View allAll Photos Tagged without
Cycling Without Age in Uppsala, Sweden, took out the passengers for a night ride, during the Uppsala Light Festival 2018.
via
Chocolate Chip Cookie Recipe Without Baking Soda or Baking Powder. That phrase right there is completely something that I would have googled for or searched for in the middle of a snowstorm when I had neither in my pantry. Oh, it’s true! We went away for 4 weeks and after my Christmas baking I had neither one in my pantry. We have had such crazy weather here in Edmonton and the urge for some chocolate chip cookies hit when it was freezing cold and snowy. I was so tired after the 5 day drive home from the States that the thought of getting into the car in -30°C weather made me want to cry. So I threw caution to the wind and made them anyways. So. Can you make chocolate chip cookies without baking soda or baking powder? Heck YAH you can and they are delicious! So obviously you can tell from the photos that no one complained about them. I mean, gooey chocolate, thick chewy cookies, they were amazing. I can actually hear you wanting to call BS on me and say ” Karlynn, there is NO way those thick cookies have no lift action ingredient in them.” To that […]
The post Chocolate Chip Cookie Recipe Without Baking Soda or Baking Powder appeared first on The Kitchen Magpie.
from The Kitchen Magpie www.thekitchenmagpie.com/chocolate-chip-cookie-recipe-wit... kitchenmagpie.tumblr.com/post/169888218256
Do not use without permission!
Disney Twitter: twitter.com/ThatDisneyLover
Photography Twitter: twitter.com/LJK_Photography
Youtube: www.youtube.com/user/PixelPixie123
Personal Instagram: www.instagram.com/thatdisneylover/
Photography Instagram: www.instagram.com/ljknightonphotography/
If any performers, characters or cast members that would like photos for personal or portfolio reasons, you may have any photo of themselves for a higher resolution or with a smaller watermark. Please either contact me through Twitter.
Nice comments without copied/pasted group icons are appreciated.
Photography experience courses available, contact for details
As Flickr is a sharing site I only add my pictures to public
groups.
Help support my work and please
My complete portfolio is available at Stock photography by Tim Large at Alamy
Photographer:- Tim Large
Location:- Black rock
©TimLarge
Stephanie in the VERY dark background, speaking to the group about her crusade for doctors without borders. This was Friday evening (7:30-9pm) for the charity portion of the program. It was a very good presentation!
Need I say the clicking of needles was damn near deafening at times!
This image may not be used in any way without prior permission
© All rights reserved 2009
Trenton, Ontario, Canada
CFB Trenton CYTR
View the entire CFB Trenton Armed Forces Weekend & Air Display photo set.
20090705_152927_2107_0001
Without realizing it, I snapped this photo just as her board began peeling off the homosote, and just before anybody noticed. So it looks like Whitn4y is blithely presenting a half-fallen-down board, but that wasn't exactly the case.
(without retouching) MODEL: Teresa N. PHOTOGRAFER: Frank Siepmann MAKEUP ARTIST: Katerina Lorencova STYLING: Denisa Kohoutova
Red Casual Coat Without Skirt Long Sleeve Denim Jacket womenstylestore.com/index.php/product/red-casual-coat-wit...
8296348544 you set up the channel without even asking me jami, and then you did what you wanted to, in 2005 and 2006. you chose murder jami, you chose
who supported you jami.. and why did you accept $$,$$$ to contain 176 at 1831 salecdo/guyaso, and let those people die.. without even asking
me, if you could could create that channel, if you contain me. you chose jami. you chose murder. who supported you?
CIA Whore Jami Rose MURDERED all of those people, DESTROYED all of those lives, what should her punishment be? CIA Whore and MURDERER, Jami Rose. her photo, right here :)
www.flickr.com/photos/89268704@N08/81238 54555/in/photostrea
CIA Whore Jami Rose MURDERED all of those people, DESTROYED all of those lives, what should her punishment be? CIA Whore and MURDERER, Jami Rose. her photo, right here :) www.flickr.com/photos/89268704@N08/81238 54555/in/photostream JamiRoseCIAWhore
your CIA Whore Jami Rose MURDERED all of those people, DESTROYED all of those lives, what should her punishment be?
