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Canadian high-wire artist Jay Cochrane performing a death-defying tight rope-walk without a safety harness and no nets below relying only on his talent, balance and 50 years of experience of tightrope walking. He was doing this to help raise money for a children's charity.
He was walking between Skylon Tower (on the right) and Hilton Fallsview Hotel (on the left) in Niagara Falls, Canada.
Source and more close-up pictures: www.dailymail.co.uk/news/article-2170065/Prince-Air-conqu...
August 10, 2012, Niagara Falls, New York, taken here.
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Alla Villa Reale di Monza dal 30 ottobre 2014 al 6 aprile 2015 c’è una mostra dedicata a Steve McCurry. Americano e vincitore di premi prestigiosi – il Robert Capa Gold Medal e vari World Press Photo, tra gli altri – McCurry è considerato uno dei più importanti fotoreporter contemporanei: ha documentato l’invasione russa in Afghanistan e molte altre guerre, ha girato e fotografato molti paesi, soprattutto l’India. L’ultimo rullino di pellicola prodotto dalla Kodak nel 2010 è stato affidato a lui (ne è nato il progetto The last roll). Qualcuno lo paragona ad una popstar, per via della sua popolarità, e tutti hanno visto almeno una volta la “sua” ragazza dagli occhi verdi finita sulla copertina di un numero storico del National Geographic. McCurry è uno degli autori delle fotografie più familiari e riconoscibili dei giorni nostri. La mostra presenta immagini meno conosciute e tratte dai suoi lavori più recenti, ma anche i suoi famosi ritratti e foto dai reportage in Afghanistan e India, Birmania, Cambogia, Giappone, Brasile, Africa e Italia.
All’esposizione sono presenti dei video in cui McCurry stesso racconta il suo lavoro e i suoi viaggi. La mostra si sviluppa a partire dai lavori più recenti di Steve McCurry e da una serie di scatti che sono legati a questa sorprendente ricerca messi a confronto con alcune delle sue immagini più conosciute, a partire dal Ritratto di Sharbat Gula, che è diventata una delle icone assolute della fotografia mondiale. Oltre a presentare una inedita selezione della produzione fotografica di Steve McCurry, la rassegna intende raccontare l'avventura della sua vita e della sua professione, anche grazie ad una ricca documentazione e ad una serie di video costruiti intorno alle sue "massime". Lo scopo è quello di seguire il filo rosso delle sue passioni, per conoscere la sua tecnica ma anche la sua voglia di condividere la vicinanza con la sofferenza e talvolta con la guerra, con la gioia e con la sorpresa. Il desiderio è quello di capire il suo modo di conquistare la fiducia delle persone che fotografa perché, come dice lo stesso fotografo: "Ho imparato a essere paziente. Se aspetti abbastanza, le persone dimenticano la macchina fotografica e la loro anima comincia a librarsi verso di te".
Steve McCurry has been one of the most iconic voices in contemporary photography for more than thirty years, with scores of magazine and book covers, over a dozen books, and countless exhibitions around the world to his name. Born in a suburb of Philadelphia, Pennsylvania; McCurry studied film at Pennsylvania State University, before going on to work for a local newspaper. After several years of freelance work, McCurry made his first of what would become many trips to India. Traveling with little more than a bag of clothes and another of film, he made his way across the subcontinent, exploring the country with his camera. It was after several months of travel that he found himself crossing the border into Pakistan. There, he met a group of refugees from Afghanistan, who smuggled him across the border into their country, just as the Russian Invasion was closing the country to all western journalists. Emerging in traditional dress, with full beard and weather-worn features after weeks embedded with the Mujahideen, McCurry brought the world the first images of the conflict in Afghanistan, putting a human face to the issue on every masthead. Since then, McCurry has gone on to create stunning images over six continents and countless countries. His work spans conflicts, vanishing cultures, ancient traditions and contemporary culture alike - yet always retains the human element that made his celebrated image of the Afghan Girl such a powerful image.
McCurry has been recognized with some of the most prestigious awards in the industry, including the Robert Capa Gold Medal, National Press Photographers Award, and an unprecedented four first prize awards from the World Press Photo contest, to name a few.
Killdeer - A shorebird you can see without going to the beach, Killdeer are graceful plovers common to lawns, golf courses, athletic fields, and parking lots. These tawny birds run across the ground in spurts, stopping with a jolt every so often to check their progress, or to see if they have startled up any insect prey. Their voice, a far-carrying, excited kill-deer, is a common sound even after dark, often given in flight as the bird circles overhead on slender wings. Widespread, numerous, and noisy – these words describe the killdeer, Charadrius vociferus, a conspicuous, easy-to-identify member of the plover family. It is one of the noisiest of American birds, which accounts for the "vociferus" part of its scientific name. Although the killdeer is classed as a migratory species, this bird is a year-round resident of Texas, choosing a variety of habitats as home. It is found throughout the state, with the possible exception of the Panhandle during frigid winter weather. It thrives in open or semi-open areas and is at home in either dry or wet locations. An arid mesa or canyon can be as appealing as a home near a river or by a lake shore. Plains and prairies, whether grassy or bare, and fields or pastures, whether cultivated or fallow, attract the birds as often as the marshes, beaches, bays, and lagoon flats of the coast. Killdeer also manage to live side-by-side with people, using airports, golf courses, and lawns as foraging areas. Pebbled rooftops serve as well for nest sites as dry gravel beds along creeks and rivers. Both nest and eggs blend into the surroundings, but the birds take no chances, guarding the nest constantly throughout the 26 to 28 day incubation period. If the nest is threatened, the female is a master at the art of subterfuge. Imitating a severely injured bird, she flutters a few feet from the nest, falls flat on the ground as though hopelessly wounded, and utters piteous cries. If approached, she recovers enough to move farther from the nest, but continues to drag one or both wings on the ground as if broken. She may even roll over and gasp and pant as if completely exhausted by her efforts. Throughout the performance she continues to cry pitifully as if in pain. By spreading her tail feathers and throwing her body from side to side, she exposes a golden-red rump patch that may look like blood to the enemy. The male also may get into the act, flying around the intruder at a safe distance, screaming protests. Working as a team, they continue the performance until the intruder is lured away from the nest. Another diversion the birds use is the false nest act. When feeding birds are approached, one will move away, completely ignoring the enemy, and settle into a depression with all the motions associated with covering a nest of eggs. As the enemy draws near, the bird glides off to expose the empty depression. To add insult, the bird also makes a cry that sounds like a chuckle. If the enemy continues to follow, the false nest act will be repeated until the follower gets tired of looking into empty depressions and goes away. For more info see: tpwd.texas.gov/publications/nonpwdpubs/introducing_birds/...
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Il bacino di Arcachon è un bacino di acqua salata, comunicante con l'Oceano Atlantico, situato in Francia nel dipartimento della Gironda, tra le città di Arcachon e Lège-Cap-Ferret. Fa parte delle Landes della Guascogna. A differenza degli stagni delle Landes, il bacino comunica con l'Oceano Atlantico tramite un passaggio, attraverso il quale la marea oceanica sposta quotidianamente una quantità considerevole d'acqua. L'alta marea si produce regolarmente ogni 12 ore circa. Durante la bassa marea, il bacino si riduce ad un'unione di canali navigabili. I canali ed i banchi di sabbia evolvono nel tempo sotto l'influenza della marea: circa 370 milioni di metri cubi d'acqua sono scambiati quotidianamente tra bacino e oceano, con una velocità media di circa 2 m/s, portando con sé molta sabbia. I sedimenti sabbiosi mobili che caratterizzano questo bacino sono distribuiti principalmente delle correnti di marea, che formano canali e barre secondo una tipica configurazione di piana di marea. Il passaggio con l'Oceano, la cui navigazione è resa problematica dalle numerose correnti, è dominato a sud dalla duna del Pyla e a nord dal Cap Ferret. La duna è imponente e ben visibile da gran parte dei comuni che si affacciano sul bacino: Arcachon, Lège-Cap-Ferret, Arès, Andernos-les-Bains, La Teste-de-Buch, Gujan-Mestras. Al centro del bacino si trova l'île aux oiseaux (isola degli uccelli): l'isola, che non ha corrente elettrica, ospita soltanto alcune palafitte e case in legno usate dagli ostricoltori. L'estensione dell'isola aumenta considerevolmente con la bassa marea.
Il bacino è inoltre alimentato di acqua dolce dal fiume Leyre, che è all'origine della sua formazione. Il bacino attira ogni estate un numero considerevole di turisti, che vi praticano la pesca e numerosi sport nautici. La principale attività del bacino (ed anche risorsa economica, assieme al turismo) è però l'ostricoltura: la presenza regolare della marea infatti permette di costruire delle strutture in cui coltivare le ostriche che, nel corso della giornata, vengono periodicamente sommerse dall'acqua. A sud-est del bacino vi è inoltre la riserva ornitologica del Teich, parco visitabile, che offre la possibilità di osservare da vicino, nel loro habitat naturale, una gran quantità di uccelli marini e non, stanziali e migratori.
Le bassin d’Arcachon (Laca d'Arcaishon en gascon) est une lagune mésotidale située dans les Landes de Gascogne, en Gironde, entre les villes de La Teste-de-Buch au sud, Lège-Cap-Ferret à l’ouest et le delta de la Leyre à l’est. Lui seul interrompt le cordon dunaire de 250 km de la Côte d’Argent, qui s'étend de l’estuaire de la Gironde au fleuve Adour. À la différence des grands lacs landais, il est largement ouvert sur l’océan Atlantique par l’intermédiaire des passes du bassin d’Arcachon et constitue une petite mer intérieure de 155 km² à marée haute et de 40 km² à marée basse. On y pratique l’ostréiculture, la pêche et la navigation de plaisance. Depuis le 8 juin 2014, il abrite le parc naturel marin du bassin d'Arcachon. Le bassin d'Arcachon fait partie du Pays de Buch, il est situé au cœur des Landes de Gascogne, à mi-chemin entre la pointe de Grave et Capbreton, au sud-ouest du département de la Gironde à une cinquantaine de kilomètres de Bordeaux. Le bassin est de forme triangulaire, délimité par plus de 80 km de côtes plates ou dunaires boisées. Le pourtour du bassin commence, dans le sens trigonométrique (antihoraire) au Pyla-sur-Mer puis remonte au nord vers Arcachon oblique à l'est puis au sud et à nouveau à l'est au niveau de La Teste-de-Buch. Il remonte au nord-ouest au niveau du delta de la Leyre puis à partir de Lège descend au sud-ouest jusqu'au Cap-Ferret, en face du Pyla-sur-Mer. Au centre du bassin se trouve « l'île aux oiseaux » et ses cabanes tchanquées. En plus de recevoir à La Hume de l'eau en provenance du lac de Cazaux (via le canal de Cazaux), à Lège celle venant du lac de Lacanau (via le canal des Étangs) et sur tout son pourtour des eaux de ruissellement via plusieurs ruisseaux ou quelques crastes, le Bassin est aussi alimenté en eau douce par l'Eyre. Ce petit fleuve côtier de 80 km de long, issu de la forêt des landes, est à l'origine de la formation du bassin d'Arcachon. En apportant un flux continu d'eau, il contribue à empêcher l'obstruction des passes par les sables venus de l'océan. L'ouverture sur l'océan Atlantique se fait par un accès unique, les « passes », un ensemble de chenaux d'environ trois kilomètres de large permettant la circulation de l'eau entre le bassin et l'océan. La force des courants de flux et de reflux rendent délicats les franchissements de ces passes, surtout aux marées de grands coefficients pour la navigation ; des accidents mortels de marins expérimentés sont régulièrement constatés. La localisation et la structure des passes suivent une évolution cyclique dont la période est d'environ 80 ans: les passes sont en fait deux chenaux grosso modo parallèles (la Passe sud et la Passe nord) dont le tracé se déplace en direction du sud-est (du Cap-Ferret vers la dune du Pilat). Quand la passe la plus au sud atteint la plage au pied de la dune, elle se rétrécit puis « disparait » alors qu'une nouvelle passe se forme vers le nord, du côté du Cap, transformant ainsi l'ancienne « Passe nord » en une nouvelle « Passe sud ». Le balisage (bouées de navigation) est sans cesse corrigé et les cartes marines nécessitent une mise à jour permanente. À la différence des grands lacs landais (Hourtin et Carcans, Lacanau, Cazaux et Sanguinet, Biscarosse et Parentis) cet écosystème original est largement ouvert sur le golfe de Gascogne et la marée fait pénétrer et sortir deux fois par jour des masses d'eau considérables. Le bassin est partiellement isolé de l'océan par un cordon dunaire comprenant notamment le Cap Ferret, la dune du Pilat et le banc d'Arguin (classé réserve naturelle). Des bancs de sable mobiles charriés par les courants marins en modifient sans cesse le tracé et favorisent les organismes aquatiques non fixés dans les passes et sur les bancs de sable qui évoluent au cours du temps particulièrement lors de fortes tempêtes mais aussi plus simplement et inexorablement sous l'effet des marées (environ 370 millions de mètres cubes d'eau sont échangés entre le bassin et l'océan chaque jour, à une vitesse moyenne d'environ 2 m/s, emportant le sable se trouvant sur les bords des passes) et du courant marin (longeant le littoral du nord vers le sud, il charrie environ 600 000 mètres cubes de sable par an). Localement les herbiers de zostères (Zostera noltii) accueillent, accueillaient ou pourraient accueillir une riche faune ou microflore épiphyte. Le en tant que vaste zone humide et pour son caractère original, ce bassin occupe une place importante dans la Trame verte et bleue nationale, mais le bon état écologique n'y est pas atteint. En particulier des algues vertes prolifèrent anormalement et les zostères, pour des raisons mal comprises et probablement multifactorielles y sont en forte régression ce qui est préoccupant car en tant qu'herbier aquatique elles fixent le fond et sont un abri et une source de nourriture pour un grand nombre d'autres espèces. L'azote et les pesticides agricoles et urbains apportés par les pluies et eaux de ruissellement10, ainsi que les biocides des antifoolings sont suspectés. Le bassin d'Arcachon jouit d'un climat doux avec un ensoleillement important tout au long de l'année (2100 heures en moyenne sur le bassin). Les hivers y sont pluvieux mais rarement rigoureux. Il neige toutefois une ou deux fois par an en général. En revanche, les tempêtes d'automne et d'hiver soufflent souvent avec force sur le bassin, rendant les passes impraticables. On a relevé plus de 170 km/h lors du passage des tempêtes Klaus en 2009 et Martin en 1999. Les étés y sont secs et chauds, et rarement caniculaires. La brise thermique se lève en effet souvent l'après-midi, les épisodes de fortes chaleurs ayant du mal à persister dans la durée. De violents orages venus du golfe de Gascogne touchent épisodiquement le bassin (juin 1987, juillet 2003, septembre 2004), occasionnant parfois d'importants dégâts. Les températures maximales moyennes varient de 11 ou 12 °C en hiver à 25 ou 26 °C l'été. La température de la mer dans le bassin est de 13 ou 14 °C alors qu'elle est en moyenne de 10 ou 11 °C dans l'océan en hiver. En été, le bassin se réchauffe pour atteindre jusqu'à 22 ou 23 °C alors qu'elle atteint 19 à 21 °C sur l'Atlantique.
