Tuesday, March 31, 2009
the theory on cradle to cradle is a new way to think about caring for our environment. it it questions things such as recycling ,driving hybrid cars, etc. which are known as cradle to grave methods. these methods are better then just leaving your trash out on the street but are still not as good as cradle to cradle methods
This figure shows cradle to cradles use to optimize the design to create something environmentally friendly and socially beneficial. Which is perfect use of the cradle to cradle theorem.
This image shows the product being totally re used to make the same product to save it from adding to landfill. Which is an important factor in todays consumerist capitalist society.
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Cradle to Cradle - Wikipedia, the free encyclopedia
Cradle To Cradle: Remaking the Way We Make Things
Cradle to Cradle: Sustain by Design : StevenClark.com.au
Cradle to Cradle: Rethinking Sustainability
Life cycle assessment - Wikipedia, the free encyclopedia
From Cradle to Grave: Waste Management for Conservators
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MBDC: Cradle to Cradle Design
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Cradle-to-grave is how products impact natural systems. It is the full Life Cycle Assessment from manufacture ('cradle') to use phase and disposal phase ('grave'). For example, trees produce paper, which is recycled into low-energy production cellulose (fiberised paper) insulation, then used as an energy-saving device in the ceiling of a home for 40 years, saving 2,000 times the fossil-fuel energy used in its production. After 40 years the cellulose fibers are replaced and the old fibres are disposed of, possibly incinerated. All inputs and outputs are considered for all the phases of the life cycle.
Rather than seeing materials as a waste management problem, as in the cradle-to-grave system, cradle-to-cradle design is based on the closed-loop nutrient cycles of nature, in which there is no waste. Just like nature, the cradle-to-cradle design seeks, from the start, to create buildings, communities and systems that generate wholly positive effects on human and environmental health. Not less waste and fewer negative effects, but more positive effects of regeneration, seed, growth, plant, product, "upcycle" and/or seed, growth, plant, product etc etc. One organism's waste is food for another, and nutrients and energy flow perpetually in closed-loop cycles of growth, decay and rebirth. Waste equals food.
This thinking was developed and popularized by architect William McDonough and chemist Michael Braungart in their 2002 book, Cradle to Cradle: Remaking the Way We Make Things.
Cradle-to-cradle design also makes extraordinarily good sense economically and socially. This is especially visible in the workplace. When designs for large-scale factories and offices are modeled on nature's effectiveness, they generate delightful, productive places for people to work. This not only encourages a strong sense of community and cooperation, it also allows efficiency and cost-effectiveness to serve a larger purpose.
G r a f f i t i a r t i s t s :Definition: A person who paints graffiti in public places, especially one who specializes in high-quality work rather than vandalism.
These men and woman spend many hours perfecting their art and take it very seriously. It is a almost like a trademark style that they eventually get recognized for using a tag n
Social commentators create a message through their art works. Creating strong messages they can hopefully get their personal points across to the public and make people think about the problems of society.P r o p a g a n d a a r t i s t s :
Definition: Information that is spread for the purpose of promoting some cause
By focusing on an issue these artists can create meaningful and special artworks getting into the minds of the public viewers to get their point across.
V a n d a l s :
Definition: Someone who willfully destroys or defaces property
These are the people that give the artists a bad name and create a stereotype for them that is unfair creating problems for the artists to prove themselves to society as artists and not vandals.
The term PAGAN refers broadly to a wide variety of religions outside the Abrahamic monotheistic group of Judaism, Christianity, and Islam.
Spiritual belief ranges from polytheism (belief in more than one god), to animism (belief of spirit in all things).
Since the late 20th Century modern scholars have begun to apply the term to three separate groups of faiths: Historical Polytheism (such as Celtic polytheism and Norse paganism), Folk/ethnic/Indigenous religions (such as Chinese folk religion and African traditional religion), and Neo-paganism (such as Wicca and Germanic Neopaganism).
Thus the designs used by the followers of Pagan religions are based on ancient magical symbols, gods & goddesses, natural objects and forces of nature, eg. the Green Man, the Tree of Life, .
A common Pagan “badge” is the Pentacle – a five-pointed star used in magical evocation. Each of the five angles represent the five metaphysical elements of the ancients: earth, fire, water, air, spirit. The Circle around the star represents the God-Goddess. The origins of the pentagram go as far back as pre-Babylonian Sumer. In ancient Greece, Pythagoras (586 - 506 BCE) established a school that pursued knowledge in mathematics and other specialties; his followers used the pentagram as a secret sign to identify themselves to each other.