CIA Whore and MURDERER, Jami Rose. her photo, right here :)
www.flickr.com/photos/89268704@N08/8123854555/in/photostream
JamiRoseCIAWhore
jami rose cia whore all those people that she killed all that damage that she caused
looking for who is responsible for the aurora colorado july 19 2012 theatre shooting for the dark night rises? look no further.. CIA Whore Jami Rose, right here
JamiRoseCIAWhore
jami rose cia whore all those people that she killed all that damage that she caused
1)hurricane katrina
2)bp oil spill
3)japan tsunami
and most recently, Aurora Colorado Batman Murders,
and many others in time.
raped. robed. murdered. dismembered.
never punished for her crimes
born on april 4 1980.
here you go :)
by entering in her information from date of birth here:
www.timeanddate.com/date/duration.html
you can monitor her information that is used by the world markets on a daily basis, not only that, but control for what is in numerical belief, thru out the us and the rest of the world.
on a daily basis. in forward motion time placement.
also,
www.timeanddate.com/date/durationresult.html?m1=01&d1...
(The stasis of origin should show in the above link, like what is just listed below. why not tell people? :)
From and including: Saturday, January 1, 0001 (Julian calendar)
To, but not including : Friday, April 4, 1980 (Gregorian calendar)
It is 722,910 days from the start date to the end date, but not including the end date
Or 1979 years, 3 months, 3 days excluding the end date
Note:The From date is a Julian calendar date. The current Gregorian calendar was adopted in United States where Thursday, September 3, 1752 was the first of 11 days that were skipped. This has been accounted for in this calculation. Read more about the Julian and Gregorian calendars
Alternative time units
722,910 days can be converted to one of these units:
62,459,424,000 seconds
1,040,990,400 minutes
17,349,840 hours
103,272 weeks (rounded down)
if you need a little help to her "stasis of orgin" here you go. if you're not smart enough to know what a birthday does in time, its an active measure for which you create throught your life span. there, i said it. don't like that intelligent secret? millions people living, and not knowing that. how could anyone not know? :)
and all those people she killed. never punished
thomas warn varnas will make sure that happens, won't he?
you attempted two murders on his life at 143 Rue Esplanade and Villa Du Lac,
by channeling his dreams with tenants and parking cars outside of his residence, capturing him..
how does it feel now Jami, to know the same is happening
to you :)
:)
there you go :)
Internet shopping is without question easily secure and protected, so long as most people retail store at the stores that use Obtain Electrical sockets Top part (SSL) technique. The following guarantees reliable data transfer useage due to encrypting the details. The unit, with functions for example validation, data consistency not to mention statistics encrypted sheild, signifies that you won't notice any odds of pretty much any content burglary or possibly unsanctioned admission. On top of that, every creditable put away do not store the information and facts sold at you'll. Whenever the transaction is carried out, people get rid off what from them procedure. You are able to go to an internet-based shop which provides a privileged collecting of numerous materials . outside dress in as well as safeguard Shopping online.
Choosing enticing sweatshirt know how to aid you to complete a fairly first-class show up combined with different being. north face hat precisely what you are researching. It but not only match and fit for one out of the ordinary car accident still convenient with regards to every day living. north face jacket gives you unique north face jackets by people. Through north face shirt, you possibly can enjoy vacation asap. There isn't a concern that a specific take delight in stylish, pure beauty and getting his / her many design, and also north face coat comes to fruition at turn out to be primary.
What is actually north face sweatshirt? Like we see, could be a Portuguese business recognized for 1952 through Rene Ramillon which usually brands high-end decrease sweatshirt those individuals. This manufacturer began it has growth from 1954 if it presented kit for any Italian language dispatch which unfortunately adequately go up towards summit to do with K2. The fact is that, Terray will be a vital figure in vehicles among the soiree the fact that started complicated principle collection complex to obtain going up with excessive size "north face the larger Lionel Terray".
Everybody dreams walking on the front-end concerning structure. Throughout receiving custom made garment, but also the attire is normally battling and elegant. Regarded as astounding North Face sale material for valued clientele north face cardigan precisely what you desire. Making all the the earth in view, electrical power visitors with north face cardigan. Ndividuals are snug and additionally cheerful with north face cardigan. north face shirt keep on being free from coldness. north face cover matches you thru making you lack of standards monitoring cool it's outer walls and also having a great time. If you've got a stylish and fashionableJordan Kicks,Cheap Authentic Jordan Kicks,Jordan Kicks Salenorth face parka, I personally provide, you will love them almost immediately.