Arcachon Bay (in French, the Bassin d'Arcachon, and known locally simply as "le Bassin") is a bay of the Atlantic Ocean on the southwest coast of France, situated between the Côte d'Argent and the Côte des Landes, in the region of Aquitaine. The bay covers an area of 150 km² at high tide and 40 km² at low tide. Some of its geological features are natural preservation areas. The general shape of the Bassin d'Arcachon is that of an equilateral triangle pointing north, the southwest corner of which is open to the sea, between Cap Ferret and the town of Arcachon (more specifically, its suburb Pyla-sur-Mer), through a 3 km narrow channel (Les Passes). On the north shore is the town of Arès, then Andernos-les-Bains on the northeast. Just south of the entrance is The Great Dune of Pyla. Nearly in the middle of the bay is a very particular island: L'île aux Oiseaux (Isle of the Birds). The Bassin still has a link to the sea perhaps because of the Eyre river that runs from the Landes forest and has its mouth (Delta de l'Eyre) in its southeast corner. Otherwise the Bassin would have become blocked by the sandbanks built up by the tides. In the past, similar areas became lakes (called in French lacs or étangs) and are nowadays filled with fresh water. On the French Atlantic coast, running north-south between the Gironde estuary to the Adour river mouth, are the Lac d'Hourtin-Carcans, the Lac de Lacanau, the Étang de Cazaux et de Sanguinet, the Étang de Biscarrosse et de Parentis, the Étang d'Aureilhan, the Étang de Léon, the Étang de Soustons, the Étang Hardy, the Étang Blanc and the Étang de Garros. Arcachon Bay is the last water area that remains open to the ocean.
Es war ein Abend mit kleiner Besetzung : Elton , Klavier & Gesang und Ray Cooper, percussion. Die einzige Tour jemals für Elton in der er keine Brille trug : Kontaktlinsen!!! Am selben Abend im Rosengarten in einem anderen Saal spielten : Whitesnake im Vorprogramm zu Thin Lizzy; Was für ein Abend! Dank Veranstalter Matthias Hoffmann konnte ich hin und her switchen um beide Konzerte zu fotografieren!! —-Together with Ray Cooper. I think this was in the Mozartsaal. At the same time in the same house in another room played Whitesnake together with THIN LIZZY. Because I knew the Concert promoter Mathias Hoffmann I could switch from one Concert to another.First and last time I saw Elton doing a concert without wearing glasses ! Amazing !
Enrico Ruggeri
Magazzini Generali - Milano
13 Maggio 2013
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Gli inizi Nel 1972, a 15 anni, fonda il suo primo gruppo, i
Josafat, che nel 1974 si trasformano, con l'ingresso di Silvio Capeccia, in Champagne Molotov (nome che ricorrerà spesso nella prima parte della carriera solista).
Nel 1977 dalla fusione degli Champagne Molotov e la band Trifoglio, nascono i Decibel, con cui incide nel 1978 il primo Album Decibel (comunemente noto come Punk a causa di una scritta presente sulla copertina); l'album, pubblicato per la Spaghetti Records e prodotto da Shel Shapiro è un insuccesso (poche centinaia di copie), e frutta anche una denuncia per vilipendio alla religione a causa del testo di Paparock che verrà camuffato in sede di missaggio rendendolo inintellegibile all'ascolto.
Dopo il singolo Indigestione disko, e il ritorno di Silvio Capeccia, il successo arriva con la partecipazione a Sanremo con il brano Contessa e l'album Vivo da re, la cui title-track prenderà parte al Festivalbar di quell'anno.
Il periodo Pop punk (1981-83)
Nel 1981 Enrico Ruggeri intraprende la propria carriera solista prodotto da quello che diventerà il suo produttore storico, Silvio Crippa, e avviando la pluridecennale collaborazione con il chitarrista Luigi Schiavone.
Ne scaturisce l'album Champagne Molotov per la casa discografica SIF (successivamente assorbita dalla CGD) che non ottiene il successo sperato anche a causa di problemi legali con la "Spaghetti Records". In questo periodo Ruggeri lavora anche come autore di alcuni cantanti pop come Diana Est (scrivendo per lei i testi delle canzoni dei primi due singoli Tenax, del 1982 e Le Louvre, del 1983), Den Harrow, Jock Hattle, Albert One. 1983: è l'anno in cui inizia a farsi conoscere, grazie all'album Polvere e la single-track omonima che raggiungono un discreto successo, coronato dal secondo posto al Festivalbar e dalla partecipazione alla gara canora Azzurro. Il brano Il mare d'inverno, che inciderà soltanto l'anno seguente, è portato al successo da Loredana Berté, e lo impone come autore di eccellenza, aprendo gli orizzonti artistici di Ruggeri verso il genere cantautorale, pur senza rinnegare la matrick rock.
Il consolidamento del successo (1984-1989)
Nel 1984 Ruggeri torna al Festival di Sanremo con il brano Nuovo Swing, che segna la svolta verso uno stile che echeggia lo stile degli chansonnier francesi. Segue l'album Presente, che mescola nuovi brani ad esecuzioni dal vivo (tra cui una cover di Vecchio Frack di Domenico Modugno), che è anche in gara nel Festivalbar. Nello stessa edizione sanremese, produce il gruppo emergente dei Canton, scrivendo per loro Sonnambulismo, che sarà anche incisa in inglese.
1985-1986: Dopo un breve sodalizio con Mimmo Locasciulli, Ruggeri conosce una stagione di prolifica ispirazione che lo vede pubblicare tre lavori nel giro di diciotto mesi, album che ne sanciscono definitivamente l'ingresso nel novero dei cantautori italiani più apprezzati. Tutto scorre (che tutt'oggi Enrico definisce il suo album più completo), il mini LP Difesa francese ed Enrico VIII, quest'ultimo il primo a fare il suo ingresso nella Top 20: inoltre al Festival di Sanremo 1986 ottiene il premio della critica per Rien ne va plus, canzone in ritmo ternario con accompagnamento di fisarmonica. Ruggeri diventa anche uno degli autori più ricercati da numerose interpreti femminili, tra cui le più accreditate sono Fiorella Mannoia e Loredana Bertè.
Nel 1987 si ripresenta a Sanremo con Gianni Morandi e Umberto Tozzi (sodalizio nato nell'ambito del progetto benefico della Nazionale italiana cantanti) con il brano Si può dare di più che vince la manifestazione. Segue un'ambiziosa tournée nei teatri italiani con l'orchestra filarmonica di Alessandria, e la stessa sua band di fiducia, di cui resterà testimonianza nel doppio live Vai Rrouge!. Sempre in quell'anno è premio della critica a Sanremo Quello che le donne non dicono cantata da Fiorella Mannoia, la cui musica, è di Luigi Schiavone, che saprà firmare molti altri successi tra i più acclamati di Ruggeri, che spesso figura come unico autore.
Nel 1988 realizza l'album La parola ai testimoni, utilizzando piattaforme digitali e strumenti elettronici, ottenendo un discreto riscontro. L'anno seguente, è la volta di Contatti, che presenta tre inediti e la coeva Il funambolo (scritta insieme a Riccardo Cocciante), orchestrati dalla filarmonica dell'allora Leningrado, insieme a cover di altri cantautori italiani Ivano Fossati, Lucio Dalla, Francesco Guccini, Sergio Endrigo Lucio Battisti, Francesco De Gregori, gli Alunni del Sole.
Ritorno al Rock e i massimi successi (1990-93)
Nel 1990, con l'album Il falco e il gabbiano, Ruggeri svolta nuovamente verso sonorità più vicine al rock e sale verso i livelli di vendita più alti della carriera, grazie anche ai singoli Ti avrò e Punk (prima di te). Il dualismo antitetico tra i due volatili, oltre a costituire un vero e proprio logo, rappresenterà a chiare lettere la duplice identità artistica, della quale andrà fiero a dispetto di alcune critiche che gli verranno mosse da chi non condividerà il suo seguire due generi così contrastanti tra loro (il rock sanguigno di ispirazione punk, e la canzone d'autore intimista di scuola francese). Segue, l'anno dopo, il suo album di maggior successo, Peter Pan: 400.000 copie vendute in pochi mesi.
Al culmine del successo, nel 1993 Ruggeri conquista per la seconda volta il Festival di Sanremo con il brano rock Mistero, da lui stesso considerato troppo di genere per ambire a una vittoria scontata[senza fonte]. Ad esso segue l'album La giostra della memoria, che è tra i primissimi a sperimentare la formula dell'album misto di vecchi brani, inediti, interpretazioni di brani scritti per altri ed esecuzioni live, tra cui alcune di queste inedite. Sempre nel 1993 partecipa, penultimo italiano della storia, all'Eurofestival con il brano Sole d’Europa, classificandosi al 12° posto.
Progressive (1994-99)
Nel 1994 esce l'album Oggetti smarriti, che risente nei testi e nelle atmosfere della fine del matrimonio con la moglie Laura. L'album, di livello paragonabile ai tre precedenti, è carico di geniali intuizioni e segna una evoluzione musicale verso sonorità progressive. Nel 1996 la crisi nei rapporti con la casa discografica CGD (passata da qualche anno sotto il controllo dell'americana Warner) determina l'insuccesso dell'ambizioso e pregevole album concept Fango e stelle. Lo stesso album è stato presentato al Festival di Sanremo 1996, dove vi prende parte in extremis sostituendo Ornella Vanoni, e classificandosi al diciassettesimo posto. Proprio in questa occasione, come vocalist, compare Andrea Mirò Nel 1997, passato alla casa discografica PDU, incide Domani è un altro giorno. L'album guarderà anche al mercato estero inaugurando la serie di album in lingua spagnola, pubblicati a breve distanza. In questa occasione il titolo La gente con alma, si rifarà alla canzone La gente di cuore che nella versione italiana è cantata insieme a Marco Masini. Nel 1999 esce L'isola dei tesori, composto in prevalenza da alcuni brani più o meno famosi scritti in passato per altri interpreti e gruppi, spesso con la partecipazione degli stessi artisti. Come bonus track figura anche La chanson de Mimie, versione francese de La poesia, che è stata scritta in occasione della partecipazione suo malgrado a Scherzi a parte, dove lo avevano fatto passare per un autore che copiava di sana pianta canzoni francesi, con tanto di intervento accusatorio del Gabibbo. Ruggeri, apprezzando la burla, ha deciso poi di inciderla, usando la base originale.
Gli anni della maturità (2000-)
Nel 2000 Ruggeri passa alla SONY-BMG. Esce L'uomo che vola. Il 2001 è l'anno delle reinterpretazioni in stile acoustic del doppio live La vie en Rouge. Nel 2002 partecipa con la ballata Primavera a Sarajevo al Festival di Sanremo: Andrea Mirò vi figura come autrice e direttrice d'orchestra. Il brano si ispira alla guerra in Bosnia Erzegovina degli anni precedenti, riprendendo anche le sonorità di quelle regioni. Nel 2003, in coppia con Andrea Mirò, è ancora a Sanremo con Nessuno tocchi Caino, canzone contro la pena di morte, scritta dopo l'adesione all'omonima associazione, dove Enrico canta i pensieri del boia alle prese con ciò che per lui è solo il suo mestiere, e Andrea dà voce al condannato che spera in un atto di clemenza. Esce l'album Gli occhi del musicista.
Nel 2004 in Punk prima di te, reincide i sei ottavi del primo album dei Decibel insieme a cover di brani punk e rock anni settanta di David Bowie, Lou Reed, Sex Pistols, Ramones. Sempre nel 2004 esce il primo doppio DVD dal vivo, Ulisse, per la Sony Music.
