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.

Chocolate Pansy butterfly (Without a qoute)

 

*** Full-screen view please ***

 

© Harshith JV

 

Place: Mangalore

 

File name: IMG_4810.upload.JPG

File date: December 29, 2013 2.13 PM IST

 

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#photography #macro #closeup #insect #butterfly #chocolatepansy #pansy #green #tamron #canon #600d #canon600d #mangalore

 

One Day Without Shoes is a worldwide day to bring global awareness to children's health and education by going without shoes. Initiated by TOMS shoes.Copyright: Lindsey Drury

Deze wilde zelfs geaaid worden. De moeder was al geschoren !! Kale bedoeling !!

...without the textures I got from experimenting with software, in my last photo....purely as I captured it.

The uploaded video as above is demonstrates how I completed the level. It will show you how you can complete it easily as well. Candy Crush Level 1807 Live Video Candy Crush Level 1807 without any booster Clear Candy Crush Level 1807 Candy Crush Level 1807 Walkthrough Candy Crush Level 1807 Tips And Cheats #CandyCrushLevel1807 #CandyCrushVideos #CandyCrushHD Candy Crush Saga Original HD Videos & Walkthrough at ift.tt/1O4jcZO Google Plus Profile : ift.tt/1Ud5DDQ Candy crush saga is one of addictive puzzle game and currently the most Popular downloadable gaming app for smartphones. There are few ways and cheats that can help you to clear all candy crush levels. Candy Crush Saga Tips and Walkthrough Candy Crush Extra Tips And Cheats Candy Crush Free Lives Candy Crush Free Boosters If you have a tip, question or comment specific for any Candy Crush Saga level, we welcome you to leave a comment below! youtu.be/OX2ahSzAclc

The iconic Bratz pack was always Cloe, Jade, Sasha, and Yasmin. Meygan was the fifth "honorary" member, what with being the first new character added to the Bratz franchise back in 2002. But what about all the others--the one off characters, the girls that appeared only a handful of times, or the other familiar faces like Dana, Fianna, and Phoebe/Roxxi who appeared countless times over the years? It just wouldn't be the Bratz world without this variety of dolls, who represent different eras in the Bratz franchise. Growing up, I recall the excitement each time I wandered into the toy aisle and discovered somebody new had been created for the Bratz line. And as an adult, this same thrill whacked me in the face when I learned of the 10th anniversary doll collection, which showcased not one, but TEN new characters. For me, these dolls, whether they made a solo appearance or wormed their way into countless collections are all important. They not only tell the story of the history of Bratz, but they also each hold memories in my metaphorical dolly scrapbook.

 

I suppose the practical place to start would be the girls I grew up with. Back in the early 2000s, when I started to dabble in the world of Bratz, it was the core four plus Meygan who comprised each line. But one day at Wal-Mart, I stumbled upon a new face--Stylin' Salon 'N' Spa Fianna. I am almost certain that I encountered her even before Dana, who was produced sometime prior. Either way, it was Fianna that became the sixth member of my personal Bratz pack. Up until that point, I only had Xpress It! Jade, Yasmin, Sasha, and Meygan, alongside a rogue Beach Party Cloe. It's hard to believe looking back that it was Stylin' Salon 'N' Spa Fianna who was my sixth Bratz doll ever in my collection. But in retrospect, it was the acquisition of Fianna that spurred me to want more Bratz...more characters....just more in general. I was tantalized by her cozy white robe and skimpy salon attire. To top it off, she came with a super intriguing spa. Oh the possibilities! I can't recall exactly what time frame I first saw Fianna, but it was for my twelfth birthday that Dad purchased me the set. I ended up getting my doll at the local Kmart, and it is still burned into my memory those ecstatic moments in which I pushed the large box in a shopping cart to the register (passing a school mate I might add, on the way). Fianna embodied everything I loved about Bratz--she had gorgeous tan skin, fabulous saran hair, and stunning green eyes. Not long after, Dana joined the clan. I knew after the acquisition of Fianna that I just had to get a hold of a Dana too. So I opted for Wintertime Wonderland Dana--I knew those stylish winter clothes would come in handy. Ironically, it was the makeup that came with Fianna's spa that stole all the glitter from Dana's face. After several years of being caked in the lip gloss and nail polish, followed by rounds of face washes, the sturdy adhesive holding the glitter onto Dana's features weakened. Within a few months Nevra was the next cast member to become part of the family. She wasn't a personal choice of mine--rather she was a surprise for Christmas 2003. The element of surprise however was stolen when I accidentally discovered her in the car trunk a few weeks before Christmas. I couldn't believe my luck--Dad had ACTUALLY bought me the very expensive Bratz prom runway WITH the exclusive doll. Back then, I didn't think MGA would manufacture these characters in other lines, so it was an extra special treat to get Nevra and Fianna. Lo and behold, the Wild Life Safari line featured both girls. Sometime the following year, Dad bought me my second Nevra. I dubbed her Dakota, and to this day, she is one of those dolls that never fails to bring me to tears. It was an innocent, ordinary moment one afternoon when Dad and I found ourselves at Wal-Mart. He needed a new grill, and left me in the toy aisle to ogle all the newly released goodies. I fell in love with Nevra's rad camouflage printed clothes and the fact that she came with pierced ears. Dad returned to the aisle not long after, saw the look of temptation on my face, and offered to buy me Nevra. It is just one of those random moments in time that Nevra, aka Dakota, has managed to preserve. It was these first few special experiences with the unofficial Bratz pack members that rooted a passion for them, one that even a five year dolly hiatus could not break.