My media studies professor told us to take a series of photographs to visually illustrate how we use technology in our everyday lives. I decided to take snapshots of my dorm room from 5 different angles to show how "bare" my room is without my digital media technology and its supplementary devices.
Missing: ihome on windowsill, computer on lap, and cellphone on pillow
(without retouching) MODEL: Teresa N. PHOTOGRAFER: Frank Siepmann MAKEUP ARTIST: Katerina Lorencova STYLING: Denisa Kohoutova
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Garden
Link to Cincinnati Zoo..............Siamang
The Siamang inhabits the forest remnants of Sumatra Island and the Malay Peninsula, and is widely distributed from lowland forest to montane forest, even a rainforest. And can be found at altitudes of up to 3800 m [5]. The Siamang lives in groups of up to 6 individuals (4 individuals on average) with a home range 23 hectares on average.[6][7]. Their day ranges are substantially smaller than those of sympatric Hylobates species, often less than 1 km[8]. The Siamang's melodious choir singing breaks the forest's silence in the early morning after the Agile Gibbon or Lar Gibbon's calls. The Siamang in Sumatra and the Malay Peninsula are similar in appearance, but there are some differences in behaviour between the two populations.
Diet
The Siamang mainly eats various parts of plants. The Sumatran Siamang is more frugivorous than its Malayan cousin, with fruit making up to 60% of its diet. The Siamang eats at least 160 species of plants, from vines to woody plants. Its major food is figs (Ficus spp.), a member of Moraceae family.[7][9] The Siamang prefers to eat ripe fruit rather than unripe fruit, and young leaves rather than old leaves. It eats flowers and a few animals, mostly insects. When the Siamang eats large flowers, it will eat only the corolla (petal), but it will eat all parts of smaller flowers, with the small fruit collected in its hand before being consumed. When it eats big and hard seeds or seeds with sharp edge it will peel out the fruit flesh and throw away the seed.[9] Although its diet consists of substantial portions of fruit, it is the most folivorous of all members of Hylobatidae[10]. As it is also the largest gibbon, and thus fits well with the general primate dietary trend in which larger primates tend to be more folivorous.
Demography and population
A group of Siamang normally consist of an adult dominant male, an adult dominant female, with offspring, infant and sometimes a sub-adult. The sub-adult usually leaves the group after the age 6 to 8 years; sub-adult females tend to leave the group earlier than sub-adult males. Siamang males tend to offer more paternal care than other members of the family Hylobatidae, taking up a major role in carrying the infant after it is about 8 months old [12]. The infant typically returns to its mother to sleep and nurse. A study in relation to effect of habitat disturbance on the Siamang found that group composition is varied in age-sex structure between intact forest and post-burnt forest. The post-burnt population was more adult and sub-adults than the intact population. Post-burnt groups contain fewer infants, small juveniles and large juveniles compared to intact forest groups. Infant survival rates in post-burnt groups are lower than in intact forests. The number of individuals in intact forests is higher than in post-burnt forests.[7] The Siamang in disturbed forests live in small groups and have a density lower than in intact forests because of lack of food resources and trees for living.
In the 1980s, the Indonesian population of the Siamang in the wild was estimated to be 360,000 individuals.[13] This seems over-estimate today, as an example, Bukit Barisan Selatan National Park (BBSNP) is the third largest protected area (3,568 km²) in Sumatra, of which approximately 2,570 km² remains under forest cover inhabit by 22,390 siamangs (in 2002 censuses). According to two different research projects conducted in Sumatra, the Siamang prefer to inhabit lowland forest below between 500 m in altitude and over 1000 m above sea level.
Behavior
The Siamang tends to rest for more than 50% of its waking period (from dawn to dusk), followed by feeding, moving, foraging and social activities. It takes more rest during midday, taking time to groom each other or play. During resting time it usually uses a branch of a large tree lying on their back or on their stomach. Feeding behaviors, foraging, and moving are most often in the morning and after resting time.
In the dry season the length of the Siamang's daily range is longer than in the rainy season. The Siamang in southern Sumatra undertakes less foraging than the Siamang in other places because it eats more fruit and therefore consumes more nutrition, which results in less time needed for looking for food. Sometimes the Siamang will spend all of the day in one big fruiting tree, just moving out when it wants to rest and then coming back again to fruiting trees.