Nel 2005 pubblica Amore e guerra mentre l'anno successivo esce la raccolta Cuore, muscoli e cervello, triplo cofanetto anch'esso diviso tra materiale edito e inedito, dove Ruggeri tenta di suddividere la sua opera nelle tre categorie che ne compongono il titolo. Di questo triplo cd uscirà anche una versione compatta in un unico disco. In corrispondenza del Natale 2007 esce un nuovo disco di cover natalizie dove Ruggeri interpreta a modo suo classici quali White Christmas e altri.
Nel 2008 esce un nuovo disco di inediti Rock Show dove Enrico torna al rock e parla in prima persona delle esperienze di cantautore rock sulla strada da ormai 30 anni.
Il 30 gennaio 2009 è uscito il nuovo lavoro dal titolo All in - L'ultima follia di Enrico Ruggeri, un triplo CD di brani inediti, tra i quali c'è anche il brano Incontri (Dimmi quand'è) che ha dato vita al jingle pubblicitario dell'Amaro Averna.
Nell'aprile 2009 ha partecipato all'incisione del brano Domani 21/04.09 di Mauro Pagani, i cui proventi saranno devoluti alle popolazioni colpite dal terremoto dell'Aquila.
Between the two Boughtons along the sandstone ridge, little did I know there are three parishes, Chart Sutton, Sutton Valance and East Sutton.
As it happened I sailed past Chart Sutton without realising it was there, and there was a wedding on at Sutton Valance. But I had seen some fine hand made signs pointing to an open church, which happened to be East Sutton.
I was welcomed warmly, and once we had all agreed to how many churches in Kent I had visited, one of the wardens gave me a fine guided tour of the church.
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A knockout church that stands cheek by jowl with the red brick mansion that is now a prison with warning signs that tell you not to photograph the house whilst photographing the church! Mainly fourteenth century building but remodelled with new windows in the fifteenth. It contains much of interest although in many respects the late nineteenth century restoration which removed the plaster from the walls has created an interior unlike anything that went before. The memorials to the Filmer family are what most people come to see – from a rare 17th century brass plate to a nineteenth century marble baby the church ahs it all. The windows are mostly late 19th and early 20th century by Westlake. The post WW1 south chapel east window depicts a soldier, sailor, airmen and nurse under figures of Osmund, Edmund and Christ. The lovely font is one of the nicest thirteenth century examples around – one amazingly thin pillars. Architecturally the north chapel north window, with flamboyant tracery is the masterpiece but really it is the whole ensemble that goes to create such a welcoming and memorable space.
www.kentchurches.info/church.asp?p=East+Sutton
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EAST SUTTON.
THE next parish eastward from Town Sutton is East Sutton, having the appellation of East from its situation eastward of the two adjoining parishes of Sutton Valence and Chart Sutton, though that of Sutton, near Dover, is likewise frequently stiled East Sutton, from its situation in the eastern part of this county.
IT is a small parish, and would be but little known or frequented was it not for the residence of the Filmer family in it. It is much the same situation and soil as the last described parish of Sutton Valence, the quarry hills crossing the middle of it; the church stands near the summit of the hill, at the back of East Sutton-place, which is pleasantly situated, having a most beautiful and extensive view southward, the park lying before it, which is well cloathed with trees both of ash and oak, and has a fine piece of water in sight of the house in the lower part of it; about half a mile south-east from the manor house, about the middle of the hill, is Little Charlton, which has still the appearance of a gentleman's seat, having several good rooms in it well ornamented with stucco, fret-work, &c. and every convenience requisite for a gentleman's family, and the hospitality of former times; from the top of the hill southward it is within the Weald, a low, flat and miry country. On the other side, above the church, from the shade of the quantities of trees which spread thickly over it, that part has an unpleasant and gloomy aspect. In this part is (hartway-street, the only village in this parish, the southern side of which only, on which however almost all the houses are built, being in this parish and its northern boundary, the other side of it being in Bromfield; the rest of the houses in East Sutton, excepting the two small hamlets of Friday and Sunday-streets, being intersperted at various distances throughout it.
THIS PLACE was part of those possessions with which Odo, bishop of Baieux, was enriched by his half-brother William the Conqueror, under the general title of whose lands it is thus entered in the survey of Domesday:
The same Adam Fitzhubert holds of the bishop Sudtone. It was taxed at one suling and an half. The arable land is eight carucates. In demesne there are two, and fifteen villeins, with nine borderers, having four carucates. There is a church and ten servants, and eight acres of meadow. Wood for the pannage of fifty bogs. In the time of king Edward the Confessor, and afterwards, it was worth ten pounds, now twelve pounds, and yet it pays eighteen pounds. Leuenot held it of king Edward.
On the bishop's disgrace, which happened in 1084, about four years after the taking the above survey, this among the rest of his estates became confiscated to the crown.
In the reign of Henry the IIId, John de Salario held East Sutton (fn. 1) of Simon de Montfort, earl of Leicester; Geffry de Maitel held it in the latter end of that reign, and the beginning of the reign of king Edward the 1st, his successor was Adam de Martel, whose right to it was allowed against the king before the justices itinerant, in the 21st year of Edward I. Aymer de Valence, earl of Pembroke, was in possession of it in the beginning of the next reign of king Edward II. and died in the 17th year of it s. p. upon which his three sisters became his coheirs; of whom Isabel, married to John de Hastings, of Bergavenny, seems to have had this manor allotted to her as part of her share in the inheritance, and in his descendants, earls of Pembroke, it continued down in like manner as Sutton Valence manor before described, till on their failure of issue in king Henry the IVth's reign, Reginald, lord Grey, of Ruthyn, became entitled to it as next of kin and heir of Aymer, earl of Pembroke, but on his being taken prisoner by Owen Glendower, in Wales, king Henry IV. in his 4th year, granted licence to I obert Braybrook, bishop of London, and others, then seoffees of his several lordships, to sell this manor among others, towards raising a sum of money for his ransom. They sold it to Richard Brigge Lancaster, king at arms, who alienated it in the third year of king Henry V. to Thomas Buttiller and Thomas Bank. After which it passed into the family of Darrell, one of whom Sir Richard de Darrel, possessed it in the reign of king Edward IV.
In the first year of king Henry VIII. John York, esq. of Ramsbury, in Wiltshire, was owner of it, and in the 6th year of that reign passed it away to Richard Chetham, prior of the priory of Ledes, and it seems to have been for the use of his convent by the receipt in the exchequer, anno 8 Henry VIII. Nevertheless they had divested themselves of the possession of it before the 20th year of that reign, when Sir Henry Guldeford, knight of the garter, and comptroller of the king's houshold, owned it. He died s. p. in the 23d year of that reign, and his heirs sold this manor the next year to Richard Hill, esq. who in the 29th year of it alienated it to Thomas, lord Cromwell, and he soon afterwards exchanged it with the crown for other lands, where the fee of it remained till the king in his 37th year granted it, with its appurtenances, to John Tuston, and Stephen Reaves, to hold in capite, and they that year alienated it to Thomas Argall, who bore for his arms, Party per fess, argent and vert, a pale counterchanged; three lions heads erased gules. He procured his lands in this county to be disgavelled by the act of the 2d and 3d of Edward VI. and died possessed of it in the 6th year of that reign.
His son and heir, Richard Argall, esq. had by Mary his wife, daughter of Sir Reginald Scott, of Scots-hall, a son John, and two daughters, Catherine, wife of Ralph Bathurst, esq. of Horton Kirkby, and Elizabeth, of Sir Edward Filmer, of Little Charleton, in this parish, John Argall, esq. the son, was of Colchester, in Essex, and in the 8th year of king James I. sold this manor to his brother-in-law, Sir Edward Filmer before-mentioned, who upon that removed from his seat of Little Charleton to the manor house of East Sutton, called East Sutton-place, where he kept his shrievalty in the 13th year of that reign. The family of Filmer was originally seated at the manor of Herst, in the parish of Otterden, where Robert Filmer lived in king Edward the IId.'s reign. His descendants continued there till Robert Filmer, son of James, removed to the manor of Little Charlton, in this parish, which he had purchased of the family of Kempe, and had built a seat on it for his residence, it was antiently called Charlton-court, and had owners of its own name in the reigns of king Edward II. and III. (fn. 2) He was one of the prothonotaries of the common pleas for twenty years in the reign of queen Elizabeth, and to him Cooke, clarencieux, in 1570, granted, or rather confirmed the arms of the family, viz. Sable, three bars, and as many cinquefoils in chief, or. He died in 1585, and was buried in this church, which has ever since continued the burialplace of the family. He was the father of Sir Edward Filmer, the purchaser of this manor of East Sutton as before mentioned. (fn. 3)
He had by his wife before mentioned, nine sons and nine daughters, and died in 1629, being succeeded here by Robert, his eldest son, who was knighted by king Charles I. and resided at East Sutton. He employed his pen in defence of the rights of the crown. He was educated at Trinity-college, Cambridge, and wrote the Anarchy of a limited or mixed Monarchy; Patriarcha, or the natural Power of Kings; the Freeholder's grand Inquest, and Reflections concerning the Original of Government, besides several other tracts, all which were published after his death by his son. He was a great sufferer during the civil wars of king Charles I.'s reign, having his house here plundered ten times by the rebels, and himself imprisoned in Leeds-castle for his loyalty. He died in 1653, having married Anne, daughter and coheir of Martin Heton, bishop of Ely, by which an addition of fortune, as well as of arms, accrued to him.
He was succeeded by his eldest son, Sir Edward Filmer, gentleman of the privy chamber both to king Charles I. and II. who dying unmarried at Paris, in 1668, was succeeded in his estates by his next brother, Robert Filmer, esq. barrister-at-law, of Gray's inn, who, in consideration of his father's sufferings and loyalty to Charles I. was, on Dec. 24, 1674, created a baronet. He resided at East Sutton-place, which, as well as the park round it, he greatly augmented and improved, inclosing the whole with a stone wall. He died in 1675, leaving several sons and daughters, of whom Sir Robert Filmer, bart. his eldest son and successor, resided here, and in 1689, being the last of king James II. served the office of sheriff. He died in 1720, having married Elizabeth, daughter and coheir of Sir William Beversham, of Holbrookhall, in Suffolk, one of the masters in chancery, (fn. 4) by whom he had several sons and daughters. Beversham Filmer, esq. one of the younger sons, was of Lincoln'sinn, barrister-at law, master of the Nisi Prius office in B. R. and one of the most able conveyancers this kingdom has produced. He died unmarried in 1763, and was buried in this church, having by his last will bequeathed his estates in this county to his nephew, Sir John Filmer, bart.
Sir Edward Filmer, bart. the eldest son, resided at East Sutton, and married Mary, daughter of John Wallis, esq. of Oxfordshire, only son and heir of the learned John Wallis, D. D. Savilian professor of geometry at Oxford, and F. R. S. by whom he had twenty children, viz. eleven sons and nine daughters; of the former, John, the eldest, succeeded him in title and estate; Beversham married Dorothea, second daughter of William Henley, esq. late of Gore-court; the died in 1793, s. p. Edmund is rector of Crundall, and married Arabella-Christiana, the eldest daughter of Sir John Honywood, bart. by his first lady, by whom he has had six sons and two daughters; Francis, barrister-at-law, of Lincoln's-inn, is unmarried. Of the daughters, Dorothy, married the late Sir John Honywood, bart. He died in 1755, æt. 72, and was succeeded by his eldest son, Sir John Filmer, bart. of East Sutton, who died in 1797, æt. 84, and was buried with his ancestors in this church. He married Dorothy, daughter of the Rev. Julius Deedes, prebendary of Canterbury, by whom he had no issue. She survived him, but the title, and this manor and seat, together with the rest of his possessions in this parish, devolved to his next brother and heir, now Sir Beversham Filmer, bart. who resides here, and is the present owner of them.
BOYTON is a manor in this parish, which formerly belonged to the priory of Christ-church, in Canterbury, and continued so till the dissolution of it in the reign of king Henry VIII. when it was, together with the rest of the possessions of the priory, surrendered into the king's hands, who by his dotation-charter in his 33d year, settled this manor on his new-erected dean and chapter of Canterbury, part of whose possessions it still remains.
The lessee of this manor, in the year 1645, was Sir Robert Stapleton, bart. who held it under the ruling powers of that time, the dean and chapter being dissolved, at the yearly rent of 5l. 6s. 8d. and one pound for entertainment money to the receiver of the church.
The family of Hope have been lessees of it for many years, the present lessee being Mrs. Sarah Hope.
Charities.
STEPHEER PENDE, gent. of this parish, by deed, anno 23 Henry VIII. gave a messuage, barn, garden, and two crosts of land, containing four acres in this parish; and GEORGE USMER, gent. of this parish, by deed, anno 6 Elizabeth, gave two pieces of land, containing three acres, in this parish; and by his will, anno 8 Elizabeth, gave three pieces of land, called Randalls and Lakefield, the latter in Town Sutton, and the former in this parish, all which were given for the habitation and maintenance of the curate of this parish, but if such curate should not reside in the said messuage, then the churchwardens were to receive the rents of all the before-mentioned premises, and apply them towards the repairs of the church. And he gave by will a piece of land called Park-corner, otherwise Lodge-land, in this parish, to the intent that the churchwardens should receive the rents, and, with the assent and advice of the inhabitants, yearly distribute the same amongst the poor on Good Friday and All Holland day, by equal proportion. And he further willed, that the churchwardens should receive the rents of two pieces of land in this parish, called Huntings, to be by them bestowed, with the advice of the inhabitants, in bread, cheese, and beer, among the poor of it on St. George's and Christmas day, yearly.
DAME ELIZABETH FILMER, widow of Sir Edward Filmer, in 1638, gave 100l. to the use of the poor of this parish.