 

I never would have guessed in a million years that some random Bratz character, one who didn't even exist when I was a kid, would be the doll that broke me. It was the beginning of 2011 when dolls wormed their way back into my life. But those first few months, I was exclusively collecting Disney dolls. Five years of being stored in the basement had made me forget my love for my large headed friends. Despite Dad and Colleen's urging, I refused to have much to do with my 18 childhood Bratz. I didn't want my perfect Disney collection being tainted by those "ugly" dolls that I was somehow obsessed with years before. And then it happened...it was probably the second or third week of the flea market season that year. Within the first few minutes, I had decided to buy a 2003 Slumber Party Yasmin and Strut It! Meygan...familiar territory really. I had seen both dolls in stores, and I couldn't resist purchasing them. I was however very embarrassed by this, and sent Colleen in the building at the flea market to pay for them. Less than ten minutes later however, I was completely awestruck by a random black haired doll. We wandered through a seller's scattered booth, and spotted a box overflowing with doll hair. Inside, I noticed that the majority of the dolls happened to be Bratz. One in particular caught my eye--she had floor length, black saran hair, with vibrant red streaks framing her face. She had a subtle yet sassy face up, and was wearing what I now know to be a Rock Angelz Yasmin skirt, with coordinating boots, and a mismatched shirt. "No!" I told myself...I didn't need this Bratz doll. At the time I was obsessed with the idea of only collecting dolls that were complete. Having no prior knowledge of this doll, I couldn't take the gamble. I couldn't possibly have a Bratz doll that didn't have her original ensemble. So I put her back in the box and walked away. But those few minutes we were apart, I couldn't help but keep thinking of this mystery doll. So I found myself back at the booth, with money in hand. I also thought, "What the heck, I mine as well grab this Cloe with black streaked hair and Phoebe and Roxxi while I'm at it." There was another raven haired beauty in the same bin who looked almost exactly like my mystery lady. I was about to pay for her instead when I caught my mistake--she had different lips and no red streaks in her hair. When I got home and identified my finds, I came to the horrifying realization that my new Bratz doll was actually World Twiins Nevaeh, and it was her TWIN Peyton who I had so carelessly left behind. I spent the rest of that flea market season trying to track down that elusive seller with the hoard of Bratz. By the time I did, Peyton was long gone. It wasn't until 2013 when I finally got my hands on one--brand new in box from eBay. But back tracking to 2011, it was Nevaeh who broke me. I cleaned her up and tucked her away in storage with my childhood friends and the handful of dollies I purchased with her. But everyday I HAD to pop open the container and pay her a visit. Something about this doll was too compelling to resist. Before you know it, she found herself a home on my printer, facing my bed. It was probably within two weeks when Dad and I dismantled my desk and had an old bookshelf set up in my room for overflowing Disney dolls and Bratz. Colleen and Dad were right...Bratz dolls were my jam, they were something so incredibly special and sacred to me that time had simply erased my memory of. I owe it all to Nevaeh for sparking my inner Bratz flame. Without her, I don't know that things would have played out the same way.

 

I always had a taste for doll family packs, but the bond with Nevaeh and strengthened/intensified this passion. I found myself lusting for the 2010 Phoebe and Roxxi dolls at the stores, and also Sorrel and Keelin, the newest twins on the block at the time. Over the years, I've acquired quite the little hoard of Phoebe and Roxxi dolls. But none will ever hold a candle to my beloved 10th Anniversary ones. I was beginning to warm up to the new generation of Bratz around the fall of 2011. Things in my life were pretty much all falling apart at the time, the only light in my life being my newfound doll hobby. Dad's health was declining, we were flat broke, and the weight of all our struggles was eating me up inside. One evening we were at Wal-Mart picking up some necessities--on this occasion, there were huge rolling carts filled with clearance items right by the registers. Before we checked out, I glanced some Bratz boxes and had to investigate. I found Party Yasmin and the twins all marked down to just $10 each. I knew we didn't have the money for them, so I tried not to draw attention to myself. But it was too late, Dad had seen my greedy expression. He burst into tears at the register as we were checking out, apologizing repeatedly for not being able to buy me the set. It made me feel absolutely terrible that he felt like such a failure, all because he couldn't buy me a set of dolls that I didn't even need. Something about that moment must have really stayed with Dad. A few days later, he sold his boat to a family member, and with some cash in hand, he INSISTED we return to Wal-Mart. Within those few days, the dolls had been marked down further to just $7.50 each. So Dad, feeling proud and like he was able to fulfill his role as a parent, not only bought me Phoebe and Roxxi, but also Party Yasmin (I couldn't say no to that beautiful face and those extra clothes I so desperately needed). I can never shake the look on Dad's face later that night, as he watched me open Phoebe and Roxxi on the living room carpet. He was absolutely beaming, and I think it was that look on his face that has made the duo mean so much to me. Even though Dad is long gone, when I see Phoebe and Roxxi displayed above my bed, I can't help but feel warm inside. Dad didn't have to buy me the dolls, but it meant the world to him knowing he could do such a small gesture. If I could only keep ten Bratz, I have to admit that they would make the cut.