Role of calling
The Siamang starts its day by calling in the early morning and calls less after midday, with the peak of their calls around 9:00 am to 10:00 am. Most of the Siamang's calls are directed to its neighbours rather than to inside its home range. This means that the Siamang's calling is in response to disturbances and is to defend its territory. Calls in the late morning typically happen when it meets or sees another Siamang group. The edge of the Siamang's home range, which may overlap another, is often the places where calling is made. Counter-call (co-response calling) occasionally happens near the border or in the overlap area. Calls are numerous when fruit is more abundant rather than when fruit is less available. Branch shaking, swinging, and moving around the tree crowns accompany the calling. This movement might be to show the other groups where they are.
The Siamang prefers calling in the living, high and big trees, it might be the places where another group is easy to see. Beside that, living, big, and tall trees can support Siamang movement. Calling trees are usually near feeding trees but sometimes they call in the feeding trees.
Siamang and their habitat
As a frugivorous animal, the Siamang disperses seeds through defacation as it travels across its territory. The Siamang can carry seed and defecate over 300 m with the shortest distance being 47.6 m from the seed resource, which supports the forest regeneration and succession.
Threats to population
The Siamang, as an arboreal primate, absolutely depends on the forest for existence, needing trees for its living. At the moment, the Siamang is facing a population decrease due to habitat loss[6], poaching and hunting.
Habitat loss
A major threat to the Siamang is habitat loss due to plantation, forest fire, illegal logging, encroachment, and human development. Firstly, palm oil plantations have removed large areas of the Siamang's habitat in the last four decades. Since 2002 107,000 square kilometres of palm oil have been planted,[17] which has replaced much rainforest in Indonesia and Malaysia, where the Siamang originally used to live. Secondly, in the last two decades, forest fire destroyed more than 20,000 km² of Sumatran rainforest, mainly in the lowland area where most of the Siamang live. Thirdly, the rate of illegal logging in Indonesia increased from 1980 to 1995 and even more rapidly after the reformation era beginning in 1998.[17] These illegal activities devastated the remaining tropical rainforest especially in Sumatra. Fourthly, forest encroachments change forest cover into cultivated land, for example; the rising price of coffee in 1998 has been encouraging people in Sumatra to replace the forest with coffee plantation.[18] Fifthly, development in many areas needs infrastructure such as roads, which now divide a lot of conservation areas have been caused forest fragmentation and edge effects. Unfortunately, the Siamang as an arboreal primate faces difficulty because road establishment has disconnected their pathways.
Poaching and hunting
Unlike other parts of Asia, primates are not hunted for their meat in Indonesia (the exception is in Chinese restaurants in Indonesia which sometimes serve macaque on their menu). However, they are poached and hunted for the illegal pet trade, mostly for infant Siamang. Poachers kill the mothers because mother Siamang are highly protective of their infants. It is therefore very difficult to remove the infant without first killing the mother. Despite the fact that most Siamang on the market are infants many infants nevertheless die during transportation
Note________________________________________________________________
Well my grandson has left for work. He still lives here because he is in the Air Guard. He hopes to relocate to Colorado soon. My grandaughter is still sleeping but I have to get her up soon so she can have a nice breakfast before she has to catch a plane for back home. It sure was so nice to visit with her and I will miss her terribly once she's her for home. It sad that her family isn't still living here but I understand their desire to do this. New experiences in life are always fun even though there are downfalls like not living where your extended family is. I hope to get to Colorado in the fall. That will be a new experience for me plus I'll get to see the rest of my family that lives there. Anyway, everyone please have a very nice day and if you can try something new in your life even if its something right where you live. I'll try to catch up with you all later. Big Hugs!
Photos taken at the One Day Without Us rally at London's Parliament Square on Monday 20th February 2017.
Students from School Without Walls, a top-ranked magnet school in the Federal City, marching down 17th Street, NW back toward their school after concluding their protest at the White House.
Washington, DC / March 27, 2012
Ferrari Ownership Requirements 12/7/2020
To own a Ferrari would fulfill the fantasy of many car enthusiasts. The famous Italian automaker excels in delivering luxury sports cars that bear a signature and unique exterior without sacrificing performance. This is only half of what makes the cars special though.
Ferrari's culture separates the company from other automakers in huge ways, affecting both its owners and the workers behind these miraculous machines. Although the company is one of the most valuable, it cares about something more than just earning money: it’s about making special cars that offer a driving experience unlike any other. When examining the company and its owners, it’s clear they’ve achieved this milestone, even after all these years.