MRS. SUSAN WATTS, of this parish, widow, gave 50l. for the use of the poor, and directed, that poor antient widows should be first preferred, and most relieved, according to their necessities.
The above-mentioned sums of 100l. and 50l. having been many years placed out at interest upon a mortgage, were, in 1722, together with 10l. raised by subscription among the parishioners, and 10l. given by Sir Edward Filmer, bart. and the further sum of 25l. raised by the sale of timber growing on the lands called Huntings and Lodge-lands above-mentioned, amounting in all to 1951. laid out in the purchase of a messuage, barn, orchard, and six pieces of land in Hedcorn, upon the den of Hockenbury, purchased of one William Fleet, and now in the occupation of John Croucher, at the yearly rent of 10l. 1s. 8d. to the uses following: to pay 40s. a year to the curate of this parish, so long as he inhabited here, and demeaned himself well, and diligently served the cure, and preached four quarterly sermons as therein directed; but in default of such residency, &c. to pay one moiety of the said 40s. towards the repairs of the church, and the other moiety, together with all the residue of the rents of the said Hockenbury farm, to the use of the poor.
SIR ROBERT FILMER, bart. gave by will in 1703, a piece of land, the yearly produce of it to be given in wheat, among eight of the poorest inhabitants at Christmas, vested in Sir John Filmer, bart. and now of the annual produce of 20s.
The number of poor relieved constantly are about twentyfive, casually about ten.
EAST SUTTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.
The church is dedicated to St. Peter and St. Paul. It is not a large building, and has a square tower at the west end of it. It is kept remarkably neat, and in good repair. The grave-stones of the Filmers in it are a complete series of this family, from the time of their coming to reside in this parish. All the brasses on them are perfect. The grave-stone over Sir Edward Filmer, who died in 1629, within the altar rails, is very curious, having an entire sheet of copper over it, with the portraits of himself, his wife, and his numberous issue, engraved on it, and their names respectively over them, and the coats of arms and quarterings, belonging to him and his wife, at the corners of it. There is a neat bust in white marble of the late Sir Edward Filmer, bart. who died in 1755, with an inscription to his memory against the wall, over the pew where the family sit.
The church of Sutton was antiently part of the possessions of the priory of Leeds, to which it was appropraited, and the duty of it was first served by a chaplain, appointed by the prior and convent, at whose request it was afterwards united to the adjoining church of Town Sutton, of their patronage likewise, to which it has been ever since esteemed as a chapel.
On the dissolution of the priory of Leeds, in the reign of Henry VIII the parsonage appropriate of East Sutton came into the hands of the crown, as did likewise the patronage of the church of Town Sutton, with the chapel of East Sutton annexed, where they did not continue long; for the king settled them both, in his 32d year, on his new-erected dean and chapter of Rochester, with whom they remain at this time.
The parsonage has been for many years held in lease, by the family of Filmer; the present interest of the lease being vested in Sir Beversham Filmer, baronet.
The vicar of Town Sutton serves the cure of this church, as a chapel annexed to it, and as such is entitled to the vicarial profits of this parish, in right of his vicarage.
The church of East Sutton is not valued in the king's books, being included in that of Town Sutton.
¶On the abolition of deans and chapters, after the death of Charles I. this parsonage was surveyed in 1649, when it was returned, that the parsonage, late belonging to the late dean and chapter of Rochester, consisted of a parsonage house, and all tithes, and the glebe land lying together, containing forty-three acres and two roods, at the improved rent of seventy-five pounds; also seventeen acres more of glebe land, let at fifteen pounds per annum; all which premises were let by the late dean and chapter, anno 13 Charles I. to Sir Robert Filmer, for twenty-one years, at the yearly rent of ten pounds, and of two good capons, or four shillings in money, so there remained a clear rent of 79l. 16s. per annum; and that the lessee repaired the chancel of this church; out of which lease the vicarage was excepted, then worth twenty pounds per annum.
The lessee of the parsonage claims the tithes of all corn, hops, and grass, growing in this parish. In the reign of queen Anne these tithes were estimated at upwards of eighty pounds per annum; besides which, the glebe land belonging to it, was let at fifty pounds per annum.
In 1648 the communicants of this parish were one hundred and thirty.
The small tithes and other emoluments of this benefice, in the beginning of queen Anne's reign were estimated at eighteen pounds per annum, there being no glebe land belonging to it.
The land given and devised by Stephen Pende and George Ulmer, as before mentioned, was worth ten pounds per annum, in the above reign, and seems to have been intended for the better performance of divine service in this church every Sunday; before which, the vicar of Sutton Valence used to perform it here but once or twice in a quarter of a year. From the year 1648 to 1680, the parishioners bestowed the above income on the repairs of the church; but since that time, the vicar of Sutton Valence has generally had it, in consequence of which, he preaches here and at Sutton Valence alternately on a Sunday, morning and afternoon.
A list of the vicars of Sutton Valence, or Town Sutton, with this chapel of East Sutton annexed, has been already given in the description of that parish.
See this Picture without inscriptions: stefansenf.de/wp-content/uploads/2013/12/Heimatfilm-49-13...
Protest-Tag gegen die neue Beta Version.
Bitte informiert euch über das neue Layout einverstanden seid, das Flickr offenbar zu realisieren plant:
www.flickr.com/photos/110293295@N04/11147629795/
Mehr Info:
"Die Beta Version wird im Moment bisher nur in den englischsprachigen Ländern eingesetzt. Für diejenigen, die sie bisher noch nicht gesehen haben, werden die Veränderungen nachfolgend im Einzelnen aufgelistet:
-Unter dem Bild gibt es keinen Platz mehr, um das Bild zu beschreiben; kein Kommentarfeld/Einladungen/Flickr Award Counter.
-Auf der rechten Seite des Bildes gibt es nur noch ein schmales Kommentarfeld, das NUR die letzten vier Kommentare anzeigt.
-weiße Schrift auf schwarzen und deprimierenden Hintergrund, der den Augen wehtut.
-es ist schwierig, Kommentare, die länger als zwei oder drei Worte sind, zu schreiben.
-Man kann nicht mehr sehen, wer das Bild favorisiert hat.
-Man kann nicht mehr sehen, in welche Gruppen das Bild gestellt wurde (nur noch 8 Gruppen)
-Awards werden nicht mehr gezeigt.
-Einladungen sind nicht mehr sichtbar (außer der letzten – bei den „Neuesten Aktivitäten“). Ältere Einladungen gehen verloren.
-Für die Gruppen-Admins wird die Arbeit sehr viel schwieriger oder wird gänzlich unmöglich.
Einige Gruppen werden schließen…und es sind die Gruppen, die unsere Bilder bisher sichtbar gemacht haben. Sie haben es uns möglich gemacht, wunderbare Arbeiten zu sehen und großartige Fotografen kennen zu lernen.
-Unsere Bildbeschreibungen einschließlich Zitate, links zu YouTube oder anderen Seiten sind nicht mehr sichtbar."
Der Info Absatz ist als 'Zitat' (ohne Quelle, ich weiß) aus ähnlichen Protest-Postings kopiert. Wieviel davon zutrifft kann ich nicht aus eigener Kenntnis sagen. Ich habe auch schon bei youtube aufgezeichnete Screenshots der beta gesehen, die halbwegs OK aussahen. Meine persönliche Meinung auf heutigem Kenntnisstand ist trotzdem, dass die erkennbaren Änderungen Käse wären und mich potentiell in Richtung 500px o.ä. vertreiben würden. Ich versteh's auch einfach nicht. Das letzte Update ist doch erst ein Jahr alt?
Shot with Woody, an ONDUPinhole camera, on World Pinhole Day, 24 April 2022.
Kodak Ektar 100, 5 second exposure.
Bulldog, two fishing lads without poles, another bulldog, two eagles, and at the far end, two lions. This fence, in Vancouver's East End, shows three neighbors trying to outdo each other in fence ornaments. Found just west of Fraser St. on one of the low 40s (can't remember which one).
HFF to everyone!!
I've been in Winnipeg all week (uploaded the week's photos ahead of time and releasing them to the public one by one LOL) and will be super busy this weekend. Will catch up with your wonderful fences eventually though! Husband's band is playing a gig Friday night, then we have a "gala dinner" on Saturday, a house party (20th anniversary of my journalism class) after that, then another gig from 1 to 3 on Sunday and our flight home is at 5. Yeep!
Roof boss in the 14th century vault of the nave.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
St George, Stowlangtoft, Suffolk
Given that our parish churches almost without exception underwent restorations in the 19th Century, it should be obvious that when we enter a medieval church, we are encountering a Victorian vision of the medieval. Even when the actual furnishings and fittings are medieval, the whole piece is still a Victorian conception.
Inevitably, the question arises of what was there before the restoration and what wasn't. The obvious answer is that we must assume that nothing is as it first appears.
A prime example of a church that assumes a continuity that may not actually be the truth is here in the flat fields between Woolpit and Ixworth. This part of Suffolk can be rather bleak in winter, but in summer the churchyard here is verdant and golden, as beautiful a place as any in the county. The church is large, and yet unusually narrow. It sits on a mound that has been cut down on one side by the road. In the churchyard you'll find the well-known memorial to the art critic Peter Fuller and his unborn son, killed in a car crash in 1990.
In the churchyard wall there is what appears to be broken medieval window tracery, which is worth noticing, for hereby hangs a tale.
St George is one of the great Suffolk churches. Although it may externally appear a little severe, and is by no means as grand as Blythburgh, Long Melford and the rest, it is a treasure house of the medieval inside. Unusually for a church of its date, it was all rebuilt in one go, in the late 14th century, and the perpendicular windows are not yet full of the 'walls of glass' confidence that the subsequent century would see. The tracery appears to have been repaired, and possibly even renewed, which may explain the tracery in the churchyard wall. However, it doesn't take much to see that the tracery in the wall is not perpendicular at all, but decorated. So it may be that the broken tracery is from the original church that the late 14th century church replaced. But the wall itself isn't medieval, so where had it been all those years? Is it possible that the current window tracery is not medieval at all?
Stowlangtoft church featured in Simon Jenkins' book England's Thousand Best Churches, which sends plenty of visitors to its locked door, and may help stave off the inevitable for a while, for there is no real congregation here any more and the church is moribund. Regular services are held across the fields at Pakenham, and St George is now only used on special occasions. The key is kept across the road, where the very nice lady told me in February 2018 that the church is now headed for redundancy. It seems likely that care of it will be conveyed into the hands of the Churches Conservation Trust.
You step in through the chancel door (the lock here is very awkward, but do persevere) and if you are anything like me you will head straight down to the west end where you will find the font. Likethe window tracery, it asks some questions. Unusually, it features a Saint on seven of the panels, Christ being on the westwards face. Mortlock dates it to the early 14th century, and the Saints it shows are familiar cults from that time: St Margaret, St Catherine, St Peter and St Paul, and less commonly St George. The cult of St George was at its height in the early years of the 14th century. Mortlock describes the font as mutilated, and it certainly isn't looking its best. But I think there is more going on here than meets the eye. Fonts were plastered over in Elizabethan times, and only relief that stood proud of the plaster was mutilated. These are all shallow reliefs, and I do not think they have been mutilated at all. To my eye at least, this stonework appears weathered. I wonder if this font was removed from the church, probably in the mid-17th century, and served an outdoor purpose until it was returned in the 19th century.
The story of this church in the 19th century is well-documented. In 1832, as part of his grand tour of Suffolk, David Davy visited, and was pleased to find that the church was at last undergoing repair. The chancel had been roofless, and the nave used for services. A new Rectory was being built. Who was the catalyst behind all this? His name was Samuel Rickards, and he was Rector here for almost the middle forty years of the 19th century. Roy Tricker notes that he was a good friend of John Henry Newman, the future Cardinal, and they often corresponded on the subject of the pre-Reformation ordering of English churches. It is interesting to think how, at this seminal moment, Rickards might have informed the thought of the Oxford Movement. Sadly, when Newman became a Catholic, Rickards broke off all correspondence with him.
During the course of the 1840s and 1850s, Rickards transformed Stowlangtoft church. He got the great Ipswich woodcarver Henry Ringham in to restore, replicate and complete the marvellous set of bench ends - Ringham did the same thing at Woolpit, a few miles away. Ringham's work is so good that it is sometimes hard for the inexperienced eye to detect it. However, as at Woolpit, Ringham only copied animals here, and the weirder stuff is all medieval, and probably dates from the rebuilding of the church. The glory of Stowlangtoft's bench ends is partly the sheer quantity - there are perhaps 60 carvings - but also that there are several unique subjects.
The carvings appear to be part of the same group as Woolpit and Tostock - you will recognise the unicorn, the chained bear, the bull playing a harp, the bird with a man's head, from similar carvings elsewhere. And then hopefully that little alarm bell in your heard should start to go "Hmmmm....." because some of the carvings here are clearly not from the same group. It is hard to believe that the mermaid and the owl, for example, are from the same workshop, or even from the same decade. The benches themselves are no clue, as it was common practice in the 19th century to replace medieval bench ends on modern benches, or on medieval benches, or even on modern benches made out of medieval timber (as happened at Blythburgh). Could it be that Samuel Rickards found some of these bench ends elsewhere? Could he have been the kind of person to do a thing like that?
Well, yes he could. As Roy Tricker recalls, the medieval roof at the tractarian Thomas Mozley's church at Cholderton in Wiltshire is East Anglian. Rickards acquired it after finding it in storage in Ipswich docks. It presumably came from one of the Ipswich churches. In the ferment of the great 19th century restoration of our English churches, there was loads of medieval junk lying around, much of it going begging. But was Samuel Rickards the kind of person to counterfeit his church's medieval inheritance?