 

As I'm writing this passage, I cant' help but see a strong correlation between the dolls that mean the most to me and Dad. But it makes sense, after all, Bratz were always his favorite dolls to buy me, the ones he had the most jokes to crack about, and the dolls that hold the fondest memories. I had strangely great luck finding Sharidan that first year back into collecting. Even though she was a character who made less than five appearances, I saw three Sharidan dolls in those months. The first was Bratz the Movie Sharidan, who turned up in a busted box in Wal-Mart's clearance section. She was still super pricey though, at around $30 (although she was originally around $80). I was intrigued by this very out of date doll who just so happened to still be kicking it in this Wal-Mart. Based on my calculations, she was probably one of the first Bratz dolls ever stocked at this location, since our local Wal-Mart opened in 2007. When Dad found Colleen and I ogling Sharidan in the clearance aisle, he offered to buy her for me. But I politely declined--I felt too guilty spending that kind of cash for a single Bratz doll. So naturally I was over the moon when I found out MGA was reissuing her in a set with a unicorn. Dad made a special trek out to Big Lots just for Glowing Unicorn Sharidan. Sure she didn't have that fabulous glitter gown, but instead she was equipped with a rainbow haired unicorn. Some months later, I found another out of date Sharidan at Toys 'R' Us--only this time it was the Forever Diamondz gal. By that point in early 2012, Dad was hospitalized. He had insisted we got out and have some fun instead of visiting him all day. So Colleen and I drove out to Toys 'R' Us to see if they still had any Sorrel/Keelin packs. Not only did we find the twins, but also Sharidan, in another beat up box...she was just $7! Despite all this luck with Sharidan, I couldn't help but still fancy the overpriced Bratz the Movie gal. But she disappeared not long after, so I assumed she had sold. Dad passed away that May, and with the loss, I found myself turning more to my Bratz collection for comfort and reassurance. Two years almost exactly to the day, I was reunited with that EXACT Bratz the Movie Sharidan. She was once again stuffed in a clearance section, but this time at the front of the store. I know she was not another Sharidan doll that happened to come out of the stock room. No, she was the same doll Dad offered to buy me, still sporting that September 2011 price tag I had printed when scanning her two years before. Maybe it was a weird coincidence, a streak of luck, or Dad's way of letting me know he was still watching over us. But I couldn't leave her behind again, even though she was still $30. Although Dad didn't technically purchase this doll for me, Bratz the Movie Sharidan is still what I consider to be a "Dad doll" and the story of our miraculous reunion makes her all that much more irreplaceable.

 

The age of the doll or the time in my life in which I acquired them makes no difference. I love all the Bratz pack plus members. There were other countless special ones that Dad purchased me that first year of my dolly resurgence. I couldn't write this post and not mention the Sisterz, Lilani and Kiani. They've become unofficial mascots of my bedroom--watching over all the dolls from the topmost shelf above my bed. I have never forgotten the moment I first discovered of their existence, while cruising online trying to construct a self made Bratz book. There were Bratz SISTERS, with special body molds and a Kid Kore Katie esque vibe?!!! It was my mission during those early days to get my hands on a set, and lo and behold luck was on my side. Both girls turned up fairly complete in the lot we call "Craigslist #1." Dad bought me the 70 plus secondhand Bratz dolls as an early Christmas gift that year. As bizarre and homely as I found the pair, I was obsessed in their sheer novelty, especially since a few weeks prior I had seen a knock off version in a toy store at the mall. I was beyond bummed out when I figured out that those sisters weren't authentic. From that same ginormous lot of dolls, I also acquired more Bratz Twiins, including Tess/Nona and Oriana/Valentina! Having such luck made me crave the rest of the twins sets that were produced, which lead to a very indulgent eBay twins binge some years later. I also couldn't help but feel overwhelmed by nostalgia when Tokyo a Go-Go Tiana turned up in the tub of Bratz that night. I knew there were a few dolls from the line when we first saw the ad on Craigslist, but I was unaware that the playset doll was included. As a kid, I was torn between thinking Tiana was really awesome, and also a bit too much like Jade for my liking. But as a twenty year old, I was enamored by her multicolored, micro braided hairstyle, and that signature anime esque facial screening! There was also the memorable "Bean Fianna" of that same year. I rescued her and Slumber Party Cloe together at a massive outdoor flea market. Tennis Fianna was clad in only a yellow robe, her tennis shoes, and a kidney bean that somehow found its way into her tresses. Sleepover Leah is yet another infamous doll in my collection. I discovered her nude body in a tool box at the local flea market. I just couldn't leave her behind in such a sorry state. Despite her nicotine stained body, her destroyed hair, and that awful odor which stank like Leah had been chain smoking for years, I still loved her. I feel a deep sense of pride and satisfaction when I see her now, slightly less shabby, but considerably more loved/appreciated. There were newer dolls in the stores too that caught my eye. I was fascinated by the Style It! girls in particular, when they turned up in 2011. I was particularly keen for Maci, what with her dark black hair and blue eyes. For my 21st birthday, the first without Dad, my cousin and his now wife surprised me with her and a secondhand Sun-Kissed Summer Dana. They picked Maci since she reminded them of me, what with her plaid jacket and that "Doodles" nickname! For over a year, she was my Peyton doppelganger, Nevaeh's surrogate sister, since they both had black hair and blue eyes. I also was so taken by Style It! Jaylene in 2013, that I had to purchase her, despite being hideously overpriced at Rite Aid. To me, she embodies my mom's spirit, if she were a Bratz doll. She has thick, wavy blonde hair, blue eyes, and a stylish sweater dress (the only thing my mom would wear if she had a Bratz wardrobe). Plus her name began with a "J"--my mom's name was Joy. Although I felt a bit salty towards Raya when the 2015 Bratz debuted, I couldn't help but be tickled by her cheeseburger shoes. Plus, I felt no ill will towards her once I realized that Meygan in fact was coming back, and that Raya had not replaced her!