Owners have to go to great lengths if they want the latest and greatest cars Ferrari churns out. Employees have to follow rules and regulations if they want to uphold the most important thing to Ferrari—which is not about making cars, but the brand itself. Whether one is a Ferrari owner or an employee that works at their factory plant, everyone has to follow the "Ferrari code."
It’s because of these rules that the brand is exclusive and widely coveted among car gurus today. If someone wants to own a Ferrari, they’re going to have to play by the company’s rules. The same goes for employees if they want to work at, what Autoblog notes, a company that won the award for Best Place to Work in Europe for 2007. We’re going to take a look at known rules both owners and employees have to follow if they want to remain in the good graces of Ferrari.
--------------------------------------------------------------------------------------
20 - Owner Rule: Forced To Sign Contract Agreeing Not To Sell Car
People today become bombarded with agreements written in fine print. Most people don’t have the time or patience to read all that agreements detail though and decide to sign on the line regardless. According to Autoweek, Ferrari in the US makes their customers sign a contract upon purchasing a new vehicle.
In that agreement is a clause that prevents owners from reselling their car in the first year. The automaker makes buyers sign this in an attempt to discourage owners from flipping their cars. This is both a reminder to read the fine print and further demonstrates the automaker’s stringent protocol placed upon new owners.
19 - Employee Rule: Forbidden From Buying New Cars
Last September, Ferrari unveiled a pair of Roadsters long-time employees can appreciate. Even if the employees want the cars though and can afford them—tough luck. The Drive reports that the company makes their vehicles first and foremost available to the public.
One of Ferrari’s executives, Enrico Galliera, had this to say about employees getting second dibs on new cars: “The philosophy is that with such limited production and clients waiting so long to get their car, it's not nice if the car is delivered to employees.” The only exception to this rule are Scuderia Ferrari F1 drivers who can buy one from the company.
18 - Owner Rule: Leave The Logos Alone
Ferrari believes that as soon as their car rolls off the production line, it's perfect as is. There’s no shortage of Ferrari owners who feel differently though; here’s photographic proof of owners who took their Ferrari rides for granted. If Ferrari had it their way, they’d opt for owners to leave their iconic logos untouched.
According to Tech Dirt, the electronic DJ and artist Deadmau5 got in trouble for covering up his Ferrari logos with custom ones. His 458 Italia “Purrari” sports a blue vinyl wrap that has a Nyan cat painted on the side. It’s a move Ferrari supposedly issued a cease and desist order over.
17 - Employee Rule: Communicate On Their Terms
Ferrari has gone to extremes to sell cars before by tampering with some odometers on used cars, so it’s only natural they’d apply radical policies in the workplace as well. It appears that too many employees were reaching for the keyboard on too many occasions instead of opting for old fashioned face-to-face communication.
According to The Guardian, the executives at Ferrari advised their employees to “talk to each other more and write less.” Since it should be pretty easy for supervisors to monitor their employees’ computer activity, it's safe to assume workers adhere to this directive in order to stick around.
16 - Owner Rule: No Pink Ferraris
Ferrari isn’t fond of pink Ferraris. That’s what Executive Lifestyle reports, despite the company tolerating some customer paint jobs. The disapproval of pink came directly from Herbert Appleroth, the President and CEO of Ferrari Australia. “We do reject the exterior color pink,” Appleroth said, as per the same source.
He went on to say that Ferrari would never produce a pink car. Without a doubt, red is the most iconic color they wrap their cars in. At the same time, the company promotes the idea that no two Ferrari rides should be identical, they just wouldn't go so far as to stand out with a pink paint job.
15 - Employee Rule: No Discounts On Cars
Working for certain companies has its perks. For one, it allows employees to buy products made and sold by that company at a discounted rate. This luxury, however, is too generous to bestow upon Ferrari employees.
According to The Drive, should Scuderia Ferrari F1 drivers choose to purchase a personal Ferrari, they're required to pay full price for it. That puts them in an awkward position, considering it’d be hard to spot team members driving in anything else but a Ferrari; in a way, it forces their employees to invest back into the company without a price concession if they want to properly represent the brand.
14 - Owner Rule: Accept Ferrari’s Right To Buy Back Car
In an earlier entry, we noted that Ferrari in the US has made buyers sign a special contract. While that contract discouraged owners from selling their new Ferrari, it also adds another stipulation: the automaker can buy the vehicle back.
