Banksy outed by researchers who used serial killer tracking | Fusion Banksy is one of the world’s most famous artists, but amazingly, he’s been able to keep his real identity something of a mystery. On Thursday, though, a group of criminologists announced that they used a technique called “geographical profiling” to identify the famous graffiti artist. The researchers, who published a paper about their work in the Journal of Spacial Science, mapped the latitudes and longitudes of 140 of Banksy’s works in England. The researchers' statistical models The researchers employed a cheat though. Lo and behold, the addresses matched the researchers’ hotspots. And the researchers admitted it: “With no other serious ‘suspects’ to investigate, it is difficult to make conclusive statements about Banksy’s identity based on the analysis presented here, other than saying the peaks of the geoprofiles in both Bristol and London include addresses known to be associated with Robin Gunningham,” they write.
'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. As he was remanded in custody for sentencing, his artistic merit was further questioned by the reformed guerilla graffiti artist turned establishment darling Ben "Eine" Flynn, whose work was presented to the US president, Barack Obama, by the prime minister, David Cameron, last year. "Now, there is less time to do something nice.
The unofficial guide to installing iTunes 10 without bloatware One of the most popular posts I wrote in 2008 was a set of step-by-step instructions to help you do what Apple doesn't want you to do with iTunes for Windows (see Slimming down the bloated iTunes installer). Now that iTunes 10 has been released, it's apparent that nothing has changed in Cupertino. Apple still gives its customers a monolithic iTunes setup program with absolutely no options to pick and choose based on your specific needs. Why is that important? When you run the iTunes setup program, it unpacks six Windows Installer packages and a master setup program, which then installs nearly 300MB of program and support files, a kernel-mode CD/DVD-burning driver, multiple system services, and a bunch of browser plugins. And you wonder why I dislike iTunes with a passion that burns like the fire of a thousand suns? That's where this post comes in. To get started, you need a copy of the iTunes Windows installer, which comes in x86 and x64 versions and is available via this download page.
Disputed Banksy Mural Sells for More Than $1.1 Million A mural by Banksy which divided the art world after being removed from a London street sold last night at a private event in London for more than 750,000 pounds ($1.1 million), according to the event organizers. The 2012 spray painting “Slave Labour,” showing a boy making Union Jack bunting with a sewing machine, was being shown by the Sincura Group, a concierge company, at a members-only event in the basement of the London Film Museum in the Covent Garden area of the U.K. capital. The work’s sale, earlier planned for an auction in Florida, enraged street art enthusiasts who argue that Banksy murals are gifts to communities and should remain in situ. Others point out that unsolicited graffiti becomes the property of the building owners, who are legally entitled to do what they want with them. Prospective buyers had been invited to make offers for the painting of more than 900,000 pounds in a 3½-hour silent auction that closed at 9:30 p.m. Miami Sale Pest Control Owners Named
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. Investigating WiFi In order to study the spatial and material qualities of wireless networks, we built a WiFi measuring rod that visualises WiFi signal strength as a bar of lights. WiFi outside the Oslo School of Architecture and Design The measuring rod is inspired by the poles land surveyors use to map and describe the physical landscape. Walking with the WiFi measuring rod. The dashed lines makes it possible to see through the graphs.. Conclusions
md5.rednoize.com - reverse engineer md5 hashes - powered by rednoize.com Le taggeur Banksy défie les autorités londoniennes - LeJournaldesArts.fr - 26 juillet 2012 Abonnements sans engagement de durée (Abonnement à durée libre au JournaldesArts.fr) (Abonnement à durée libre à L’oeil et au JournaldesArts.fr) (Abonnement à durée libre au Journal des Arts et au JournaldesArts.fr) (Abonnement à durée libre au Journal des Arts, au JournaldesArts.fr et à L’oeil) Abonnements d'une durée de six mois Cette offre n'est pas disponible Abonnements d'une durée d'un an (12 mois d’accès au JournaldesArts.fr) Vous accédez librement et en permanence pendant 1 an à toutes les archives de L’œil et du Journal des Arts depuis 1994 ainsi qu’à l’actualité quotidienne du JournaldesArts.fr. (12 mois d’accès au JournaldesArts.fr + 11 numéros de L’oeil) Vous recevez tous les mois (sauf en août) votre revue + vous accédez à la totalité des archives et articles quotidiens du JournaldesArts.fr, pendant 1 an tout en réalisant une économie de près de 67 € (12 mois d’accès au JournaldesArts.fr + 22 n° du Journal des Arts) Abonnements d'une durée de deux ans (Abonnement à durée libre à L’Oeil)
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. 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. English Français Reference English Sorry, no translation yet. Français "Main basse sur la ville" (Le mani sulla città), produit et réalisé en 1963 par Francesco Rosi, est un film intéressant à voir comme un film d’archives sur l’aménagement du territoire et l’urbanisme de l’Italie des années 60 mais aussi comme une mise en scène originale d’images géographiques. Sous l’impulsion de l’entrepreneur Nottola, la municipalité de Naples transforme des terrains agricoles en terrains constructibles. A hand put over the town plan as a symbol of land control. Reference/Référence Like this:
Selling OEM Windows copies – you can do it in Europe | The Register High performance access to file storage Our recent piece on Microsoft's interesting claim (now withdrawn*) that it's a legal requirement that a preinstalled operating system system remain with a machine for the life of the machine prompted a contribution on a related matter from Andrew Katz of Moorcrofts Corporate Law, who argues in some detail that under European law Microsoft has no right to stop you selling on any copy of Windows, including preinstalled versions. This is not what the licence agreement says, of course, and it's probably not what Microsoft's lawyers are going to say when you meet them in court. So if anybody wants to be a test case, please note Andrew's disclaimer towards the end of this piece. In Europe, subsequent sale of computer programs is governed by the 1991 Computer Software Directive, the relevant text of which is: Remember I mentioned "purposive" above. "Purposive" means that the directive must be interpreted in a way which is consistent with its purpose.
Banksy Is a Control Freak. But He Can’t Control His Legacy. These strategies of remote control also extend to Banksy’s dealings with the news media, whose publicity oxygenates his fame and mystique, but whose enquiries can be an irritant. The artist does not communicate directly with journalists, but only through a single press spokeswoman, Joanna Brooks, who declined to answer questions for this article. Ms. Brooks said that Banksy would respond if publication were delayed until March, when the artist would make a significant announcement. Posts on Banksy’s Instagram account (7.1 million followers) are all the more impactful for being so occasional. This cycle of surprise announcements keeps Banksy in the public eye, but will it ever result in works hanging on the walls of the world’s most important museums? The curator and critic Francesco Bonami, who selected works for the 2010 Whitney Biennial, is not surprised. What Banksy does is more like an advertising campaign than art, Mr.
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new-banksy-monopoly-sculpture-for-occupy-london from mymodernmet.com Though we hadn't heard from elusive street artist Banksy in a little while, it should come as no surprise that his latest piece would be for the "Occupy" movement. Popping up at St. Paul’s Cathedral for Occupy London, this brand new sculpture features a panhandling Rich “Uncle” Pennybags on a make-believe Monopoly board. Did anyone notice the graffiti and TOX shoutout on the red hotel? via [TheWorldBestEver], [TheDailyWhat], [ArrestedMotion] First photo via [Jason Reeve], Rest via [Demotix] Escrito en la pared