 

Each of these dolls, and all the others I could not mention here, have a story. Their stories are unique to each girl, just like they are from their duplicates. While to some people, their only collectible value may lie in how they relate to the Bratz franchise, for me, they are like pages from my scrapbook. Each one represents a time in my life that I can never relive. Whether this was my early days of Bratz collecting, when I started dabbling with Dana, Fiana, and Nevra, or when I found a passion for the twins in later years, or when I just had to get my hands on those one off characters to complete brand new lines in the store...they are all meaningful. The Bratz pack "plus" characters really represent to me what I have found to be the meaning of collecting. To me, how "rare" or desirable a character is does not equate to her worth. Ciara and Diona aren't more special to me than my 10th Anniversary twins who overcrowded store shelves in 2011. Likewise, i Candy Phoebe is no less exciting just because I have three these days. I still feel that same sense of delight when admire their green streaked hair and puckered red lips. I was no less than fully overwhelmed when I finally got my hands on the elusive Babysitterz Lana in 2017, despite the fact that she didn't come with a stitch of her original clothes. I've come to see that whether it's a brand new character like the 2010 girls, or one that "came back" after a single appearance like Raya, they are still all Bratz in my eyes. Although Cloe, Yasmin, Sasha, and Jade are the faces of the Bratz brand, it just wouldn't feel the same without all those other characters cluttering up my display and filling my heart with so much joy!

without the handle, no asbestos.

Manufactured in Dover, Ohio. (Canal Dover) by Dover Mfg. Company

without filter

ⓒRebecca Bugge, All Rights Reserved

Do not use without permission.

 

This baroque sarcophagus was built for Cardinal Lorenzo Imperiali (1612-1673).

 

The Renaissance basilica of Sant'Agostina was built 1479-1483, replacing an older Gothic church - with a façade built of travertine nicked from the Colosseum. The building was funded by Guillaume d'Estouteville, who was the Archbishop of Rouen and a Papal Chancellor.

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I rescue a Dell Optiplex and a Toshiba laptop with Linux

via Tumblr lawrence9gold.tumblr.com/post/107993950082

 

A T T E N T I O N:

 

P S Y C H O A C T I V E

 

_____________________________The “Vajra” Self-Rectifying Process

A word in advance: This entry contains instructions for procedures that, due to their simplicity, are “advanced” practices. Known together as, The Vacuum Cleaner for Your Mind, they require sufficient control of your attention muscle to do them. Without that adequate control, some may find that their thinking-word mind is producing too much noise, noisier, even, than The Vacuum Cleaner for Your Mind — impossible for some, for now. The key, for such ones is practice of The Gold Key Release and the Middle-Way Memory Matrix Ritual.

 

In this entry I present two procedures, The Ka-Bong and Flashing the Unknown Unknown, that, when combined, provide a quick, even instant way to disarm and dissolve grips seemingly held upon us by unconscious habits of self-contraction and distress, so they can be sucked out of our mind. Right then.I present them, one at a time, for practice. Once you are practiced in them, you can follow one immediately with the other. In my experience, the immediate result is the recognition and release of self-contraction patterns felt, bodily, as a postural shift and relaxation into a new postural shape, accompanied by relief from the psychological tension you are addressing, and a new sense of presence. The Rationale for The “Ka-Bong”

The Ka-Bong is a “back-door” maneuver for dissolving hidden grips that keep us in the grip of our world-mind inheritance, confused, and stuck.

Those hidden grips show up as repetitious patterns of behavior that are recognizable and characteristic of the person, that have a feel to them that is part of the person’s sense of self, and part of the person’ way of harmonizing by which others recognize them. These grips are the chronic issues and ongoing complaints of a person’s existence, as well as the virtues to which they adhere. They are the programs of a person’s life.

Once recognized (generally, something we do or experience again, and again), the experience (as remembered) can be passed through The Ka-Bong, which dissolves the “part” or aspect of that behavior pattern that we still confuse with the basic reality of life. At that moment, the field of radiant awareness that underlies all can be intuited.