According to the site Car Keys, if someone wanted to get rid of their LaFerrari Aperta, it’s pursuant for Ferrari to purchase the vehicle back from the owner. It would appear that on the surface, Ferrari would rather the car go to someone who wants it instead of someone who doesn't. This is all part of that special contract owners may sign at the time of their purchase.
13 - Employee Rule: Sworn To Prevent Security Leaks
Whether someone is an actor in an upcoming Avengers movie or an employee at Apple, the bigwigs in charge want to keep details under lock and key—that includes any plot spoilers and future product releases. Ferrari is a similar company that’s always making new vehicles while wishing to work in secrecy.
To maintain a level of mystery, the whole operation depends on trustworthy employees. According to Kaspersky Lab Daily, something as simple as copying data to a USB drive has to go through an approval process. This in turn discourages employees from going routes that may lead to a security breach and exercises a higher level of caution.
12 - Owner Rule: Must Love The Ferrari Brand
The world is full of sides, clubs and camps. Those who are outside of them get picked on unless they join a team, while those inside a base pledge undying loyalty. Ferrari is no different. It’s more than just an automaker—it’s a special culture with its own philosophy, style and following.
As the site Car Guy points out, the company sifts through applicants and chooses who gets to buy certain models because they want to make sure their cars are properly taken care of. It’s a sure bet they’re going to pick someone who’s not just a Ferrari fan, but also lives and bleeds the brand.
11 - Employee Rule: Prohibited From Sending Certain Group Emails
Expanding further on an earlier point, Ferrari went to great lengths to crack down on employees emailing more instead of talking to each other. As a means to curb digital communication so that employees would talk to each other directly, they added terms to sending emails.
As per The Guardian, a spokesman for Ferrari said, “From now on, each Ferrari employee will only be able to send the same email to three people in-house.” This must have been a wake up call for employees at the time and discouraged them from falling into old habits of CCing everyone in the whole company on a single thread.
10 - Owner Rule: Buy Not One, Not Two, But Multiple Ferraris
Owning a Ferrari isn’t exactly enough to be a part of the club. As the site Car Guypoints out, it’s more suitable to own several Ferrari cars before one feels part of the bunch. That narrows down the list of potential owners to only a handful around the world with how much they cost.
Even older models are going up in value, as the 1964 Ferrari Prototype demonstrates. The same source points out that the most committed owners, at minimum, are the ones who upgrade their old Ferrari to a newer model. It’s not enough to purchase a one-off Ferrari and call it a day if someone wants to be a true fan.
9 - Employee Rule: Required To Wear Red And White Uniforms
An amusement park can make its employees wear costumes that match the park’s theme; a restaurant may have its employees wear a vest and bow tie; an office requires business casual attire. Ferrari is like most jobs, requiring its employees adhere to a dress code.
According to Freep, those on the manufacturing campus must wear red and white uniforms. They have the company’s iconic yellow logo stitched on, which unites all the employees under the same banner and purpose. There are plenty of people around the world who would love to wear these uniforms, but only a select number ever get to suit up in one.
8 - Owner Rule: Be Older Than 40
Despite Ferrari being one of the most famous car brands today, many people aren’t aware of its history or the automaker's philosophy. There are so many facts about the legendary automaker, we dedicated a whole piece to things most people don't know about Ferrari.
It’s not unusual for potential owners to go through a rigorous process that feels commensurate to a background check. According to the site Car Keys, automaker won’t hesitate to request a customer’s history of ownership for review. Even more, the same source suggests that Ferrari dealers are more likely to sell a car to a new owner who’s over the age of 40.
7 - Employee Rule: Formula 1 Team Must Win
When Scuderia Ferrari struggles, it affects the whole company. The site News.com.au reports that despite being the "most iconic team” in Formula 1 racing, Ferrari was unable to secure a Grand Prix win in 2016. The team only has one remedy when this happens: winning.
As F1-Fansite points out, they were able to bounce back in early 2017, with Vettel winning the first race and securing 5 race wins. The Formula 1 team not only represents the automaker but carries the pride of the entire brand. It’s important that they do well in order for the brand to continue thriving.
