is a large glacial lake in southeast Iceland, on the borders of Vatnajökull National Park. Situated at the head of Breiðamerkurjökull, it developed into a lake after the glacier started receding from the edge of the Atlantic Ocean. The lake has grown since then at varying rates because of melting of the Icelandic glaciers. The lake now stands 1.5 kilometres (0.93 mi) away from the ocean's edge and covers an area of about 18 km2 (6.9 sq mi). It recently became the deepest lake in Iceland at over 248 metres (814 ft) depth as glacial retreat extended its boundaries. The size of the lake has increased fourfold since the 1970s. It is considered as one of the natural wonders of Iceland.
The icebergs that calve from the glacier edge move towards the river mouth and get entrenched at the bottom. While floating, only about one tenth mass of an iceberg is seen above the water surface. The movement of the icebergs fluctuates with the tide currents. However, they start floating as icebergs when their size is small enough to drift to the sea. These icebergs are seen in two shades, one type in milky white, while the other type is in bright blue colour, which is an interplay of light and ice crystals.
Nikon D800
24-120mm f/4 Lens
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www.alienskin.com/exposure/exposure_examples.aspx
" The Derby Inn " 212 Ribbleton Lane : Preston PR1 5LD :
www.beerintheevening.com/pubs/report_comment.shtml?commen...
" great little pub, good atmosphere, cracking good landlord, deserves a drop inn at anytime "
Be a bit difficult now thanks to Nurse Ratched's Smoking Ban www.youtube.com/watch?v=jXvpqFLtyBU and greedy Pub Co's ?
www.facebook.com/group.php?gid=122054132821#!/group.php?g...
www.gmb.org.uk/newsroom/other_news/gmb_stands_up_to_pubco...
www.buyingapub.com/gmb-pub-revolution/
One " Cuddly Pub Co " en.wikipedia.org/wiki/Enterprise_Inns
EXPOSURE 1/125th @ F18 36 mm ( 35 mm / FX ) 24 mm DX @ 400 ASA
It won a Industry Award in 1993 / 94 www.dyxum.com/lenses/detail.asp?IDLens=359
www.sigmauser.eu/content/view/51/67/
www.phototestcenter.com/html/sigma_18-35.html this must be a good one then ?
Thom Hogan said the ED Nikkor produced 7 years later was a bit better - OMG - I'm very shocked ! : - ) )
www.photodo.com/lens/Sigma-AF-1835-f3545-Aspherical-UC-427
old.photodo.com/art/Unde7.shtml Understanding their grading system
www.fixya.com/support/t32595-opinions_nikon_20mm_vs_sigma...
NIKON FIT THIRD PARTY LENS REVIEWS
www.nikonlinks.com/equipment_lenses_third-party.htm
SAMPLE PICS www.pbase.com/cameras/sigma/18_35_35_45_aspherical
With Metrobus' ex-Arriva Pointer Darts and unrefurbished Caetano Darts now withdrawn, Enviros have come out to play much more regularly on the 22 and 93.
Here's three at Dorking Station this afternoon.
This one is 6725 (GN07 AVR), on the 93.
It's one of the 07-reg batch new to Arriva Guildford & West Surrey for TfL route 465 (Dorking - Kingston). When Arriva sold their Horsham depot operations to Metrobus in October 2009, the buses were moved to Crawley and continued on the 465.
However, Metrobus lost the contract for the 465 to Quality Line, who took over in June 2012, and these Enviros were refurbished, painted blue, and put on non-TfL work.
Station Approach, Dorking railway station, Dorking, Surrey.
Millennium UN Plaza Hotel New York
One United Nations Plaza
44th Street between First and Second Avenue
New York, NY, 10017
One United Nations Plaza is on the left. Two United Nations Plaza is on the right.
----------
In the 1960s the U.N. had grown from 51 missions to over 120 missions without any parallel office and hotel room capacity being built in its neighborhood. According to the NY Times the city of New York was receiving complaints from the United Nations about the shortage of office space and hotel accommodations on the mideast side and it was having thoughts about leaving the city.
The city took action. In 1968 a joint agency was formed by the city, state and U.N. to develop a large scale extension of facilities across First Avenue from the U.N. The agency, the United Nations Development Corporation, acquired the land on the north side of 44th Street at 1st Avenue, essentially across the street from the U.N. headquarters.