The reason The Ka-Bong works is that our habitual states are always forms of definition, or limited conditioning, whereas reality is inherently formless and, contrary to everything we are taught or have heard, is unknown by us (not a form of knowledge, at all, but ineffable experience). What we know is our conditioning, which we confuse with reality, “itself” (there is no “itself”, except in a manner of speaking). When we do the release step of The Ka-Bong, though we may think we are releasing the effort to intuit, identify or “locate” reality, what we are really doing is releasing an effort that keeps us stuck in our conditioning (which, as I said, we confuse with reality). Said another way, when we release the effort to intuit reality, the force of our conditioning releases along with it,

This way of saying it is a concession to our pre-conceived notions of reality as “the real conditions of our life.”

More strictly speaking, reality is always already the case and always already our present condition, so anything we may do to intuit reality is in addition to that — and can only obscure the intuition of reality as our already-condition. The release that occurs in The Ka-Bong simply clears the way for that intuition. The way to intuit reality is to let go of it and any efforts to intuit it. Then, something entirely unexpected flashes forward. Beyond these words, nothing useful may be said.

So, try The Ka-Bong a few times in a row. Notice the result. It gets interesting.The “Ka-bong!”The “Ka-bong!” is thus:Ka-

Fully feel your experience, whatever it is, whatever you have chosen —

whether some ideal or your sense of “Here-Now”.

Notice whatever you do to locate or identify it.

Stop doing that.Bong!

Do it repeatedly, releasing whatever comes up until the true, formless-ness of your ideal

becomes intuitively obvious.

It’s a form of “drilling down” until you reach the result.Now that’s know-how!Expounding on The “Ka-Bong”

The “Ka-Bong” is the simplest, most immediate maneuver,

for the effect it produces.

It consists of two phases:"Ka-": the set-up"Bong!": the follow-through.

The set-up sets the stage —

a direction of movement

locating or identifying a subject or object

that has a certain intensity —

an ideal outcome of some kind

or the intuition of “what about existence has been the same all your life”

or the sense of “Now-ness”

or the sense of “Here-ness”

— something generally binding upon us.

The follow-through action

is the recognition that whatever we are doing to locate that intuition or sense of reality

is unnecessary and does not represent or produce that which we seek,

and so we instantly desist from that effort of locating it.

The direction of movement is thus:

Identifying “Now-ness”

and then recognizing:

What I call, “Now-ness” is memory

and so I cease to regard it as “Now-ness”,

but regard it as memory.

Now-ness is unknown

and does not become known

until it is remembered.

“Now-ness” is not the so-called “present”.

“Now-ness” is unknown.

Our perception of everything delayed by the reaction time of our nervous system.

By the time we perceive it, it is past (short-term memory).

Everything emerges from “Now-ness”, into “Now-ness”, and exists in “Now-ness”

as the form of “Now-ness” —

but very “Now-ness” is unknown.

The direction of movement is thus:

Identify “Here-ness” for ourselves,

then recognize our two options:

We may mid-identify “Here-ness” as our surroundings.

or

we may identify “here-ness” as our own ever-presence.

In either case, we notice that we identify “Here-ness”

by means of some movement of attention or recollection

by which we refer to “hereness”.

It’s a gesture of intention.

AND THAT’S NOT IT, so LET IT GO, like throwing back a fish.

For “hereness” is the “self-hereness”,

the sense that always, wherever we are, no matter how we are moving,

before anything,

that sense of “here-ness” is unconditionally, always “here”

— omni-conditionally.The Rationale for “Flashing the Unknown Unknown”One of the fundamental predicaments of human beings is that we are involuntarily caught in experience — engaged in ways often not consciously of our own volition — ways that directly cause us pain and distress and lead to dysfunctional behavior and dysfunctional results, ways we have inherited from our parents, society, mass media, “educational” system, and the collective consciousness (“noosphere” or morphogenetic field). We are stuck in repetition of ourselves. Our attention is stuck in “the known” and our intention is stuck in our reactions to “the known”.So — how to get unstuck?The first step is to get a clear (or clearer) perception of the way in which we are stuck; we “surface” the sub-conscious material. Only with a sufficiently clear perception can we release (not repress or suppress) it.When surfacing sub-conscious material, it helps to contrast that material with something else.

There is one condition that stands in contrast to all other conditions: It is the condition of the Unknown Unknown (also known as “I-I”). It requires a release of attention from whatever attention is on to contemplate the Unknown Unknown.

But the Unknown Unknown cannot be known. Only its erroneous proxies (approximations) and our gestures or movements of attention toward it (internal representations) can be known — and they are not the Unknown Unknown — only representations of what we erroneously identify as the Unknown Unknown — the “Known Unknown”.

Actually, that’s not a problem, but actually the very stuff we need to successfully unstick ourselves. We can’t go wrong in this procedure, because any approximation of it gets released in the procedure, itself, leaving us freed to some degree. Repetitions free us more.

An observation by Buckminster Fuller makes it simple: There is only one way into (or toward) something, but infinite ways out of (or away from) it. Ponder that for a moment until it’s obvious. It is obvious, isn’t it?