6 - Owner Rule: Treat Fellow Ferrari Owners Like Family
Buying a car from certain automakers, such as Tesla, Porsche or Ferrari, feels like joining a family. When someone purchases a Ferrari, they enter into a brotherhood and sisterhood alongside fellow owners. As the site the Car Guy notes, entering into the Ferrari fraternity means that owners help each other when the need arises.
This is one of those unspoken rules the automaker hopes and expects its customers will follow. Even outsiders who don’t own one may find it easy to support someone who does as an expression of their admiration towards the brand. Ferrari owners got to stick together.
5 - Employee Rule: Must Adopt The “Formula Uomo” Philosophy
The company not only cares about its customers, but its employees too. They recognize that these are the people that make it all possible. Autoblog reports that Ferrari launched a project called “Formula Uomo” in the 1990s which lays down many of the tenants employees live and breathe by.
The same source notes that this philosophy deals with the working conditions, one’s professional growth and personal benefits. Each individual is important and must embody these principles in order for the whole enterprise to work properly. As a Ferrari employee, “Formula Uomo” lays the groundwork for one’s success while working there.
4 - Owner Rule: Must Have Fame, Fortune And More
To own some of the world’s best supercars, all it takes is a lot of dough. If that wasn’t enough though, Ferrari raises the bar on what they expect from their owners. Part of what makes their cars so exclusive are the limited number they make. Take the LaFerrari for example, which Wired reports only 499 exist.
In order for their cars to get attention, they have to give them to owners who can not only afford them but put them in the spotlight. The same source notes that even high-profile buyers who applied for the vehicle weren't able to land one.
3 - Employee Rule: “Clients First”
Ferrari cares about its customers. The company doesn’t treat its clientele as a dollar sign—although they do get a lot of money for the cars they deliver—but instead seeks to make a bond with its owners. The company is like a father who’s entrusted his child with the keys to the treasured car.
They want to know their cars are in good hands, which is possible through respect. That’s why they make clients a priority. The Drive reports that Enrico Galliera, a Ferrari executive said, “It is clients first.” Behind those words is a whole company of employees who live by this aim.
2 - Owner Rule: Respect Ferrari’s Way Of Doing Things
No one likes obeying rules. If there’s a realm with enough rules as it is, it’s driving on the road. The last thing people want is more rules they have to follow as a car owner. Under the Ferrari umbrella though, there are lots of expectations one has to follow as an owner.
That means going with their unique way of doing things. The site Car Keys reports that the automaker’s politics, including their selection process for who they deem is eligible to purchase limited edition cars, is one such rule owners have to follow. It may not be easy to accept, but it’s part of playing the game.
1 - Employee Rule: Protect The Brand At All Times
Ferrari has managed to be an independent automaker over the years while still making loads of money. Part of what makes them so successful is the brand’s reputation, which is about making flawless cars that perform well.
One of the executives, Stefano Lai, as per Freep said, “My job ... is to protect the brand as much as possible.” This is a principal that trickles down to employees, affecting their conduct and the image they project in and out of the workplace. Many employees likely have the Ferrari logo on them throughout the day, making them an extension of the company wherever they go. That means they have to watch what they say and do since they represent the company’s image.
Sources: Autoblog , Tech Dirt , Wired , Executive Lifestyle , Car Guy , Car Keys , Autoweek , The Drive , Freep , The Guardian , Kaspersky Lab Daily , News.com.au , F1-Fansite.
www.hotcars.com/rules-ferrari-owners-must-follow-and-the-...
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…
www.glasgowinternational.org/index.php/events/view/nothin...
Without you,
The whole world seems desolated.
It’s like I am in a world without YOU …
© Copyright Nandakumar Gowraraju.
All my images and contents are All Rights Reserved. They should not be reproduced in any way, and unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me.Failing to do so will result in severe legal consequences as per Indian Copyrights Act, 1957.
"Without these creatures large and small, hairless and woolly, I believe we as humans would not completely understand and acknowledge the power and emotion of empathy. And it is to this end that Addison and I have written and illustrated this book: though they are imagined, every creature represents a real life animal that deserves our strength and devotion, our compassion and an unwavering championing of respect and a realization that they too matter." -Jennifer Weitman
Zoo! Creatures of Curiosity is a collection of aesthetically strange and unusual animals accompanied by prepostorous tales of origin. The project is a collaboration between an all-things-large-and-small animal loving vegan and an unapologetic carnivore with a conscience. Addison and Jennifer have created a bantam catalog of leviathanian proportions, whose goal is to inspire thought provoking conversations about the outrageous treatment of animals-both past and present. Without serious intervention into the destruction of wildlife habitats and continued experimentation on animals-wild and domestic-is a two-headed ostrich or a one-eyed Grizzly bear really that far off?