LDPE plastic good for mixing with virgin materials to make a natural clear coloring bags
Thursday, March 26, 2009
If every single person and creature on our planet was happy, healthy, content and satisfied, would there be graffiti? Is street art inherently an act of rebellion and mutiny of the displeased and disaffected? Is tagging a form of literal self-affirmation? - the writing of one's name over and over: "I exist..I exist..I exist..?"
Or are the streets simply an alternative canvas?
Graffiti comes from ancient words, simply meaning, 'to make a mark' [on something], 'a little scratch.' Ancient examples of etchings and marks can be found on the surface of rocks and pottery. (Collins English Dictionary 1995) It follows then that graffiti is about intent.
Take time to observe the style, ponder the intent and motive behind the expression of each individual piece.
Arthur Stace, writer of 'Eternity,'up to 50 times a day on the
streets and walls of Sydney. (Photo Trevor Dallen, Fairfax Photos)
'Eternity' was written in a copperplate script, apparently after Arthur Stace came out of a fire-and-brimstone sermon one Sydney night. The preacher had been speaking of eternity, and Arthur is reported as saying the word rang out over and over in his head. He had a piece of chalk in his pocket, and he wrote the word in the beautiful, iconic cursive style seen thousands of times on the streets and walls of Sydney for many years. It has been described as a one-word sermon. The font and the ephemeral media of chalk or crayon he used combines to create a powerful symbol. So powerful in fact during the millenium celebrations of 2000 'Eternity' was emblazened in giant size across the Sydney Harbour Bridge. (Image below)
However in December 2008 the NSW Graffiti Control Act (The Act) received Royal Assent and was passed. It included laws making it illegal to possess such items as marker pens, among other things, unless you could prove it was going to be used for law-abiding purposes. If the marker pen was invented and used during the years of the Great Depression, not the 1960s, perhaps 'Eternity' would have been perceived in a more negative light. Certainly in today's climate, if Arthur Stace was roaming the streets and a cop asked this street writer to empty his pockets, he would be found in criminal possession of a marker pen. Perhaps though Arthur would still be using chalk, for the very temporal nature of the material suggested a wistfulness of hope, unlike the bold, cursive strokes seen in today's 'tagging.'
In Kingscliff NSW where I live there are countless examples of tagging, ranging from personal tags, to crude obscenities. Just wait at any bus stop for the 601, 607, or the 603, and you'll read who loves whom, personal tags, gang tags (images below) and postcodes suggesting a territoriality. Recently a White Power tag was written on a prominent wall space on Marine Parade, and was shortly painted over. It was personally frightening to think of a neo-Nazi element in my own local community.
Pearl Street, Kingscliff, March 2009. (Image - Clare Bryant)
There are also examples of humourous, or ironic stenciling in Kingscliff.
Pearl Street, Kingscliff Shopping Village car park, March 2009. Writer/stencil artist unknown. (Image - Clare Bryant)
Often the artsist/writer is unknown, as in the case of the birds-eye image below. Reported in the Sydney Morning Herald February 24, 2005, the image of a man, a dollar note, a wave, and a tombstone appeared overnight on the Reg Bartley oval, Rushcutters Bay. It was 60m long, 30m wide and no one definitively knew what it meant. It was speculated that the Picasso-esque figure was referencing the 2004 tsunami tragedy and suggesting to give money to the cause.
The giant visual was painted onto the grass and the figure outlined in red.
In this predominately wealthy area (although bordering the red-light district of Kings Cross) perhaps the artist was suggesting residents "dig deep." While no official complaints were received by the council or police, some residents complained 'they did not want to look at it every day.' (See the Sydney Morning Herald article.)
While graffiti can be used for the promotion of personal or political agendas and propoganda, such as seen in Northern Ireland, The U.S. after 9/11, and many countries, it also "promotes ethnic unity, love, friendship, freedom from oppression, and diversity. Before forming a quick opinion the next time you see graffiti, take time to analyze the markings to reveal the motive behind it and its value to someone other than yourself." (Graffiti Definition - The dictionary of art. 1996 copyright Susan A. Phillips)
http://www.taisnaith.com/ (Also check out her performance art vids - very cool)