The United Nations Development Corporation contracted with the architecture firm Roche-Dinkeloo. Kevin Roche acted as the principal designer for the firm while John Dinkeloo provided expertise in construction and technology. In the 60s and 70s they created stimulating examples of civic and corporate architecture. Later in the early 1990's they designed the 56-story Morgan Bank in the financial district.
The plan emerged for a four building complex of 40-story towers. The first building -- a combined office, apartment and hotel tower was completed in 1976.
The height of the tower was curtailed to 39-stories as it could not exceed height of the Secretariat Building of the U.N. Contradictorily - in 2000 Donald Trump built The Trump World Tower at United Nations Plaza three blocks to the north and was allowed to go 72 floors.
Known as One UN Plaza, it was completed with office space to the 26th floor and 247 hotel rooms on floors 27-39. On the 27th floor a health club with its glass-walled swimming pool was built. On the 39th floor is the only hotel tennis court available in Manhattan.
The 2nd phase known as Two UN Plaza was a mixed use office and hotel building. It was completed in 1983. It contained another 180 hotel rooms.
The exterior of the two buildings is uncompromisingly uniform in composition, being made of rectangular green-tinted glass plates tied together with narrow aluminum bands. The facade grid consists of floor-high elements of mirror windows -- the first used in NYC -- with four windows forming one element.
When the hotel opened in 1977 it was known as the United Nations Plaza Hotel - and in small print - (a United Nations Development Corporation project, managed by Hyatt International Corporation)
In the 1980s Hyatt added the hotel to its new Park Hyatt brand and altered the hotel's name to U.N. Plaza Hotel-Park Hyatt – New York, NY. Rakesh Sarna, the Chief Operating Officer for Hyatt International Operations, served as the hotel's general manager in the early 80's.
In 1997 the NY Times reported that Mayor Rudy Giuliani determined it was time for the city to sell off assets -particulary those that put the city in the role of landlord. He felt the city should not be in the hotel business and thought there was a growing demand by investors for New York City hotels. J.P. Morgan, the city's financial advisor, circulated the prospectus spelling out the terms of the hotel sale to large international hotel concerns, including Hyatt International which held the management contract to operate the hotel. The hotel portions of the two buildings had a complex ownership structure involving the city and the United Nations Development Corporation which complicated the sale.
The hotel quickly sold in 1997 ending the city's 21 year tenure in the hotel business. It was thought the city made out like a bandit receiving $102 million from Hong Kong-based Regal Hotels International. The $238,000 price per key for each of the 428 rooms was much more then earlier city estimates of a price range of $40 million to $85 million. The hotel was rebranded to the Regal UN Plaza.
During the preceding 10 years New York City's share of the hotel's profits, rent payments and property taxes averaged $2.48 million. By shifting the United Nations Plaza Hotel's ownership from public to private hands the city expected to receive annual city taxes of $6 million, which could increase to $9 million by the year 2010.
On July 28, 1997 Mayor Rudolph Giuliani "handed-over" the city-owned 427-room U.N. Plaza Hotel to Hong Kong-based Regal Hotels International - the final step of the $102 million purchase. The mayor was joined at the ceremony by Daniel Bong, Deputy Chairman of Regal Hotels International Holdings LTD, Douglas Pasquale, President and CEO of Regal Hotels and the hotel's General Manager Richard Wilhelm. Wilhelm later worked for Donald Trump as President and Managing Director of the Plaza Hotel in New York City.
In November 1999 the London real estate company Millennium & Copthorne, acquired the 28 Regal hotels in the United States from Regal Hotels International paying $640 million ( $253 million in cash plus assuming $387 million in debt).
Some of the hotels included in the deal were the Regal U.N. Plaza in New York, the Regal Biltmore in Los Angeles, the Regal Bostonian in Boston and the Regal McCormick Ranch in Scottsdale, Ariz.
Millennium & Copthorne is 52.4 percent owned by Singapore based CDL Hotels International. Millennium and Copthorne already owns 42 percent of the Plaza and has interests in the Millennium Broadway and the Millennium Hilton, all in Manhattan.
In 2001 Millennium Copthorne renamed the Regal UN Plaza to - Millennium Hotel, New York, UN Plaza.
In 2010, Wanda Chan, the General Manager for the Millennium UN Plaza Hotel New York, told leadersmag.com the hotel would start guest room renovation in 2011, including new furniture, new wall coverings, new carpets, and new window treatments. Also, the lobby lounge is to be redesigned as a social space and an amenity for the guests and the general public by serving coffee/teas in the afternoon and wine in the evening.