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For comparison, this is the north side of my room taken without my new fisheye lens.
Here's how it looks with the fisheye lens.
Nicholson Bridge
I couldnt visit home without taking a short 6 mile drive to visit the Nicholson Bridge. This is a very historic bridge.
Tunkhannock Viaduct (also known as the Nicholson Bridge) is a concrete deck arch bridge that spans the Tunkhannock Creek in Nicholson, Wyoming County, Pennsylvania in the United States. It was the largest[clarification needed] concrete bridge in the U.S. when it opened, and remained so even 50 years later.[2]
The bridge contains about 169,000 cubic yards (129,000 m3) of concrete and 1,240 short tons (1,120 t) of steel.[3][citation needed] It is 2,375 feet (724 m) long and 240 feet (73 m) tall when measured from the creek bed (300 feet (91 m) tall from the bedrock). The bridge was built as part of the Clark's Summit-Hallstead Cutoff, which was part of a project of the Lackawanna Railroad to revamp a winding and hilly system. This rerouting was built between Scranton, Pennsylvania and Binghamton, New York. All thirteen piers were excavated to bedrock, which was up to 138 feet (42 m) below ground level. Almost half of the bulk of the bridge is underground.
The bridge was built by the Delaware, Lackawanna and Western Railroad and was designed by Abraham Burton Cohen.[4] Construction on the bridge began in May 1912, and dedication took place on November 6, 1915.[5] It was listed on the National Register of Historic Places on April 11, 1977.[1] Today, the bridge is owned by the Canadian Pacific Railway and is used daily for regular through freight service, including those of the Norfolk Southern.
(From Wikipedia, the free encyclopedia)
BALTIMORE, July 7, 2012 – Baltimore Gas and Electric Company (BGE) today announced that it has made significant progress restoring the customers affected by outages since last Friday’s derecho storm. There are now fewer than 9,100 customers without power, representing less than 1 percent of the total customers who experienced outages. While the priority remains customers who have been out the longest, the company is also addressing the approximately 96,000 additional outages related to heat and subsequent thunderstorms since last Friday. With the additional outages, the impact of recent weather conditions can be compared to hurricane-like conditions -- Hurricane Irene in 2011 resulted in almost 750,000 outages.
“We know we have customers who have been without power for several days and truly understand what a strain this is. We cannot and will not rest until we have restored their power,” said Jeannette Mills, vice president and chief customer officer for BGE. “Crews continue to work in the extreme heat and difficult conditions to restore power and we are grateful for the support our customers are giving them when they see them at work in their neighborhoods.”
Along with BGE’s 2,900 personnel, more than 1,800 out-of-state utility workers have now joined the restoration effort, bringing the total field storm response team to 4,700. There are approximately 2,500 utility vehicles involved in the restoration effort, supporting the work to repair lines and equipment to ultimately restore the remaining customers without power.
Preliminary reports estimate hundreds of thousands of pieces of equipment have left BGE’s warehouses to repair the company’s 9,406 circuit miles of overhead distribution lines and 244 substations where necessary. Crews are currently using thousands of utility vehicles to transport and utilize these materials, including wire, wire connectors, utility poles, cross arms, transformers and fuses throughout nine counties in central Maryland and Baltimore City.
“We want to remind customers that if their neighbors have all been restored and they are still without power, please call 1-877-778-2222 to let us know,” said Mills. “There may be an additional issue that we need to repair; calling BGE in these situations is the best way to make sure we are aware of it.”
Customers are also asked to take safety precautions as extreme temperatures are expected to continue throughout the region for the remainder of the weekend. Any customer without power should consider visiting one of the several cooling centers located throughout the state. More information regarding specific locations is available on the Maryland Emergency Management Agency’s (MEMA) website and on bge.com. In addition, customers should check on any neighbors who do not have power, especially the elderly, families with infants and children and people with chronic medical conditions that make them more susceptible to heat stress. All customers should continue to avoid contact with any downed wires and report them immediately by calling.
BGE remains committed to updating its website with the general locations of the daily restoration work. For further details regarding BGE’s restoration progress, as well as more information on heat safety and storm preparation, visit bge.com, Twitter, YouTube, Facebook and Flickr.