Well, yes he probably was. The faux-medieval roundels in the windows of the nave are clearly not medieval at all, but were in fact the work of the young Lucy Rickards, daughter of Samuel Rickards himself. Some are clearly to the young girl's design, and Pevsner notes that others are copied from medieval manuscript illustrations in the British Museum, although the Holy Kinship and Presentation in the Temple roundels at least are very close copies of the Flemish roundels of the same subjects in Nowton church on the other side of Bury St Edmunds.
Truly medieval is the vast St Christopher wall-painting still discernible on the north wall. It was probably one of the last to be painted. The bench ends are medieval, of course, as is the fine rood-screen dado, albeit repainted. There is even some medieval figure glass in the upper tracery of some of the windows, including St Agnes holding a lamb and four Old Testament prophets. The laughable stone pulpit is Rickard's commission, and the work of William White. What can Rickards have been thinking of? But we step through into the chancel, and suddenly the whole thing moves up a gear. For here are some things that are truly remarkable.
In a county famous for its woodwork, the furnishings of Stowlangtoft's chancel are breathtaking, even awe-inspiring. Behind the rood screen dado is Suffolk's most complete set of return stalls. Most striking are the figures that form finials to the stall ends. They are participants in the Mass, including two Priests, two servers and two acolytes. The figure of the Priest at a prayer desk must be one of the best medieval images in Suffolk, and Mortlock thought the stalls the finest in England.
The benches that face eastwards are misericords, and beneath them are wonderful things: angels, lions and wodewoses, evangelistic symbols and crowned heads. A hawk captures a hare, a dragon sticks out its tongue. Between the seats are weird oriental faces.
Now, you know what I am going to ask next. How much of this is from this church originally? It all appears medieval work, and there is no reason to believe it might not have been moved elsewhere in the church when the chancel was open to the elements. What evidence have we got?
Firstly, we should notice that the only other Suffolk church with such a large number of medieval misericords of this quality is just a mile away, at Norton. I don't ask you to see this as significant, merely to notice it in passing. Secondly, I am no carpenter, but it does look to me as though two sets of furnishings have been cobbled together; the stalls that back on to the screen appear to have been integrated into the larger structure of stalls and desks that front them and the north and south walls.
However, if you look closely at the figures of the two Deacons, you will see that they are bearing shields of the Ashfield and Peche families. The Ashfield arms also appear on the rood screen, and the Ashfields were the major donors when the church was rebuilt in the 14th century. So on balance I am inclined to think that the greater part of the stall structure was in this church originally from when it was rebuilt. And the misericords? Well, I don't know. But I think they have to be considered as part of the same set as those at Norton. In which case they may have come from the same church, which may have been this one, but may not have been. Almost certainly, the stalls at Norton did not come from Norton church, and folklore has it that they were originally in the quire of Bury Abbey.
Other remarkable things in St George include FE Howard's beautiful war memorial in the former north doorway, and in the opposite corner of the nave Hugh Easton's unexpectedly gorgeous St George, which serves the same purpose. He's not an artist I usually admire, but it is as good as his work at Elveden. Back up in the chancel is a delightful painted pipe organ which was apparently exhibited at, and acquired from, the Great Exhibition of 1851.
But St George at Stowlangtoft is, of course, most famous for the Flemish carvings that flank the rather heavy altarpiece. They were given to the church by Henry Wilson of Stowlangtoft Hall, who allegedly found them in an Ixworth junk shop. They show images from the crucifixion story, but are not Stations of the Cross as some guides suggest. They date from the 1480s, and were almost certainly the altarpiece of a French or Flemish monastery that was sacked during the French Revolution. The carvings were once brightly painted, and piled up in a block rather than spread out in a line. The niches, and crowning arches above them, are 19th century.
One cold winter's night in January 1977, a gang of thieves broke into this locked church and stole them. Nothing more was seen or heard of them until 1982, when they were discovered on display in an Amsterdam art gallery. Their journey had been a convoluted one. Taken to Holland, they were used as security for a loan which was defaulted upon. The new owner was then burgled, and the carvings were fenced to an Amsterdam junk dealer. They were bought from his shop, and taken to the museum, which immediately identified them as 15th century carvings. They put them on display, and a Dutch woman who had read about the Stowlangtoft theft recognised them.
The parish instituted legal proceedings to get them back. An injunction was taken out to stop the new owner removing them from the museum. The parish lost the case, leaving them with a monstrous legal bill, but the story has a happy ending. A Dutch businessman negotiated their purchase from the owner, paid off the legal bills, and returned the carvings to Stowlangtoft. Apparently this was all at vast cost, but the businessman gave the gift in thanks for Britain's liberation of Holland from the Nazis. No, thank you, sir.
Today, the carvings are fixed firmly in place and alarmed, so they won't be going walkabout again. But a little part of me wonders if they really should be here at all. Sure, they are medieval, but they weren't here originally, and they weren't even in England originally. Wouldn't it be better if they were displayed somewhere safer, where people could pay to see them, and provide some income for the maintenance of the church building? And then, whisper it, when St George is taken on by the CCT they might even be able to leave it open.
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.
Recovery of the second part of this wall illegally occupied by an ugly advertising for discounted clothes : STREET ART IS BACK in one of the most seen wall of Paris...Sexy Girls Without Borders n°6 gathers french (Lena), brazilian (Ozi & 2DCrew), south korean (Nana), belgium (Kriebel) and american (Andrew Wilson) street artists...
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Otranto (Utràntu in dialetto locale, Derentò in greco salentino, Ὑδροῦς in greco classico, Hydruntum in latino) è un comune italiano della provincia di Lecce in Puglia. Situato sulla costa adriatica della penisola salentina, è il comune più orientale d'Italia: il capo omonimo, chiamato anche Punta Palascìa, a sud del centro abitato, è il punto geografico più a est della penisola italiana. Dapprima centro messapico e romano, poi bizantino e più tardi aragonese, si sviluppa attorno all'imponente castello e alla cattedrale normanna. Sede arcivescovile e rilevante centro turistico, ha dato il suo nome al Canale d'Otranto, che separa l'Italia dall'Albania, e alla Terra d'Otranto, antica circoscrizione del Regno di Napoli. Nel 2010 il borgo antico è stato dichiarato dall'Unesco patrimonio testimone di una cultura di pace. Fa parte del club I borghi più belli d'Italia.
Punta Palascìa o Capo d'Otranto, situato nel territorio comunale di Otranto, è il punto più ad Oriente d'Italia. Secondo le convenzioni nautiche, questo luogo è il punto di separazione tra il Mar Ionio ed il Mar Adriatico. Il litorale, esteso per circa 25 km, si alterna a lunghi tratti sabbiosi, specie nella parte settentrionale, a tratti rocciosi a picco sul mare. Il centro urbano è attraversato dal torrente Idro, piccolo ruscello il cui percorso si snoda interamente nel territorio comunale e che sfocia nel porto, nei pressi dei giardini pubblici. Dall'ottobre 2006, parte del suo territorio rientra nel Parco Costa Otranto - Santa Maria di Leuca e Bosco di Tricase, istituito dalla Regione Puglia allo scopo di salvaguardare la costa orientale del Salento, ricca di beni architettonici e di specie floreali e faunistiche.
Le immediate vicinanze di Otranto erano abitate probabilmente già dal Paleolitico, certamente dal Neolitico; la città fu poi popolata dai messapi (di cui nel 1995 sono state scoperte le mura ed una porta della città), stirpe che precedeva i greci, quindi - conquistata da costoro - entrò nella Magna Grecia e, ancora, cadde nelle mani dei romani, diventando presto municipio.
Le origini del nome - In epoca romana Otranto era conosciuta come Hydruntum, dal nome del torrente Hydrus nella cui vallata sorge la città. Altre fonti danno come nome latino Odruntum, termine sempre tuttavia legato alla parola acqua, precisamente al termine messapico "Odra", appunto acqua. Gli otrantini veraci pronunciano Ótruntu il nome del loro paese e ciò è importante per risalire all'origine preromanza dell'appellativo, il quale certamente iniziava con una O accentata. Nel periodo romano, Otranto era una delle città marinare più importanti della Puglia. Il lavoro mercantile e di artigianato locale era molto fiorente, soprattutto nella lavorazione della porpora e dei tessuti. Era presente ad Otranto una comunità ebraica e ciò fa capire l'importanza commerciale che il centro poteva avere e che andava oltre alle isole Ionie. Prima che Otranto diventasse colonia romana, esisteva già una complessa rete viaria che metteva in comunicazione la cittadina con il resto del Salento e con la Puglia in genere. I Romani non fecero altro che rinforzarla, introducendola nelle loro arterie di comunicazione. Ad Otranto rimangono ancora delle testimonianze del passaggio dei Romani: due basi di marmo con epigrafe latina, risalenti al II secolo d.C., che riconducono agli imperatori Lucio Aurelio Vero e Marco Aurelio Antonino. Nel 162 la città chiese ed ottenne di battere moneta e fu così che venne aperta una zecca, rimasta attiva sino al secondo secolo d.C. Pian piano il porto di Otranto divenne sempre più importante, superando anche quello di Brindisi. Tale realtà non fece altro che consolidarsi in epoca paleocristiana.
L'importanza del suo porto le fece assumere il ruolo di ponte fra oriente e occidente. Otranto fu centro bizantino e gotico, poi normanno, svevo, angioino e aragonese. Nella sua splendida cattedrale, costruita fra il 1080 e il 1088, nel 1095 venne impartita la benedizione ai dodicimila Crociati che, al comando del principe Boemondo I d'Altavilla (1050-1111), partivano per liberare e per proteggere il santo Sepolcro. Di ritorno dalla Terra Santa, proprio a Otranto San Francesco d'Assisi era approdato nel 1219, accolto con grandi onori. A Otranto, l'11 settembre 1227, era morto a seguito di malaria il langravio di Turingia, sposo di Santa Elisabetta d'Ungheria. Nel 1480 fu espugnata dai Turchi (Maometto II), che fecero strage della popolazione durante la Battaglia di Otranto, uccidendo 800 persone: si tratta dei beati Martiri idruntini. I Turchi distrussero anche il Monastero di San Nicola di Casole (poco a sud di Otranto). In tale monastero, i monaci basiliani avevano costituito la più vasta biblioteca dell'allora occidente oltre ad aver istituito la prima forma di college nella storia, che ospitava ragazzi provenienti da tutta Europa che si recavano a Otranto per studiare. Fu uno di questi monaci (Pantaleone) l'autore del monumentale mosaico pavimentale (il più grande in Europa) contenuto nella cattedrale. I Codici prodotti in questo monastero sono ora custoditi nelle migliori biblioteche d'Europa, da Parigi a Londra, da Berlino a Mosca.
Le mura - Dopo la pesante distruzione da parte dei Turchi, la città si rianimò, presa dalla voglia di riscattarsi. Nel 1539 contava 3200 abitanti con 638 fuochi. In questi anni, Otranto fu contesa dai Veneziani e nuovamente dagli Angioini. Nel frattempo gli Ottomani tentarono nuovi assalti alla città, nel 1535 e nel 1537, ma fortunatamente Otranto riuscì sempre a resistere.
A partire dalla seconda metà del Seicento, Otranto visse un netto calo della sua importanza. Il commercio fu soggetto ad un arresto e le manifestazioni culturali furono pressoché nulle. Anche nel settore edile non ci furono grandi novità. Molti degli abitanti di Otranto, ormai esausti e spaventati dalle continue incursioni via mare, decisero di lasciare il proprio paese per trasferirsi in luoghi più sicuri. Fu così che la città perse quel posto primario che occupava nel Salento. Otranto subì altri attacchi dei saraceni, nel 1614 e nel 1644, ma riuscì ad uscirne indenne. Molti terreni della zona circostante furono abbandonati e ciò causò la formazione di paludi, dove il rischio di contrarre la malaria si fece sempre più alto. Il Settecento fu il secolo di una moderata ripresa. L'edilizia crebbe, seppur lievemente. Tutto ciò si deve alla presenza di alcune famiglie che da altri centri della Terra d'Otranto si trasferirono ad Otranto per investire i loro risparmi in beni immobili. Nel 1800, la campagna otrantina che circondava i Laghi Alimini era squallida e deserta. Esistevano solo poche masserie, alcune delle quali erano abitate solo in alcune stagioni dell'anno. In quest'area, il rischio di contrarre malattie era molto elevato nel periodo estivo, quando avveniva il prosciugamento delle zone paludose. Il primo progetto di bonifica fu stilato nel 1868 dal Genio Civile di Bari, il quale, dopo aver rilevato tutta la superficie del lago e dopo averne misurato la profondità, riconobbe le zone di impaludamento e suggerì il modo di sanarle. Le paludi, quindi, lasciarono lo spazio a terreni coltivabili. Venne ripresa l'agricoltura. Nel periodo napoleonico la cittadina divenne Ducato del Regno di Napoli e si verificò una netta ripresa grazie al Ministro Fouch. Le fortificazioni otrantine furono soggette ad una totale trasformazione a partire dal 1866 e molti beni urbanistici della città finirono nelle mani del demanio. Il fossato del Castello fu ricoperto da terra e brecciolina e un tratto delle mura fu abbattuto.
Il Novecento fu un secolo di emigrazioni verso la Germania e la Svizzera alla ricerca di un posto di lavoro. Alla fine degli anni novanta, la città ha vissuto gli sbarchi in massa sulle sue coste dei profughi albanesi in fuga dalla loro terra.