Since what we’re doing in Flashing the Unknown Unknown is moving out of conditioning, even if we do it wrongly (doing the steps as given), we get the right result.Flashing the Unknown Unknown means intuitively to recall the sense of, Unknown Unknown. This is an act of intention and of faith, of sorts.In general, we first feel fully into the grip we are in — into the dense conditioning — and secondly, while feeling it, we intend to feel beyond it — the Unknown Unknown. It’s a movement outward. So, it’s first into the conditioning, then outward, beyond, toward the Unknown Unknown.

The fact is, we can’t do it. Anything we identify as the Unknown Unknown is, the Known Unknown.

In fact, the Unknown Unknown is always already present and as known as it’s ever going to get — which is to say, NOT! If you can know it, it ain’t the Unknown Unknown.

So, it’s a safe bet that whatever we are doing to intuit the Unknown Unknown is not it and obscures that intuition with effort; and a safe bet that any effort we are making to “Flash the Unknown Unknown”(after making the full-effort) is right-effort. We can’t go wrong. The effort to feel the Unknown Unknown takes us away from our habitual conditioning, both weakening our grip on it and providing a contrast to it, so we can apperceive it (perceive it within) in a new, more complete way that makes it more vulnerable to release. To touch base with (or to intend) the Unknown Unknown changes our experience of the known, reducing its solidity (memory-grip).The Unknown Unknown may be intuited as open-mind-space, an indefinable field of openness, which cannot be remembered, only intended (that’s not a typo or error; I mean intended). Even if we do that step poorly and feel only the effort to locate the Unknown Unknown still confused with the known, we get the intended result — as long as we put our best effort into it.Why do this? Because as we release the effort to intuit the Unknown Unknown, the effort of wrangling with experience also releases. A few repetitions may be necessary.Flashing the Unknown Unknown, alternating with the Ka-Bong, gets verrry interesting. One useful preparation for Flashing the Unknown Unknown is to refresh our sense of attending to something, intending, remembering, and imagining (the TetraSeed). For that preparation, we do The Spell-Maker/Breaker. (to be discussed)Helpful Preparation (click and do)"Flashing the Unknown-Unknown" is thus:

Fully feel your experience, whatever it is, whatever you have chosen.

Feel its location in you, size, shape and intensity.Intend your attention beyond or “larger than” it, toward the Unknown-Unknown.Clearly notice the effort it takes to do that.

Return to your limited experience.

Relax all efforts of attention.

Feel the release."Wash, rinse, repeat."Don’t bother trying to understand this. Just do it. You can’t do it wrongly.Relevant Perspective

 

What we look for, beyond seeing,

and call the unseen,

Listen for beyond hearing,

and call the unheard,

Grasp for beyond reaching,

and call the withheld,

merge beyond understanding

in a oneness

that does not merely rise and give light,

does not merely set and leave darkness,

but forever sends for a succession of living things

as mysterious as the unbegotten existence

to which they return.

That is why men have called them empty phenomena,

meaningless images in a mirage

with no face to meet, no back to follow.

Yet one who is anciently aware of existence

is master of every moment,

feels no break since time beyond time

in the way life flows.

 

~~ The Way of Life According to Lao Tzu, The Tao Teh Ching, verse 14

Witter Bynner translation

 

Integration

Having practiced both procedures, follow one immediately with the other.Reason: Subconscious vestiges of dissolved identity structures may remain even after thoroughgoing practice of some TetraSeed Modulations; procedures that set a new direction flush up what may remain, to which you may then apply one or more of the other TetraSeed Modulations

The “proof” of the “pudding” is in the “eating”.

 

other TetraSeed Modulations

 

The Gold Key Release

 

The Middle-Way Memory Matrix Ritual

 

The Wish-Fulfilling Gem

Esoteric Somatics and Tibetan BuddhismSEARCH KEYWORDS:(to return to this entry again, later.

caring | | 42

 

harmony | 85 | 94

 

memory | | 89

 

identification | 7 | 148

 

perpetuation | 78 | 162

 

copyright 2014 Lawrence Gold

This writing may be reproduced only in its entirety

with accurate attribution of authorship.

 

Do it for yourself - somatics.com/page7-htm

 

ifttt.com/images/no_image_card.png via Blogger lawrencegoldsomatics.blogspot.com/2015/01/tetraseed-modul...

The Certo Durata II with serial #4042, was a less expensive variant of the Super Dollina II produced after the war (1950s) without a rangefinder. It has a top plate integrating the viewfinder. The shutters included the Cludor 200. Sports a Meyer Trioplan 50mm f/2.9 lens. Made in Germany.

 

Proverbs 25:14

"Like clouds and wind without rain is one who boasts of gifts never given."

 

« Paris Without Leaving my Window » (PWLW) : Clearing graffiti on the metal shutter (2016). Image : © PFRunner

Is today...