As a reminder, BGE customers who may be elderly, handicapped or dependent on electricity for medical equipment, should always have alternate arrangements in place should they experience an extended power outage. Customers using a generator should follow manufacturer instructions and be sure to locate generators in well-ventilated areas.
BGE, headquartered in Baltimore, is Maryland’s largest gas and electric utility, delivering power to more than 1.2 million electric customers and more than 650,000 natural gas customers in central Maryland. The company’s approximately 3,400 employees are committed to the safe and reliable delivery of gas and electricity, as well as enhanced energy management, conservation, environmental stewardship and community assistance. BGE is a subsidiary of Exelon Corporation (NYSE: EXC), the nation’s leading competitive energy provider with approximately $33 billion in annual revenues. Like us on Facebook and follow us on Twitter, YouTube and Flickr.
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Water. Without its many forms we would not exist. Its power amazes me. I am grafetful to hear the music of a waterfall. I am grateful to taste is thirst quenching coolness on a warm day. I am grateful to feel a fall mist on my face like an artist brush because it is then when I feel most a part of lifes canvas.
www.youtube.com/watch?v=I5NyLqv0_w8 High Water - Rush
Have a listen. You will enjoy.
Without the background noise.
Event Designer Fashion Circle
Jewelry by Debbie
Clothing Design by Mystique (Sudha Muthu)
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On the History of the Giant Ferris Wheel:
The wheel turns also without the Steiners
The Ferris wheel was in 1896 planned by the British engineers Walter B. Basset and Harry Hitchins and built with 30 gondolas on a land leased by Gabor Steiner, the actual "Father of the Ferris wheel," on the Prater grounds. Executive chief engineer was Hubert Cecil Booth.
On June 25, 1897, the Wheel was first set in motion, however, it only turned half revolution so that the upper part could be brought down and there fully assembled. It was opened in 1897, a year before the celebration of the 50th jubilee of Emperor Franz Joseph I. The official opening of the Ferris wheel was made on 3 July 1897, a hot summer day when the Viennese people the Prater site visited in large numbers. Very few, however, are likely to have been able to procure the eight guilders which at that time cost a ride on the Ferris wheel (an official at the time earned 30 guilders per month).
During the First World War, in 1916,the British owner of the Ferris wheel, Walter Basset, was expropriated and the attraction put up for auction. But there were no prospects, so the attraction remained in the possession of the city of Vienna which a prospective purchaser immediately gave a demolition permit.
Fig.: The Heroes' Square 1938 while Adolf Hitler proclaimed the "annexation" of Austria to Germany. See also video: tugraz.at/aeiou.film.mpg.
After the war and after the proclamation of the Republic of Austria, the Prater should be entertainment center again. In 1919 decided Eduard Steiner, just a namesake, not a relative of the landowner Gabor Steiner, to buy the complex. He had originally planned to dismantle the Ferris wheel, but then opted for the lease.
After the German invasion and the "annexation" of Austria to the "Great German Reich", the Giant Ferris Wheel in 1938 along with the entire property of Edward and Gabor Steiner was aryanized by the Nazis. During World War II the Giant Ferris Wheel was destroyed almost entirely by fire and bombs. 1944 it burned out. 1944 died also Gabor Steiner in Beverly Hills where he was able to escape from Nazi persecution. Eduard Steiner, the last legitimate owner before linearization, was deported and probably also in 1944 murdered in Auschwitz.
Because of fire damage only 15 of the 30 wagons were hooked again. The Ferris wheel with 15 wagons became a symbol of reconstruction.
Since 2002 is located at the Ferris wheel an exhibition hall called a "Panorama Museum" with eight replicas of wagons in which the history of the Vienna Prater is shown. Hardly mentioned is the history of the linearization and the fate of the Steiners. On the official website wienerriesenrad.com, opens, after all, though only after detours and a second click under the heading Panorama a popup where you can find out that the "price of the already in 1918 requested annexation" was high:
... "The Jewish community of Austria is almost completely destroyed, Gypsies, political opponents of the Nazis and loyal to the state Austrians are killed in Mauthausen concentration camp. It is the darkest hour of Austria.
The Ferris wheel is now in line with Nazi policy, without compensation to his previous owner, Eduard Steiner, taken away from him who was murdered in 1944 in the concentration camp, aryanized and managed by an NS Panel.