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Please, do not use my photos without my written permission.
Il Convento dell'Ordine di Cristo (portoghese: Convento de Cristo), o più semplicemente Convento di Cristo a Tomar, in Portogallo, fu originariamente una fortezza appartenente ai cavalieri templari costruita nel XII secolo. In seguito alla dissoluzione dell'Ordine dei templari, avvenuta nel XIV secolo, il ramo portoghese dell'ordine si trasformò nell'Ordine del Cristo che finanziò le grandi scoperte del quindicesimo secolo.
Il Convento è uno dei monumenti storici ed artistici più importanti del Portogallo, e fa parte dei Patrimoni dell'umanità dell'UNESCO dal 1983.
Nel 1118 due cavalieri francesi, Hugues de Payns e Geoffrey de Saint Omer, ottennero dal re cristiano di Gerusalemme Baldovino II il benestare per fondare un'istituzione religiosa che avesse come scopo la cura della moltitudine di pellegrini che affluivano ogni anno in Terra Santa per pregare davanti al Santo Sepolcro.
Dieci anni dopo la confraternita venne legalizzata dal Papa con la Bolla pontificia Omne datum optimum. Nel frattempo l'Ordine del Tempio era già di fatto divenuto un'importante congregazione di "monaci-cavalieri". La decisione papale, che comportava un'infinità di benefici ed esenzioni, era inoltre un'eccezionale lettera di presentazione per monarchi e governanti europei: gli appartenenti all'Ordine, denominati Templari, conobbero una vertiginosa ascesa e diventarono, grazie anche a una grande disponibilità finanziaria, una presenza chiave nella politica europea del Medioevo.
Il castello dei templari di Tomar venne costruito da Gualdim Pais, capo provinciale dell'Ordine dei Templari, attorno al 1160. Alla fine dello stesso secolo il castello venne scelto come quartier generale dell'Ordine in Portogallo. Il castello di Tomar fece parte del sistema difensivo creato dai templari per difendere i confini del neonato Regno Cristiano dall'aggressoine dei Mori, che in quel periodo (metà del dodicesimo secolo) arrivava approssimativamente al fiume Tago.
La famosa chiesa rotonda (rotunda) del castello venne eretta nella seconda metà del dodicesimo secolo. La chiesa, come altri edifici religiosi templari in tutta Europa, seguiva il progetto della Cupola della Roccia a Gerusalemme, che i crociati ritenevano erroneamente il Tempio di Salomone. Anche la Chiesa del Santo Sepolcro, anch'essa a Gerusalemme, venne usata come modello.
Secondo gli storici cristiani il castello di Tomar resistette nel 1190 agli attacchi del califfo Yaqub al-Mansur, che aveva già conquistato le fortezze del sud. Una targa nei pressi dell'entrata ricorda questi eventi.
Sede dell'Ordine di Cristo
L'ordine dei templari venne soppresso in quasi tutta l'Europa nel 1311-1312 per volere di papa Clemente V, istigato da Filippo il Bello, ma in Portogallo i suoi adepti, i beni, ed in parte la vocazione, vennero trasmessi al nuovo Ordine di Cristo, creato nel 1319 da Dionigi I. L'Ordine di Cristo si spostò a Tomar nel 1357.
Uno dei più importanti Gran Maestri dell'Ordine fu Enrico il Navigatore, che lo guidò dal 1417 fino alla morte, avvenuta nel 1460. Il principe Enrico diede enorme impulso alle spedizioni pionieristiche portoghesi durante l'era delle grandi scoperte. Nel convento il principe Enrico ordinò la costruzione di vari chiostri ed altri edifici. Sponsorizzò anche miglioramenti urbanistici nella stessa città di Tomar.
Un'altra persona famosa legata all'Ordine di Cristo fu Manuele I, che divenne Maestro dell'Ordine nel 1484 e re del Portogallo nel 1492. Sotto il suo regno vi furono numerosi miglioramenti al convento, soprattutto l'aggiunta di una nuova navata alla chiesa circolare e le decorazioni effettuate con pitture e sculture.
Il successore di Manuele I, Giovanni III, demilitarizzò l'ordine, trasformandolo in un ordine religioso con una regola basata sugli insegnamenti di Bernardo di Chiaravalle. Ordinò anche la costruzoine di un nuovo chiostro nel 1557, uno dei migliori esempi di architettura del Rinascimento in Portogallo.
Nel 1581, dopo una crisi di successione, la nobiltà portoghese si radunò nel convento e riconobbe ufficialmente Filippo II di Spagna (Filippo I del Portogallo) come re. Fu l'inizio dell'Unione Iberica (1581-1640), durante la quale il Regno del Portogallo e di Spagna furono uniti. L'acquedotto del convento venne costruito durante il regno spagnolo.
Arte ed architettura
Il castello ed il Convento di Cristo mostrano esempi di stile romanico, gotico, manuelino e rinascimentale.
Il castello di Tomar venne costruito attorno al 1160 in un punto strategico, sopra una collina e vicino al fiume Nabão. Possiede delle mura difensive esterne ed una cittadella (alcáçova) con una torre principale all'interno. L'uso della torre centrale, eretta a scopo residenziale e difensivo, venne introdotto in Portogallo dai Templari, e quella di Tomar è tra le più vecchie dello stato. Un'altra novità introdotta dai templari sono le torri rotonde che dominano le mura esterne, più resistenti agli attacchi di quelle quadrate. Quando venne fondata la città molti residenti vivevano in case situate all'interno delle mura difensive.
Chiesa rotonda
La chiesa rotonda romanica del castello (charola, rotunda) venne costruita nella seconda metà del dodicesimo secolo dai templari. La chiesa ha una struttura poligonare a sedici lati all'esterno, con contrafforti, finestre rotonde ed un campanile. All'interno ha una struttura ottagonale connessa alla galleria (deambulatorio) tramite archi. In generale la forma ricorda quella della Cupola della Roccia e della Chiesa del Santo Sepolcro di Gerusalemme.
I capitelli delle colonne sono in stile romanico (fine del dodicesimo secolo) e mostrano motivi animali e vegetali, oltre alla scena di San Daniele tra i leoni. Lo stile dei capitelli mostra influenze degli artisti che lavorarono alla Vecchia Cattedrale di Coimbra, contemporanea alla chiesa rotonda.
Gli interni sono finemente decorati con sculture e dipinti gotici/manuelini, aggiunti durante un restauro promosso da Manuele I a partire dal 1499. I pilastri dell'ottagono centrale e delle mura del deambulatorio hanno statue policrome dei santi e degli angeli sotto un baldacchino fastoso, mentre muri e soffitto del deambulatorio mostrano dipinti gotici raffiguranti la vita di Cristo. I dipinti sono attribuiti al lavoro del pittore di corte di Manuele I, il portoghese Jorge Afonso, mentre le sculture sono dell'artista fiammingo Olivier de Gand e dello spagnolo Hernán Muñoz. Un mosaico raffigurante il martirio di San Sebastiano, del pittore portoghese Gregório Lopes, venne creato per la chiesa rotonda ed attualmente è esposto presso il Museu Nacional de Arte Antiga di Lisbona.
Navata manuelina della chiesa
Durante la guida di Enrico il Navigatore (prima metà del quindicesimo secolo) venne aggiunta una navata gotica alla chiesa rotonda del convento, trasformando quindi la vecchia chiesa rotonda nell'abside di quella nuova. Dal 1510 Manuele I ordinò la ricostruzione della navata nello stile del tempo, un misto tra gotico e rinascimentale in futuro chiamato stile manuelino dagli storici d'arte.Gli architetti coinvolti furono il portoghese Diogo de Arruda e lo spagnolo João de Castilho.
Vista dall'esterno la navata rettangolare appare ricoperta da abbondanti motivi manuelini, tra cui alcuni gargoyl, guglie gotiche, statue e "corde" che ricordano quelle usate sulle navi durante l'era delle grandi scoperte, oltre ad una croce dell'Ordine di Cristo ed allo stemma di Manuele I, la sfera armillare. La finestra della casa capitolare (Janela do Capítulo), un'enorme finestra visibile dal chistro di Santa Barbara sulla facciata occidentale della navata, contiene numerosi motivi manuelini: il simbolo dell'Ordine di Cristo e di Manuele I, oltre a corde coralli e motivi vegetali. Una figura umana nella parte inferiore della finestra rappresenta probabilmente il progettista, Diogo de Arruda. Questa finestra rappresenta uno dei lavori migliori del convento tra quelli in stile manuelino. Sopra si trova una piccola finestra circolare ed una balaustra. La facciata è divisa da due corde annodate. I contrafforti ad angoli arrotondati sono decorati con giarrettiere giganti che alludono all'investitura di Manuele I avvenuta dall'Ordine della Giarrettiera per mano di Enrico VII d'Inghilterra. L'entrata della chiesa è costituita da una magnificente porta laterale, decorata anch'essa con motivi manuelini e da statue della Vergina Maria con il bambino, e dei profeti del vecchio testamento. Questo portone venne progettato da João de Castilho attorno al 1530. All'interno la navata manuelina è unita alla chiesa rotonda romanica attraverso un grande arco. La navata è coperta da un apprezzabile volta a coste ed ha un coro sfortunatamente distrutto dall'invasione delle truppe Napoleoniche all'inizio del diciannovesimo secolo. Sotto il coro si trova una stanza usata come sagrestia.
Scala a chiocciola nel chiostro di Giovanni III.
Il Convento di Cristo ha un totale di otto chiostri, costruiti nel quindicesimo e sedicesimo secolo.
Claustro da Lavagem (Chiostro della Lavanderia): chiostro gotico a due piani costruito attorno al 1433 da Enrico il Navigatore. Gli indumenti dei monaci venivano lavati in questo chiostro, da qui il nome.
Claustro do Cemitério (Chiostro del Cimitero): anche questo costruito da Enrico il Navigatore, è in stile gotico ed è il luogo di sepoltura di templari e monaci dell'Ordine. L'elegante doppia colonna di archi ha ottimi capitelli con motivi vegetali, e le mura del deambulatorio sono decorate con mosaici del sedicesimo secolo. In una tomba (circa 1523) riposa Diogo da Gama, fratello del navigatore Vasco da Gama.
Claustro de Santa Bárbara (Chiostro di Santa Barbara): costruito nel sedicesimo secolo. La finestra della casa capitolare e la facciata occidentale della navata manuelina sono ben visibili da questo chiostro.
Claustro de D. João III (Chiostro di Giovanni III): iniziato sotto Giovanni III, venne terminato durante il regno di Filippo I del Portogallo (anche re di Spagna sotto il nome di Filippo II). Il primo architetto fu lo spagnolo Diogo de Torralva, che iniziò nel 1557 i lavori che sarebbero stati portati a termine dall'italiano Filippo Terzi. Questo splendido chiostro a due piani collega il dormitorio alla chiesa, ed è considerato uno dei principali esempi di Manierismo in Portogallo. I due piani sono collegati da quattro scale elicoidali situate nei quattro angoli.
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.
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Quidam
Quidam ha debuttato sotto il tendone ad aprile 1996 a Montreal. Da allora, la produzione ha visitato cinque continenti ed ha emozionato milioni di persone. Nel dicembre 2010, Quidam ha intrapreso un nuovo viaggio, presentare la stessa entusiasmante produzione nei palazzetti, partendo dal Nord America. Il cast internazionale comprende 45 acrobati, musicisti, cantanti e artisti di prima classe.
La giovane Zoé è annoiata; i suoi genitori, distanti e apatici, la ignorano. La sua vita ha perso qualsiasi significato. Cercando di riempire il vuoto della sua esistenza, scivola in un mondo immaginario - il mondo di Quidam - dove incontra dei personaggi che la incoraggiano a liberare la sua anima.
Cirque du Soleil
Dai circa 20 artisti di strada di cui la compagnia era formata al suo inizio nel 1984, il Cirque du Soleil, basato in Quebec, è oggi la società leader nel settore dell’entertainment. Il gruppo conta 4.000 lavoratori, di cui oltre 1.200 artisti di oltre 50 nazionalità diverse.
Cast
The cast of Quidam has over 50 acrobats, musicians, singers, and characters, some of which are detailed below.
Zoé: She is the principal character in Quidam. Although average in nature, she longs for excitement.
Father: Completely, though unwittingly, self-absorbed. His white shoes are the only indication of a hidden personality.
Mother: Conveys an air of absence and alienation. Inside her lie fear, frustration, and desire.
Quidam: The show's titular character, who is anonymous, everyone, and no one. He may have stepped out of a surrealist painting or been conjured up out of Zoé's imagination.
John: Part game-show host and part substitute teacher who is the guide through the world of Quidam. Also is represented as a father figure to Zoé hence him stepping into her father's shoes.
Target: A living human bullseye fired at by everyone but is always smiling.
Chiennes Blanches: The silent chorus, the nameless and the faceless, the dehumanized, mechanical crowd, simultaneously leading and following. They also accompany the principal characters as they make their entrances and exits.
Boum-Boum: Enjoys screaming at the audience and walking away proudly, but will run away if an audience member screams back.
Rabbit: A minor character who chases and gets chased by other characters.
Aviator: A character who has skeletal wings who looks like he is not ready to take off.
Les Égarés: Lost individuals who gather together in the streets and abandoned buildings of Quidam. They perform in the banquine act.
Acts
Quidam combines a mix of acrobatic skills and traditional circus acts.
German Wheel: An acrobat performs tricks within a German wheel.
Diabolo: A performer manipulates diabolos (i.e., Chinese yo-yo), which are two sticks linked by a string on which a wooden spool balances.