 

***

**

*

Shown here is an image from the exhibit "A Battle without a Plan": The Battle of Williamsburg ," on display in the the Special Collections Research Center Lobby on the first floor of Swem Library at the College of William & Mary. This exhibit is part of "From Fights to Rights: The Long Road to a More Perfect Union," Swem Library's project to commemorate the 150th anniversary of the Civil War and the 50th anniversary of the Civil Rights Movement. The exhibit is on display from March 21, 2012 through October 15, 2012.

 

This image includes posters featuring both the Confederate Order of Battle: Army of Northern Virginia, and the Union Order of Battle: Army of the Potomac for the Battle of Williamsburg.

  

From the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary. See swem.wm.edu/scrc/ for further information and assistance.

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Imperial Beach, CA

 

©All Rights Reserved

No Use Without Permission

 

pasted in Oakland, California, as part of the ArtFabric and Street Art Without Borders projects

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It came out clean enough. I replaced the original machine screws with coarser thread, thread-forming screws to go into the plastic body cap. The friction springs have plenty of grip, no worries about the lens coming off until you want it to. I had hoped to transfer the lens latch as well as the mount flange, but it's mounted farther back in the camera body and the complications would have exceeded the value of having the latch.

Nothing About Us Without Us Is For Us was a public art event using obsolete technology to hurl language across Glasgow's River Clyde. Organised and conceived by artists TS Beall and Matt Baker, the project commissioned 15 artists to partner with 18 local organisations. Together, they delivered 6 weeks of activities, culminating in an event on Saturday 28 April, 2012 where over 1500 people sang, shouted, and sailed across the Clyde. Visitors to the Glasgow International Festival were invited to the Govan waterfront to participate in transmissions using human megaphones, siege engines, string-and-cup telephones, messages-in-bottles (‘The Govan Armada’), choral serenades, and more…

 

Photo Credit: Mark MacLachlan

 

www.aboutuswithoutus.com/

 

www.glasgowinternational.org/index.php/events/view/nothin...

Contact for Procidentia Treatment Without Surgery to Daya Ayush Therapy Centre. They offer Quality procidentia ayurveda treatment.

Visit us at

www.prolapserectum.com

 

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ZHE 155 is form UK.

Part of street art without borders

black ink 2010

We need: a clear mind, searching for truth and juridical discipline. Rationality. Like bright sunlight! .

 

My experience: gossip etc. can seem useful information. A warning. We can think we need these warnings. But always we have to think: is this true?

For gossip can become backbiting, slander, even intentional false information meant to manipulate authorities. With the aim: to harm a person. Really a form of violence. Dangerous. Meant to destroy the life of a human being. When it grows this way and people - also people who have got authority and power and have the duty to search for truth - hearing the slander - can - alas - react stupid and irresponsible - it can even become necessary to ask help of a lawyer. This also will cause a lot of stress, take away so much time and money, all this damage for the victim - that has to defend himself against slander..fake accusations.

Defense with the assistence of a trustful and honest lawyer ..it is the only solution. For an innocent person accused by the authorities of criminal behavior based on nothing but false accusations can try..in countries where is some respect for the laws. Although the harm done can often not be repaired. As is also the case with fysical violence. Slandering people are of course sometimes afraid of good research. Then they have to proof their lies. But often they are not at all punished. Sometimes they are anonymous. Or they can say: we only thought this was true. So slander etc. can be an easy way to harm a person. To bully people. It belongs to the practices of bullies. (see Wikipedia: bullying). In my country institutions that are informed about you with slander etc. write this down in their files and it can happen they do not tell you about the information they wrote down as "a suspicion of" - or forget (!) to mention it is only a "suspicion" .

They also can do not any research - no time for this, they say - but they can easily think there is some truth in those lies. And act according to this. They have time for that (!).

Not for good research.

 

But...they are simply used this way by people who want to use them as a harmful weapon. It is so easy for people to tell slander to for instance your employer, landlord, housing association, even the police, to large bureacratic institutions. For instance: some housrenting institutions have a special telephone number for warnings and complaints about neighbors. And make so called "official files" of slander like: this person is mentally disturbed, uses drugs, is an alcoholic, has illegal inhabitants, did beat me, tried to strangle or rape me etc. They write this down as a truth..do no research..hardly inform the slandered person. This is so amateuristic and unwise. Some of the people working there..stalkers can so easily use them..they are so ignorant.

Also the police has an alarm number. People can also easily use this for slander. The alarm teams of the police write this so called information in their " official files" and can spread it as "true". For instance send this info as a truth to your renter. Without research. Then the renter can think: we wrote also this bad info in our files and if the police says this is true or part of it can be true - it must be true. And other authorities can think: it is true. The police says so. For the police in my country is always trusted to tell the truth.

So the result of this slander can be real harm.

You can be ordered to leave in two months your renthouse, never be able to rent another house of course. You can become homeless.

You can be ordered to pay an enormous amount of money because they say...you commited a fraude with your pension. You loose your money and will have debts.

They can also try to put you in jail.

Or you can loose your job. Etc.

Everyone around you can think you must be some criminal.

When the slanderers are without any proof or research believed by the police.