In the sixth year of the Nazi regime in Vienna the Giant Ferris Wheel burns out; a fire, which was felt by many Austrians as symbolic. After the demise of Austria and the murder and kidnapping of many of its inhabitants now even a symbol of Vienna threatened to perish "...
A text that is probably considered a success of 2005 by artist Martin Krenn designed action.
Zur Geschichte des Wiener Riesenrads:
Das Rad dreht sich auch ohne die Steiners
Das Riesenrad wurde 1896 von den englischen Ingenieuren Walter B. Basset und Harry Hitchins geplant und mit 30 Gondeln auf einem von Gabor Steiner, dem eigentlichen "Vater des Riesenrades", gepachteten Grundstück auf dem Prater-Gelände errichtet. Ausführender Chefkonstrukteur war Hubert Cecil Booth.
Am 25. Juni 1897 wurde das Rad erstmals in Bewegung gesetzt, allerdings führte es nur eine halbe Umdrehung aus, damit der obere Teil nach unten gebracht und fertig montiert werden konnte. Eröffnet wurde es 1897, ein Jahr vor der Feier des 50. Thronjubiläums Kaiser Franz Josephs I. Die offizielle Einweihung des Riesenrads erfolgte am 3. Juli 1897, einem heißen Sommertag, an dem die Wiener das Prater-Gelände in großer Zahl besuchten. Nur die wenigsten dürften allerdings in der Lage gewesen sein, die acht Gulden aufzubringen, die damals eine Fahrt mit dem Riesenrad kostete (ein Beamter verdiente damals 30 Gulden im Monat).
Während des Ersten Weltkrieges, im Jahre 1916, wurde der britische Eigentümer des Riesenrades, Walter Basset, enteignet und die Attraktion zur Versteigerung ausgeschrieben. Es fanden sich aber keine Interessenten, so dass die Attraktion im Besitz der Stadt Wien verblieb, die einem potentiellen Käufer gleich eine Abrissgenehmigung erteilte.
Abb.: Der Wiener Heldenplatz 1938, während Adolf Hitler den "Anschluss" Österreichs an Deutschland verkündet. Siehe auch Video: tugraz.at/aeiou.film.mpg.
Nach Kriegsende und nach Ausrufung der Republik Österreich sollte der Prater wieder Vergnügungszentrum werden. Im Jahre 1919 entschloss sich Eduard Steiner, nur ein Namensvetter, kein Verwandter des Grundstücksbesitzers Gabor Steiner, zum Kauf der Anlage. Ursprünglich hatte er geplant das Riesenrad abbauen zu lassen, entschied sich dann aber für die Verpachtung.
Nach dem Einmarsch der Deutschen und dem "Anschluss" Österreichs an das "Grossdeutsche Reich", wurde das Wiener Riesenrad 1938, zusammen mit dem gesamten Eigentum des Eduard als auch des Gabor Steiner von den Nationalsozialisten arisiert. Im Zweiten Weltkrieg wurde das Wiener Riesenrad durch Feuer und Bomben fast gänzlich vernichtet. 1944 brannte es aus, 1944 starb auch Gabor Steiner in Beverly Hills, wohin er sich vor der NS-Verfolgung hatte retten können. Eduard Steiner, der letzte rechtmäßige Besitzer vor der Arisierung, wurde deportiert und, vermutlich ebenfalls 1944, im KZ Auschwitz ermordet.
Wegen der Brandschäden wurden nur noch 15 der 30 Waggons wieder eingehängt. Das Riesenrad mit 15 Waggons wurde ein Symbol des Wiederaufbaus.
Seit 2002 befindet sich beim Riesenrad eine "Panoramamuseum" genannte Ausstellungshalle mit acht nachgebauten Waggons, in denen die Geschichte des Wiener Praters dargestellt wird. Kaum erwähnt wird die Geschichte der Arisierung und das Schicksal der Steiners. Auf der offiziellen Website wienerriesenrad.com, öffnet sich immerhin, zwar erst nach Umwegen und einem zweiten Klick unter der Überschrift Panorama, ein PopUp auf dem man erfahren kann, dass der "Preis für den, bereits 1918 geforderten Anschluss" hoch war:
..."Die jüdische Gemeinde Österreichs wird nahezu vollständig vernichtet, Zigeuner, politische Gegner der Nazis und staatstreue Österreicher werden im KZ Mauthausen ermordet. Es ist die dunkelste Stunde Österreichs.