Aerial contortion in silk: Intensity, power and grace combine when a young woman becomes one with the column of red fabric which supports and cradles her.
Skipping ropes: Drawing inspiration from dance, acrobatics, and the art of manipulation, a group of 20 acrobats performs this familiar child's game in a steady stream of solo, duo, and group jumps and figures.
Aerial hoops: Two performers use hoops attached to the ceiling to perform tricks.
Handbalancing: Using strength and balance, a performer contorts into poses while on balancing canes.
Spanish webs: Artists fly over the stage, attached to trolleys on the overhead tracks. In turn or as a group, they occasionally perform a sudden drop, stopped only by the ropes looped around their waists or ankles.
Statue: Never losing contact, two strong, flexible performers move almost imperceptibly, assuming positions impossible without an impeccable sense of balance.
Banquine: An Italian acrobatic tradition going back to the Middle Ages that combines gymnastics and ballet. Showcasing the agility of the human body, up to 15 artists perform sequences of feats and human pyramids with their perfectly synchronized movements.
Juggling: Up to five balls fly through the air, with additional manipulation of a briefcase, umbrella, and bowler hat.
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La quinta edizione del festival organizzato da Wired Italia. Due lunghi fine settimana in cui vivere l’innovazione nell’economia, nella scienza, nella politica, nell’intrattenimento, nella cultura. Milano e Firenze si trasformano per un fine settimana nel luna park della scienza e della tecnologia. Oltre 150 relatori, performance artistiche, laboratori di stampa 3D, droni in volo, videogame, film, documentari, speed date sul lavoro, maratone di coding e workshop per tutte le età. A Milano da venerdì 26 a domenica 28 maggio ai Giardini Indro Montanelli.
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ore 10:00
Come si combatte l’Isis (sui social)
Speaker
Abdalaziz Alhamza - Fondatore Raqqa is Being Slaughtered Silently
Abdalaziz Alhamza, nato a Raqqa nel 1991, è un giornalista e attivista siriano, che oggi vive a Berlino. È fondatore e portavoce del progetto Raqqa is Being Slaughtered Silently (RBSS), gruppo di citizen journalism fondato dall’esilio in Turchia, che informa sulle violenze compiute da Isis in Siria, grazie alle informazioni passate da cittadini rimasti all’interno della città. Nel gennaio 2016 l’International Business Times ha descritto RBSS come “la più credibile fonte di informazioni dall’interno di Raqqa”.
Alhamza è laureato in biologia e da studente ha organizzato numerose proteste contro il governo siriano. È stato arrestato varie volte dal regime e più volte ha ricevuto minacce per la sua attività da Isis. RBSS ha vinto nel 2015 l’International Press Freedom Award dal Committee to Protect Journalists e il premio del Foreign Policy Global Thinkers Award.
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ore 10:30
Tra calcio e futuro
Speaker
Diletta Leotta - Conduttrice Sky Sport
Giulia Diletta Leotta, 1991, è conduttrice a Sky Sport. Si è laureata in Giurisprudenza alla LUISS di Roma con una tesi dal titolo Il contratto di lavoro sportivo. Ha iniziato la sua carriera televisiva nel 2010, a diciannove anni, sulla rete locale Antenna Sicilia, affiancando Salvo La Rosa nella conduzione dell’11º Festival della nuova canzone siciliana e nel programma di intrattenimento Insieme. L’anno successivo è passata a Mediaset dove ha condotto la trasmissione Il Compleanno di La5 sull’omonima rete digitale. Nel 2012 diventa una delle conduttrici di Sky Meteo 24.
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ore 12:30
Serie internazionale
Speaker
Salvatore Esposito - Attore
Salvatore Esposito nasce a Napoli il 2 febbraio 1986. Sin da bambino nutre la passione per la recitazione. Raggiunta la maggiore età inizia i suoi studi di recitazione presso la Scuola di cinema di Napoli per poi trasferirsi a Roma dove studia con l’acting trainer Beatrice Bracco.
Ha fatto il suo esordio televisivo nel 2013 con Il clan dei camorristi, interpretando il ruolo di Domenico Ruggiero. Nel 2014 arriva il successo al grande pubblico con Gomorra – la serie, Salvatore interpreta Genny Savastano.
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ore 13:00
Lavoro e ricchezza nell’epoca dell’ Intelligenza Artificiale
Speaker
Jerry Kaplan - Esperto di Intelligenza Artificiale e Imprenditore
Jerry Kaplan è un esperto di Intelligenza Artificiale noto in tutto il mondo, un innovatore, seriael entrepreneur, educatore, futurista e autore di best sellers. Ha fondato quattro startup della Silicon Valley, due delle quali sono divenute società di fama, e insegnato alla Stanford University. Hanno parlato di lui tutti i principali quotidiani in lingua inglese e le riviste specializzate di tutto il mondo
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ore 14:00
La strada della musica
Speaker
Michele Bravi - Cantante
Michele Bravi esordisce nel 2013 con la vittoria di XFactor Italia.
Portato alla vittoria da Morgan e presentato al grande pubblico con un pezzo scritto per lui da Tiziano Ferro e Zibba, Michele pubblica il suo EP di debutto “La Vita e la Felicità”. A Gennaio 2014 il primo singolo “La Vita e la Felicità” viene certificato disco d’oro.
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ore 14:30
Il tocco vincente
Speaker
Mara Maionchi - Produttrice discografica
Mara Maionchi (Bologna, 22 aprile 1941) è una produttrice discografica e personaggio televisivo italiano.
Attualmente considerata la figura femminile di maggiore spicco nella discografia italiana, producendo sia per conto di major come Sony e Warner che come produttrice indipendente attraverso la sua etichetta, sostenendo tuttavia in numerose dichiarazioni che la vera scena musicale – intensa e multisfaccettata – è all’estero e che in Italia “si fa quel che si può”.
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ore 15:00
Maniaca di SerieTV
Speaker
Miriam Leone - Attrice
Nasce a Catania. Ha frequentato il Liceo Classico Gulli e Pennisi ad Acireale e la Facoltà di Lettere e Filosofia dell’Università degli Studi di Catania. Studia contemporaneamente recitazione. Nel 2008 partecipa e vince sia la fascia di Miss Italia che quella di Miss Cinema.
Nel 2010 debutta come attrice sia sul grande schermo con il film Genitori & figli – Agitare bene prima dell’uso, di Giovanni Veronesi, con Silvia Orlando e Margherita Buy, sia sul piccolo schermo con il film TV Il ritmo della vita, diretto da Rossella Izzo e trasmesso su Canale 5.
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ore 15:30
Indie a chi?
Speaker
Lo Stato Sociale - Musicisti
Nel 2012 esce il loro primo album, Turisti della democrazia, al quale fa seguito un tour di 200 concerti in Italia ed in Europa. Nel 2013, ad un anno dalla prima pubblicazione, Turisti della democrazia viene ripubblicato in edizione deluxe, in formato doppio CD. Il primo CD presenta la tracklist originale mentre il secondo CD comprende tutti gli 11 brani del disco originale coverizzati da 11 artisti, oltre a tanti remix e inediti. Alla ripubblicazione dell’album, segue un lungo tour dello spettacolo di teatro-canzone Tronisti della democrazia, nel quale le canzoni dell’album d’esordio sono alternate a monologhi e sketch a formare “un minicorso in 5 atti di buone maniere”. Con Turisti della democrazia, tra i più discussi album usciti in ambito indie rock in Italia, la band bolognese ha ricevuto la Targa Giovani Mei e il Premio SIAE “Miglior Giovane Talento dell’Anno” e altri riconoscimenti.
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ore 16:00
L’uomo che ha dato forma al pc
Speaker
Mario Bellini - Architetto
Mario Bellini è un architetto e designer noto in tutto il mondo. Ha ricevuto il Premio Compasso d’Oro otto volte e 25 delle sue opere sono nella collezione permanente del MoMA di New York, che gli ha dedicato una retrospettiva nel 1987. È stato direttore della rivista Domus (1985-1991). Ha progettato numerose mostre d’arte e di architettura sia in Italia, sia all’estero, l’ultima a Palazzo Reale con i capolavori di Giotto (2015).
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ore 16:00
C’è risata e risata
Speaker
Saverio Raimondo - Stand Up Comedian e conduttore CCN
Saverio Raimondo, 33 anni, comico satirico, è stato definito sulle pagine di Repubblica “l’unico stand up comedian italiano che sembra vero” e “il comico più bravo in circolazione” da Aldo Grasso del Corriere della Sera. È il comico di punta di Comedy Central Italia (canale 124 di Sky) per il suo show CCN – Comedy Central News, striscia satirica di grande successo di pubblico e critica, giunta alla terza stagione – attualmente in corso, in onda tutti i mercoledì alle 22 – e per la quale ha vinto il Premio Satira Politica per la Tv Forte Dei Marmi.
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ore 16:30
Il suono dal caos
Speaker
Levante - Musicista
Levante nasce a Caltagirone e cresce a Palagonia (Catania) in una famiglia affollata da menti creative. A nove anni scrive le prime canzoni e soltanto ad undici inizia a suonare la chitarra, rubandola al fratello, per la pura esigenza di musicare i propri testi. Dopo la morte del padre, lei e la madre si trasferiscono nella magica città di Torino. Qui tante sono le collaborazioni, i contratti andati male, i dischi mai usciti e gli anni di manifestazioni musicali, provini e gavetta.
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ore 17:00
Non è bello ciò che è bello, ma che bello che bello che bello
Speaker
Maccio Capatonda - Attore e Regista
Nino Frassica - Comico e Presentatore
Maccio Capatonda, pseudonimo di Marcello Macchia, è un attore, regista e comico italiano. Ha partecipato ai programmi televisivi Mai dire Lunedì e Mai dire Martedì. Precedentemente aveva fondato a Milano la Shortcut Productions, insieme a Enrico Venti, suo storico amico, anche lui di Chieti. Ha lavorato per AllMusic e lavora stabilmente sul web, affianco all’attività televisiva. Nel 2013 è ideatore, regista e interprete principale della serie televisiva Mario. In un primo tempo si è dedicato (accompagnato dal suo inseparabile gruppo) alla produzione di finti reality televisivi, come il Divano Scomodo e il Gabinetto.
Nel 1985 Arbore coinvolge Nino Frassica nel varietà “Quelli della notte” nei panni di frate Antonino da Scasazza, organizzatore di un improbabile concorso a premi. Seguono “Indietro tutta” dove veste i panni del bravo presentatore e mette in scena una spassosa parodia del tipico conduttore televisivo. Partecipa successivamente a “Fantastico”, “Domenica In”, “Scommettiamo che…?”, “I Cervelloni”, “Acqua calda”, “Colorado Cafè” e “Markette” condotto da Piero Chiambretti. Nel 1999 inizia l’avventura della fiction televisiva “Don Matteo” con Terence Hill, Flavio Insinna e successivamente Simone Montedoro, giunta ormai alla decima serie. Nino interpreta il ruolo del maresciallo dei Carabinieri Nino Cecchini.
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ore 17:30
Comicità all’italiana
Speaker
Herbert Ballerina - Attore e Comico
Maccio Capatonda - Attore e Regista
Herbert Ballerina, pseudonimo di Luigi Luciano, nato a Campobasso il 7 marzo 1980, è un attore, comico, conduttore radiofonico e produttore cinematografico italiano. Dopo essersi laureato al DAMS di Bologna si trasferisce a Milano entrando a far parte della Shortcut Productions di Marcello Macchia ed Enrico Venti (in arte Maccio Capatonda e Ivo Avido), inizialmente come assistente e poi come attore e autore. Con Marcello Macchia è protagonista, con lo pseudonimo di Herbert Ballerina, di numerosi trailer umoristici trasmessi all’interno dei programmi televisivi Mai dire Lunedì e Mai dire Martedì.
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ore 18:00
La democrazia della rete
Speaker
Luigi Di Maio - Vicepresidente della Camera
Nato a Avellino il 6 luglio 1986, ha conseguito il diploma di liceo classico ed è giornalista pubblicista. Eletto nella circoscrizione XIX (CAMPANIA 1) nel 2013 alla Camera dei Deputati con il Movimento Cinque Stelle, diventa il più giovane Vicepresidente della Camera. È uno dei volti di punta del Movimento Cinque Stelle, per molti naturale candidato alle prossime elezioni.
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ore 18:30
Non smetto più
Speaker
Sydney Sibilia - Regista, Sceneggiatore e Produttore cinematografico
Luigi Di Capua - Regista, sceneggiatore e attore
Francesca Manieri - Sceneggiatrice
Sydney Sibilia, nato a Salerno nel 1981, è un regista, sceneggiatore e produttore cinematografico italiano. Sydney Sibilia inizia a realizzare cortometraggi insieme all’amico Fabio Ferro nella loro natìa Salerno. Nel 2007 si trasferisce a Roma e successivamente realizza un cortometraggio che ottiene numerosi riconoscimenti, Oggi gira così (2010), prodotto dalla Ascent Film e scritto insieme a Valerio Attanasio.
Sempre con Valerio Attanasio, scrive la sceneggiatura della sua opera prima Smetto quando voglio. Il film, prodotto dalla Fandango di Domenico Procacci, dalla Ascent FIlm di Matteo Rovere e da Rai Cinema, viene distribuito nelle sale cinematografiche nel febbraio 2014, riscuotendo un successo sorprendente e ottenendo 12 candidature ai David di Donatello 2014. Nel 2017 è nelle sale il seguito, Smetto quando voglio – Masterclass, in attesa del terzo episodio.