For More Information: www.idrawalot.com/
Watch The Book Video: www.idrawalot.com/
An anthology of drawings throughout the year 2009
"Karl Addison’s 2009 drawing and illustration collection bound in his new book IDRAWALOT-2009, is a meticulous work of genius. When skimming the collection’s surface, Addison’s unique vision of the world around him and his attention to every centimeter of space and the animals, vegetables, and minerals that occupy it, are apparent and delightful. Upon further exploration, delving deeper within the confines of such an unassuming book, Addison’s offbeat personality, at times heart breaking range of emotions, and the way in which he navigates time and space come to fruition in a way no work of its kind has achieved. Addison’s collection is funny, inspiring, thoughtful, and a must “not-read”. -Jennifer Weitman
For More Info:
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.
After walking along the River Thames, I jumped onto the tube and went to the Portobello Road/Notting Hill Road area to have a look around the Market.
Without further knowledge of the merger between the famous tool and chisel maker Erik Anton Berg and the Swedish tool giant Bahco it is hard to estimate the age of this chisel. But since this chisel features the modern tough plastic handle, the Bahco name but also the E.A. Berg shark and design, I would assume that the chisel was made rather soon after the merger. This one is almost original length. It has been resharpened by me and therefore lost a millimeter or so of it's length. The handle shows very little signs of use. Being a Bahco of this era (and possibly been produced in the Berg factory) we're still dealing with a high quality chisel made from some of the best tool steel ever made. Sheer quality.
Each day in Easter Week, the Diocese of Cork, Cloyne and Ross published a photograph without words to illustrate Easter and Holy Week 2020.
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.
Without the branch. Many, many thanks to Rob who very kindly performed great tree surgery using the powertool - Photoshop.
Strictly forbidden use this image without my permission. © All rights reserved.
Un poco de la UNAM en analógico y en 22mm...
Dentro de la explanada de Rectoría en C.U. (Ciudad Universitaria) perteneciente a la U.N.A.M. (Universidad Nacional Autónoma de México), una de las 70 mejores universidades a nivel mundial (y subiendo de nivel año con año), confluyen varios edificios importantes de esta Casa de Estudios entre los que destacan dos: la Torre de Rectoría y la Biblioteca de la UNAM.
Esta toma general es de la Biblioteca de la UNAM, decorada con los enormes murales del Maestro Juan O’Gorman (más de 4 mil metros cuadrados) realizados con millones de piedras de muy diversos colores recolectados a lo largo y ancho de este gran país.
El Campus de CU, es uno de los más grandes a nivel mundial por si mismo, es decir, sin contar los múltiples Campus pertenecientes a la UNAM y diversas instalaciones y centros de investigación a lo largo y ancho del país, dando albergue a más de 100 mil alumnos en total.
En la explanada y en muchas otras zonas podemos disfrutar de numerosos murales, algunos de los cuales cuentan con piezas incorporadas en tercera dimensión.
La construcción de su Campus, fue llevada a cabo por varios de los mejores arquitectos de México del siglo XX y por grandes artistas como Siqueiros, Francisco Eppens, Diego Rivera y el citado Juan O’Gorman
En 2007, su Campus central fue declarado como Patrimonio de la Humanidad por la UNESCO.
Cabe mencionar que la UNAM goza de plena autonomía y está más allá de toda intervención del Estado sobre ella.
Esto es de lo último que he hecho en carrete analógico, de hace unas 6 u 8 semanas, donde de forma un poco inesperada fuimos con los niños a invitación de mi hermano para volar cometas y algún avión a escala en la explanada de CU y pasar el día en este magnífico lugar, por lo que solo llevaba mi vieja Canon 630 y mi fiel Canon USM 22-55, cargada con película Kodak ProImage 100, ISO 100 y escogí hacer todas mis tomas en 22mm pues el lugar lo amerita realmente, escaneada en un minilab Frontier 2000 de Fujifilm; aunque el sol alto fastidió mucho fotográficamente hablando e hice lo mejor posible en la medición.
Despues exhibiré un acercamiento de la biblioteca
Strictly forbidden use this image without my permission. © All rights reserved.