Das Riesenrad wird nun, im Sinne der NS-Politik, entschädigungslos seinem Vorbesitzer Eduard Steiner, der 1944 im KZ ermordet wurde, arisiert und von einem NS-Gremium verwaltet.
Im sechsten Jahr der NS-Herrschaft in Wien brennt das Wiener Riesenrad aus; - ein Brand, welcher von vielen Österreichern als symbolisch empfunden wurde. Nach dem Untergang Österreichs und der Ermordung und Verschleppung vieler seiner Einwohner drohte nun auch noch ein Symbol Wiens unterzugehen.."...
Ein Text, der wohl als Erfolg einer 2005 vom Künstler Martin Krenn entworfenen Aktion zu werten ist.
Même le toilette, dans la cour, est "plus" que chez les autres (mais toujours pas d'eau courant)
Romania, Transilvania, in a small village where there is no water in most of the houses inside. I took two young people wanting to go to the town with me and went together, in the way to visit his grand-parents. One of them had the same, but as I used to see them without decoration, the other was this. New and old, combined!
And proud, they are not like the others!
I was feeling bad, so had to go and try them out, that was the last place I expected to see a Harry Potter affiche! So the world is not so big after all...
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Portuguese
O templo romano de Évora está localizado na cidade de Évora, em Portugal; faz parte do centro histórico da cidade, o qual foi classificado como Patrimônio Mundial pela UNESCO. O templo romano encontra-se classificado como Monumento Nacional pelo IGESPAR. É um dos mais famosos marcos da cidade, e um símbolo da presença romana em território português.
Localizado na freguesia da Sé e São Pedro, no Largo Conde de Vila Flor, encontra-se rodeado pela Sé de Évora, pelo Tribunal da Inquisição, pela Igreja e Convento dos Lóios, pela Biblioteca Pública de Évora e pelo Museu.
Embora o templo romano de Évora seja frequentemente chamado de Templo de Diana, sabe-se que a associação com a deusa romana da caça originou-se de uma lenda criada no século XVII. Na realidade, o templo provavelmente foi construído em homenagem ao imperador Augusto, que era venerado como um deus durante e após seu reinado. O templo foi construído no século I d.C. na praça principal (fórum) de Évora - então chamada de Liberatias Iulia - e modificado nos séculos II e III. Évora foi invadida pelos povos germânicos no século V, e foi nesta época em que o templo foi destruído; hoje em dia, suas ruínas são os únicos vestígios do fórum romano na cidade.
As ruínas do templo foram incorporadas a uma torre do Castelo de Évora durante a Idade Média. A sua base, colunas e arquitraves continuaram incrustadas nas paredes do prédio medieval, e o templo (transformado em torre) foi usado como um açougue do século XIV até 1836. Esta utilização da estrutura do templo ajudou a preservar seus restos de uma maior destruição. Finalmente, depois de 1871, as adições medievais foram removidas, e o trabalho de restauração foi coordenado pelo arquiteto italiano Giuseppe Cinatti.
O templo original provavelmente era similar à Maison Carrée de Nîmes (França). O templo de Évora ainda está com sua base completa (o pódio), feito de blocos de granito de formato tanto regular como irregular. O formato da base é retangular, e mede 15m x 25m x 3.5m de altura. O lado sul da base costumava ter uma escadaria, agora em ruínas.
O pórtico do templo, que não existe mais, era originalmente um hexastilo. Um total de catorze colunas de granito ainda estão de pé no lado norte (traseiro) da base; muitas das colunas ainda têm seus capitéis em estilo coríntio sustentando a arquitrave. Os capitéis e as bases das colunas são feitos de mármore branco de Estremoz, enquanto as colunas e a arquitrave são feitas de granito. Escavações recentes indicam que o templo era cercado por um espelho de água.
English
The Roman Temple of Évora (Portuguese: Templo romano de Évora), also referred to as the Templo de Diana (albeit wrongly, after Diana, the ancient Roman goddess of the moon, the hunt, and chastity) is an ancient temple in the Portuguese city of Évora (civil parish of Sé e São Pedro). The temple is part of the historical centre of the city, which was included in the classification by UNESCO as a World Heritage Site. it represents one of the most significant landmarks relating to the Roman and Lusitania civilizations of Évora, in Portuguese territory.