Regista, sceneggiatore e attore. Insieme a Matteo Corradini e Luca Vecchi è il fondatore del collettivo The Pills, nato nell’estate del 2011. Il collettivo è diventato celebre grazie alla web serie omonima che ha debuttato su YouTube nello stesso anno, diventando immediatamente fenomeno del web. Dopo il successo ottenuto anche con la seconda stagione, nel 2014 la serie approda su Italia 1. Nello stesso anno, The Pills sono autori insieme a Matteo Rovere, Luca Ravenna, Sydney Sibilia e Daniele Grassetti della serie tv Zio Gianni in onda su Rai2. Il 21 gennaio 2016 esce nelle sale il loro primo film, The Pills – Sempre meglio che lavorare.
Sceneggiatrice tra le più apprezzate in Italia, è laureata in filosofia.
Tra i suoi lavori: Zanzibar. Una storia daAmore, di cui ha curato anche la regia, Passione sinistra, Il rosso e il blu, La foresta di ghiaccio, Vergine giurata, Veloce come il vento, Nemiche per la pelle, il corto Era ieri, Come fai sbagli e il successo Smetto quando voglio.
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ore 19:00
L’identità della bellezza
Speaker
Samuel - Cantante e Musicista
Samuel Umberto Romano, conosciuto semplicemente come Samuel (Torino, 7 marzo 1972), è un cantautore e chitarrista italiano. È il frontman del gruppo dei Subsonica, in cui è anche compositore e autore dei testi delle canzoni insieme a Max Casacci e Davide Dileo, meglio conosciuto come Boosta.
Nel 2016 ha annunciato attraverso le proprie pagine Facebook e Instagram di essere al lavoro sul suo primo album da solista, anticipato il 9 settembre 2016 dal suo primo singolo da solista, La risposta, seguito tre mesi dopo da Rabbia.
Started out from a brainstorm for the next series on James. I really dont think this is going to work for the final sermon artwork, but oh well. At least I got it out of my system...
anyone have any ideas for a series on James? (Potential tagline "Just Do It"- the idea that Christians should be walking the walk, not just talking the talk.)
We ate a nice lunch on the deck at Devil's Backbone (micro-brewery). I snapped this shot of the reflection in the brewery windows.
One Day Without Us saw diverse groups across the country take action in support of migrants and against racism, xenophobia and the divisive policies of Donald Trump, whom the UK Prime Minister supports. In London I managed to catch fast food workers leafleting commuters, a mass lobby of MPs calling on politicians to guarantee residency rights to EU citizens, students from the Movement for Justice against discrimination in education, and a huge rally in Parliament Square against any State Visit by Mr Trump.
All rights reserved © 2017 Ron F
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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
There are long periods when I go without and then when I have a really good session of hot sex it picks me up and that much ancipated satisfied sexual glow I take away with me lasts for days or even longer and every little thing stirs it again including underwear. Watching my favourite girls in action on video becomes very tactile too as remembering every sensation I follow every move imagining it happening to me and I love it. The slightly painful bits I like the most because without a bit of it there is no deep pleasure to follow because I know that after it comes a wonderful hot sensation which flushes through my body and when it happens I love to ride the guys most of all and hoprfully with a nice appreciate audience watching, failing that a mirror will do as I like watching myself too
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Antigua plazuela de San Roque que se construyó en 1801. Está cubierto en la mayoría de las partes por ladrillo con azulejos de talavera muy al estilo poblano. Se considera como el primer mercado artesanal de la ciudad y desde 1961 ocupa las instalaciones de lo que fue el antiguo mercado denominado El Parián.
Actualmente el lugar se encuentra debidamente acondicionado y remozado, con un total de 112 locales, en los que se expenden las más variadas artesanías que se producen en las diferentes regiones del estado.
A este lugar se le llamaba "EL PARIAN” nombrado así porque era paraje obligado de los arrieros procedentes de Veracruz, Oaxaca, La Costa Chica de Guerrero y la Capital de la Colonia, este mercado funcionó desde el año de 1760 hasta fines del siglo pasado, cuando en razón de la aparición del ferrocarril fue abandonado como centro de concentración de cargamentos y se convierte en la “PLAZA DEL BARATILLO” y surge el comercio menor de chucherias, apareciendo las pulcatas, piqueras y fritanguerías típicas, que con tanta fidelidad captará como una visión de aquel pasado, el Pincel Magistral de Agustín Arrieta.
Recorriendo "El Parián" podemos encontrar: talavera, (vajillas y artículos decorativos), textil (trajes regionales, vestidos, blusas, sarapes, rebozos, chales, chamarras, fajas y manteles), cuero (bolsas, portafolios, billeteras, cinturones y huaraches), cerámica (vajillas y artículos decorativos), alfarería (cazuelas, ollas, jarros, platos, tazas y floreros), madera (guitarras, máscaras, bastones y portacasetes), palma: (bolsas, tapetes, carpetas y sombreros); joyería ( de plata, alpaca, pavonada y de fantasía), cobre (platos, ceniceros, charolas, jarros, vasos; y pulseras). Así también, se encuentran muñecas de cera; papel picado, vidrio soplado, papel amate de Pahuatlán, la platería de Amozoc, la prestigiada dulcería poblana y una gran cantidad de recuerdos poblanos.
How the garment looks if you just throw it on without adjusting all the bits and pieces. Shoulder seams are too wide, collar turns up, detail bow is all over the place. May be less of an issue with, say, a nice wool felt.
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Simplicity 4032
I really liked the idea of this pattern. It's nice to have something that's easy to care for, made of fleece but doesn't look like you just walked out of the gym. The pattern has 4 jacket versions and a (rather hideous) vest option. I've never sewn with fleece before so I bought some less expensive mint colored fleece and a slightly more expensive fleece in a deep plum shade. My plan was to sew my second choice jacket designs with the green to get my feet wet with fleece, before cutting into the purple fabric.
I don't hate the end result but it's definitely not as nicely designed as I would have liked. My biggest issues are that it's just plain fussy to put on, the collar is a single, unfaced layer and rolls if it's not laying just so, the little accent bow does the same thing. The inner facings are all over the place. You really have to put it on and check that everything is in order instead of just tossing the jacket on and going.
My other issue is that the cross back measurement is too wide for my taste, by probably a full 2"/5cm. Jackets are generally cut like this to give room for layering, but I'm a hussy and wear mostly slim fitting clothing. On me, the shoulder seams fall off my shoulders and the look is a little sloppy.
The other thing to be aware of, which has more to do with my crappy skills than the pattern, is you really need to know which seams will be unfinished in the final product so you don’t cut those edges like you were a few sheets to the wind before you started. Fleece isn’t very forgiving in that sense.
I may still sew the other version of this jacket that I like a little better. If I do, I'll narrow the front and back pieces, mid shoulder (so I don't have to monkey with the fit of the collar or sleeves) and I may find a better way to keep the inner facings in line. I'm not an expert enough seamstress to go too crazy with mods but I think the pattern is salvageable.
{These photographs show some of th e kundalini meditation spiritual treatments we have done
— at Vishwaprani Spiritual Healing Center,No139 Alakeshwara Rd,Ethul kotte,kotte, sri lnka.}
Vishwa Prani Foundation is formed by group of erudite scholars who have strong will power, selfdiscipline and meditation practices. This organization started with the objective to heal the human mind & body, without giving meditation when they suffer from ailments.
These photographs show some of the spiritual treatments we have done. We have been treating thousands of helpless patients for nearby one year. The patients we treat are the ones who had been receiving treatments from doctors for a long period. But they were not been cured and the cause of sickness was not diagnosed.
The Types of Patients We Treat
1. E.N.T. Patients
2. Patients who suffer from bone diseases.
3. Cancer Patients
4. Brain and Neurotic disorders
5. Mental disorders
6. Depression
7. Eye problems
8. Disorders in the digesting system in the stomach
9. Mental and physical harm caused by dead spirits to the living persons ( Specially fear and mental imbalance)
These treatments are being done on two principles.
1. Human Energy helps to up-root the bacteria which causes the disease.
We use Buddhist Meditation methods and the Kundalini Yoga Meditation to enhance the healing power.
We use our mental energy so that the divine eye will activate and guide us to identify the energy rays parallel against the human body. Then we extract the roots of the diseases.
2. Cosmic Rays are being sent to human energy.
The Pranic healing power of the universal will be sent to weaker human bodies through high level mental energy. This process will help the patients to calm down (Soothing feeling) from their suffering.
Sometimes we may have to use the assistance of the high spiritual beings who live in the good realms like celestial beings to heal aggrieved patients. We invite the celestial beings to invoke them with cosmic power. Mostly we invoke the blessings of Maithreeya Bodhisathwa.
Also we communicate with the spirits who trouble their relations and make them pain and suffering. We come to know what they want from their relations and we help them to release from their bad (low) status and send them away through our high mental energy.
We do not treat all the patients who come to us. We examine the present life and previous births of that person, and reason for his or her suffocation. The bad karma that accumulated in a person of previous births and the present life may have caused his or her disease or illness. So we advise to get rid of all bad things (habits) he does, and do good merits to cut off his past karma.
Then only we start treatments. We do this service free of charge. Once a week we carryout this great service at my residence, under the name of “ Vishwa Prani Healing Centre “ My family members and my friends assist me in this voluntarily. We hope to propagate this noble service worldwide in future.
We invite all, with great respect to join hands with us to expand this noble service to all suffering human beings and treat them physically and spiritually by spreading our loving kindness throughout the universe.
• Let all be blessed by Wisdom of universal compassion.
• May all beings on earth be healed.
• May all beings on earth be cured.
• May all beings on earth overcome sansara
• May all being on earth attain nibbana.
KASUN THISARA NAGODAVITHANA
Spiritual Healer
Vishwaprani Foundation In srilanka
ktnagodavithana@yahoo.com
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
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Quidam
Quidam ha debuttato sotto il tendone ad aprile 1996 a Montreal. Da allora, la produzione ha visitato cinque continenti ed ha emozionato milioni di persone. Nel dicembre 2010, Quidam ha intrapreso un nuovo viaggio, presentare la stessa entusiasmante produzione nei palazzetti, partendo dal Nord America. Il cast internazionale comprende 45 acrobati, musicisti, cantanti e artisti di prima classe.
La giovane Zoé è annoiata; i suoi genitori, distanti e apatici, la ignorano. La sua vita ha perso qualsiasi significato. Cercando di riempire il vuoto della sua esistenza, scivola in un mondo immaginario - il mondo di Quidam - dove incontra dei personaggi che la incoraggiano a liberare la sua anima.
Cirque du Soleil
Dai circa 20 artisti di strada di cui la compagnia era formata al suo inizio nel 1984, il Cirque du Soleil, basato in Quebec, è oggi la società leader nel settore dell’entertainment. Il gruppo conta 4.000 lavoratori, di cui oltre 1.200 artisti di oltre 50 nazionalità diverse.
Cast
The cast of Quidam has over 50 acrobats, musicians, singers, and characters, some of which are detailed below.
Zoé: She is the principal character in Quidam. Although average in nature, she longs for excitement.
Father: Completely, though unwittingly, self-absorbed. His white shoes are the only indication of a hidden personality.
Mother: Conveys an air of absence and alienation. Inside her lie fear, frustration, and desire.
Quidam: The show's titular character, who is anonymous, everyone, and no one. He may have stepped out of a surrealist painting or been conjured up out of Zoé's imagination.
John: Part game-show host and part substitute teacher who is the guide through the world of Quidam. Also is represented as a father figure to Zoé hence him stepping into her father's shoes.
Target: A living human bullseye fired at by everyone but is always smiling.
Chiennes Blanches: The silent chorus, the nameless and the faceless, the dehumanized, mechanical crowd, simultaneously leading and following. They also accompany the principal characters as they make their entrances and exits.
Boum-Boum: Enjoys screaming at the audience and walking away proudly, but will run away if an audience member screams back.
Rabbit: A minor character who chases and gets chased by other characters.
Aviator: A character who has skeletal wings who looks like he is not ready to take off.
Les Égarés: Lost individuals who gather together in the streets and abandoned buildings of Quidam. They perform in the banquine act.
Acts
Quidam combines a mix of acrobatic skills and traditional circus acts.
German Wheel: An acrobat performs tricks within a German wheel.
Diabolo: A performer manipulates diabolos (i.e., Chinese yo-yo), which are two sticks linked by a string on which a wooden spool balances.
Aerial contortion in silk: Intensity, power and grace combine when a young woman becomes one with the column of red fabric which supports and cradles her.
Skipping ropes: Drawing inspiration from dance, acrobatics, and the art of manipulation, a group of 20 acrobats performs this familiar child's game in a steady stream of solo, duo, and group jumps and figures.
Aerial hoops: Two performers use hoops attached to the ceiling to perform tricks.
Handbalancing: Using strength and balance, a performer contorts into poses while on balancing canes.
Spanish webs: Artists fly over the stage, attached to trolleys on the overhead tracks. In turn or as a group, they occasionally perform a sudden drop, stopped only by the ropes looped around their waists or ankles.
Statue: Never losing contact, two strong, flexible performers move almost imperceptibly, assuming positions impossible without an impeccable sense of balance.
Banquine: An Italian acrobatic tradition going back to the Middle Ages that combines gymnastics and ballet. Showcasing the agility of the human body, up to 15 artists perform sequences of feats and human pyramids with their perfectly synchronized movements.
Juggling: Up to five balls fly through the air, with additional manipulation of a briefcase, umbrella, and bowler hat.
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.
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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.