Cultured Vandalism - Hip Hop & Graffiti documented and archived - The Blog. Escrito en la pared. Galerie des calligraphies de Hassan Massoudy خطوط حسن المسعود. Handstyle. SF0 / The Official Global GPS Cache Hunt Site. Lectrics. The Modern History. Graffiti artist Banksy unmasked ... as a former public schoolboy from middle-class suburbia. By Claudia Joseph for MailOnline Created: 13:38 GMT, 12 July 2008 He is perhaps the most famous, or infamous, artist alive.
To some a genius, to others a vandal. Always controversial, he inspires admiration and provokes outrage in equal measure. Since Banksy made his name with his trademark stencil-style 'guerrilla' art in public spaces - on walls in London, Brighton, Bristol and even on the West Bank barrier separating Israelis and Palestinians - his works have sold for hundreds of thousands of pounds. He has dozens of celebrity collectors including Brad Pitt, Angelina Jolie and Christina Aguilera.
Enlarge In the frame: The man in this photograph, taken in Jamaica four years ago, is believed to be Banksy He is also known for his headline-making stunts, such as leaving an inflatable doll dressed as a Guantanamo prisoner in Disneyland, California, and hanging a version of the Mona Lisa - but with a smiley face - in the Louvre, Paris. A network of myths has grown up around him. 'Tox' graffiti artist convicted of criminal damage | Art and design. To some he is an urban icon, a street artist dedicated to bombing his tag on more, and riskier, places than any other in the UK.
But Daniel Halpin – or Tox, "king of taggers" and scourge of London Underground's cleaning force – faces the possibility of prison walls as his only canvas after a jury decided his art was vandalism and convicted him of criminal damage. The 26-year-old, from Camden, north London, whose masked image and story of anarchism has featured on television documentaries and in magazines, was found guilty of a string of graffiti attacks across England after prosecutor Hugo Lodge told a jury: "He is no Banksy.
He doesn't have the artistic skills, so he has to get his tag up as much as possible. " "His statement is Tox, Tox, Tox, Tox, over and over again," said Flynn after the trial at Blackfriars crown court, in which he gave evidence as an expert witness. Cashing in on his notoriety, he is said to have made £9,000 in two hours by selling pictures with his Tox tag. Voces con futura. Immaterials: Light painting WiFi. The city is filled with an invisible landscape of networks that is becoming an interwoven part of daily life. WiFi networks and increasingly sophisticated mobile phones are starting to influence how urban environments are experienced and understood.
We want to explore and reveal what the immaterial terrain of WiFi looks like and how it relates to the city. Immaterials: light painting WiFi film by Timo Arnall, Jørn Knutsen and Einar Sneve Martinussen. This film is about investigating and contextualising WiFi networks through visualisation. It is made by Timo Arnall, Jørn Knutsen, Einar Sneve Martinussen. The film is a continuation of our explorations of intangible phenomena that have implications for design and effect how both products and cities are experienced. Matt Jones of BERG has summarised these phenomena as ‘Immaterials’, and uses sociality, data, time and radio as examples.
Investigating WiFi WiFi outside the Oslo School of Architecture and Design Material qualities of WiFi. Rosi – Le mani sulla città / Main basse sur la ville « (e)space & fiction-Mozilla Firefox. Movie title image. Image du titre du film. Copyright 1963 ARIES, 2005 Editions Montparnasse The Italian movies of 50s, 60s and 70s invented a new way to depict geography of Italy after second world war, especially urban landscapes.
By describing what was supposed to become the geography of the new Italy, as well as its new architecture, urbanism and land planning, the Italian filmmakers wanted to show future face of Italy, turning back to the past. Le cinéma italien des années 50 aux années 70 a inventé une nouvelle façon de mettre en images la géographie de l’Italie de l’après guerre, en particulier les paysages urbains. En mettant en scène ce qui était supposé devenir la géographie d’une nouvelle Italie, autant que sa nouvelle architecture, son nouvel urbanisme et son nouvel aménagement du territoire, les cinéastes italiens voulaient montrer le futur visage de l’Italie tournant le dos au passé.
English Français Reference English Sorry, no translation yet. Français Reference/Référence.