Wikipedia
The fragrance of flowers spreads only in the direction of the wind. But the goodness of a person spreads in all direction.
~Chanakya
Photo with and without quote. Some like quotes on the photo others not so much. Choose your favorite. Have a great day Flickr friends and may the direction of gentle breezes bring you contentment in your life.
Without a partner, new Parasol Player Daphne applies her martial artistry with two umbrellas, proving that they are just as effective a pair of weapons
Created on the 6:45 am train to work (Thursday, May 21) and over breakfast at Goddess and the Baker before work (Friday, May 22)
Prismacolor Premier watercolor colored pencils, Prismacolor Ebony graphite drawing pencil, a ballpoint pen, and a Paper Mate Profile Elite black gel pen
Blick Studios acid-free drawing pad
9 x 12
2015
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Good hoppers, but I prefer Indian-style curries without the extra umami from Maldive fish (umbalakada) in eveything.
Curry & Chips
03 9802 3732
250 Blackburn Rd, Glen Waverley, VIC 3149
Reviews:
Taken with a vivitar 55mm f2.8 lens. Had to bump up iso to 200 as it got a little cloudy but was boilng outside so i was able to get a good close up without the need for flash. Sharpend in CS3 and thats all.
I could tell without even looking that our old Boy was really hungry today – he came marching over with determined step, and I quickly put a pan down, meaning to add his food and water. Fat chance! He was SO intent on getting at the food, he plunked his right foot in the empty pan and extended his neck with bionic bill chomping in mid-air, reaching for whatever might be handy.
He’s almost 21 and a bit arthritic, so I didn’t like to lift his foot up from the pan –just left it firmly anchored there, and filled a second pan to put in front of it which he promptly lit into with glee.
It was so funny to see him with his foot in that pan the whole time he ate. He was such a happy fellow as he tucked into dinner in the chill winter air.
Please don't use this image without my explicit permission.
© All rights reserved Andrea Marton
Tanto tempo fa nella zona dove c'è oggi il lago di Anterselva si trovavano 3 masi, i cui abitanti erano molto duri di cuore contro i poveri.
C’era un contadino tanto avaro che avrebbe preferito non dar da mangiare nemmeno a sua moglie. Questo contadino abitava in un bel maso in fondo alla valle di Anterselva.
Un giorno, durante la sagra del paese, venne un vecchio mendicante e chiese ai contadini l'elemosina, aveva percorso un sentiero faticoso e sassoso ed ora chiedeva un posto per dormire e qualcosa da mangiare, i ricchi contadini gli diedero solo pane ammuffito.
Allora il poveretto dovette rimettersi in cammino per raggiungere il fondo valle ancora lontano. Ma prima di allontanarsi gridò:
- "Vedrete che verrà brutto tempo; pioverà e la pioggia scenderà così abbondante che ne avrete abbastanza per tutta la tua vita! Inoltre, state attenti, fra qualche giorno nascerà una sorgente dietro la vostra casa e poi vedrete quello che succederà."
La gente non diede retta alle parole del mendicante e per tre giorni non successe niente.
Il quarto però nacque una sorgente dietro ogni casa; le sorgenti si ingrandirono sempre di più fino a sommergere i masi degli avari contadini, infine il cielo si oscurò, i fulmini caddero sulla valle e i tuoni rimbombarono dalle pareti della Croda Rossa a Collalto, tanto che i contadini non riuscivano a sentire nemmeno le proprie parole.
Dalle pendici si staccarono enormi masse di terra che sbarrarono la valle proprio sotto il maso. Siccome il torrente si era ingrossato a causa delle piogge copiose e dalle fontane sgorgava ininterrottamente acqua, si formò nel giro di poche ore un lago, che inondò e sommerse i masi dei ricchi contadini, arrivando ad una altezza di quasi 40 metri, dando vita al lago di Anterselva
Petra, Jordan
© 2018 Ryszard Domański, Please do not use without my permission.
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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!
Graffiti is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
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...
So, impossible as they may seem
You've got to fight for every dream
Cos who's to know which one you let go
Would have made you complete...
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