  

Some authorities love to get this kind of information: slander.. They accept it as a warning. This person is suspect! There is no proof but..there must be something..a reason. There is always a danger they believe the slander without research or proof and spread the slander as truth. If the police says it is true it will be believed. So then a real problem is created by the police. For you. It can ruin your life. You are innocent and there is no proof that you did anything wrong. But then you have to proof the police was wrong. That is not easy. Can mean: years of your life, a damage for your health, a trauma etc. Destruction of your life.

 

And of course simple gossip etc. can cause harm when simply spread in the surroundings of a person. For it can be seen as a friendly and serious warning. As some truth.

Better not to be friends with people who tell gossip - without thoughts about the harm this can cause or with the intention to harm others..

 

And how does it feel -?- to be a person who goes to the police and tell deliberate lies about innocent persons in the neighborhood - you hardly know - lies like.... this person did beat me or tried to rape me? And also tell this the whole neighborhood? How does it feel? I cannot imagine. This hate and violence. This wish to harm innocent people.

When a person does this often of course finally there can be hope the police and other people do really not believe the lies anymore. Especially when there is never any proof.

 

It is so harmful when an innocent person is accused and has to defend himself. Who gives innocent persons back the time and happiness and thrust, evt. the health they lost.

 

In politics gossip or worse etc. is often consciously used as a real weapon. See the newspapers.

The opposite of telling bad things, seems to be to tell good and true things. About persons. The faces, the eyes, of people who tell pleasant things about others or tell the truth are these not usually different from the faces of people who tell deliberately lies or bad rumors and seem to enjoy this? In this drawing I tried to show something of the cheap meanness of gossip and the kind of "pleasure" in telling deliberately bad things about persons. And the stupidity of people who believe without proof rumors. And spread them.

 

Sorry for my simple English. Good article about slander etc. as part of bullying: en.wikipedia.org/wiki/Bullying.

I made this drawing directly with ink, no sketch with carbon first. So it is a spontaneaous drawing without corrections.

 

I added here later a Dutch poem by the writer "Chatfant", 10-02-2015, on the site Lettertempel www.lettertempel.nl/gedicht.asp?storyid=32995

 

Men zegt dat...

 

Getekend

door een publieke leugen

moordt de laster verder.

Moordt al jaren

in veel hoofden

onuitroeibaar

ongestoord

alle liefde uit.

 

Wie rukt de laster

de tong uit?

Wie brengt de leugenaar

op de knieën?

Wie buigt recht

wat reeds in tijd

is kromgegroeid?

 

Wie geeft aan onschuld

alle verloren,

bedorven jaren terug?

Wie geeft eerbied

aan wat ten onrechte

veracht?

 

Dit gaat niet over macht,

en ook niet over geld,

maar wie reinigt

alle hoofden van die

leugen, die de waarheid

werd gedacht?

En wie oordeelt

ooit de dader,

die die leugens heeft bedacht

en ze heimlijk lachend

ook in omloop

heeft gebracht?

   

Paul Thomas Saunders @ Tramlines 2012

 

(C) Paula Goodale

 

Do not use without permission.

Smugglin' a basketball.

... without a parachute.

This spectrum was seen a few minutes after a beautiful halo ring around the Sun on the fourth of July, in 2010 in South Hungary. I've used polar filter to shoot this image as it was hard to see with the naked eye. en.wikipedia.org/wiki/Circumhorizontal_arc

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Mt Kinabalu without clouds! You can see the whole of the mountain in this shot, together with the valley from Ranau and Kundasang to the foot of the mountain. Unfortunately, this area has now been totally denuded of all trees making way for farms and housing. One can only imagine what this must have looked like several hundred years ago before the arrival of Europeans.

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Pretty much like my 12. May 2007 outfit, but without the sweater and a different hairstyle.

 

+ Green vintage hat from ebay

+ Green earrings from Strawberry

+ Fifties dress from Stop the Clock

+ Green bag from Nixietube

+ Green Fluevogs from ebay

Mathilde Juglaret ©Rui Pedro Godinho forbidden to use without acquiring

ourlittleblackdresses.wordpress.com/2014/01/28/cause-with...

NO USE WITHOUT PRIOR WRITTEN PERMISSION // KEINE VERWENDUNG OHNE VORHERIGE SCHRIFTLICHE ERLAUBNIS.

 

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Don't see these much any more.

Without doubt the species with the most presence on the islands are the Arctic Terns. During the breeding season our home becomes theirs and life very much evolves to fit in around these magnificent birds.

 

By the beginning of June the majority of the terns are down on eggs and a few weeks later we will begin to find the newest generation of this truly remarkable species. By the end of the year, some of these birds (currently tiny eggs) will be somewhere in the Southern Hemisphere, most likely off the coast of Australia or the Antarctic pack ice. This species experiences more daylight hours than any other land animal on the planet.

 

Arctic Terns have a somewhat notorious reputation among our visitors to Inner Farne in that they will staunchly defend their eggs and chicks from perceived attack. This usually involves the bird clicking, flying up, making lots of noise, and occasionally pecking the heads of passers-by! We advise wearing a hat and walking steadily through the colony and the main place to look is at your feet – there can be eggs and chicks on the path from May to July on Inner Farne.

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Without the Situation, or Snookie.

 

Went to the beach for the weekend, have a few pictures.