Spray Paint Art Quotes

I needed to take her to a concert, or maybe invite her out to go stencil street art in the middle of the night. Except I hadn’t done that since middle school. And I’m not exactly Banksy with a can of spray paint.

The villain kids all had questions when they'd first arrived too: Was it okay to eat as much food as you could from the refectory? (Jay) Could you take as many classes as you could fit into your schedule—or even take two classes at the same time, if you worked really fast? (Carlos, of course.) Evie had wanted to know if they had to wear uniforms (they didn't), while Mal's only question was where she could acquire purple spray paint (the art studio).

Art as activism. Like Banksy?" "Man, Banksy's some white-ass bullshit. Sorry," he apologizes hastily, as though he might've offended my white-ass feelings. [...] "A'ight, so the dude flew out to Gaza to spray-paint a kitten on a house that'd been destroyed in an air strike. Like, the fuck? Talk about insensitive. Then our white savior has the audacity to call it art, to demand folks listen to his views on the atrocities of war, rather than the Palestinians who lived through it." He shakes his head, his hand tensing and untensing in mine. "Sorry. Shit drives me crazy sometimes.

A famous British writer is revealed to be the author of an obscure mystery novel. An immigrant is granted asylum when authorities verify he wrote anonymous articles critical of his home country. And a man is convicted of murder when he’s connected to messages painted at the crime scene. The common element in these seemingly disparate cases is “forensic linguistics”—an investigative technique that helps experts determine authorship by identifying quirks in a writer’s style. Advances in computer technology can now parse text with ever-finer accuracy. Consider the recent outing of Harry Potter author J.K. Rowling as the writer of The Cuckoo’s Calling , a crime novel she published under the pen name Robert Galbraith. England’s Sunday Times , responding to an anonymous tip that Rowling was the book’s real author, hired Duquesne University’s Patrick Juola to analyze the text of Cuckoo , using software that he had spent over a decade refining. One of Juola’s tests examined sequences of adjacent words, while another zoomed in on sequences of characters; a third test tallied the most common words, while a fourth examined the author’s preference for long or short words. Juola wound up with a linguistic fingerprint—hard data on the author’s stylistic quirks. He then ran the same tests on four other books: The Casual Vacancy , Rowling’s first post-Harry Potter novel, plus three stylistically similar crime novels by other female writers. Juola concluded that Rowling was the most likely author of The Cuckoo’s Calling , since she was the only one whose writing style showed up as the closest or second-closest match in each of the tests. After consulting an Oxford linguist and receiving a concurring opinion, the newspaper confronted Rowling, who confessed. Juola completed his analysis in about half an hour. By contrast, in the early 1960s, it had taken a team of two statisticians—using what was then a state-of-the-art, high-speed computer at MIT—three years to complete a project to reveal who wrote 12 unsigned Federalist Papers. Robert Leonard, who heads the forensic linguistics program at Hofstra University, has also made a career out of determining authorship. Certified to serve as an expert witness in 13 states, he has presented evidence in cases such as that of Christopher Coleman, who was arrested in 2009 for murdering his family in Waterloo, Illinois. Leonard testified that Coleman’s writing style matched threats spray-painted at his family’s home (photo, left). Coleman was convicted and is serving a life sentence. Since forensic linguists deal in probabilities, not certainties, it is all the more essential to further refine this field of study, experts say. “There have been cases where it was my impression that the evidence on which people were freed or convicted was iffy in one way or another,” says Edward Finegan, president of the International Association of Forensic Linguists. Vanderbilt law professor Edward Cheng, an expert on the reliability of forensic evidence, says that linguistic analysis is best used when only a handful of people could have written a given text. As forensic linguistics continues to make headlines, criminals may realize the importance of choosing their words carefully. And some worry that software also can be used to obscure distinctive written styles. “Anything that you can identify to analyze,” says Juola, “I can identify and try to hide.

After the war, when I told Terry Kitchen something about my three hours of ideal lovemaking with Marilee, and how contentedly adrift in the cosmos they made me feel, he said this: “You were experiencing a non-epiphany.” “A what?” I said. “A concept of my own invention,” he said. This was back when he was still a talker instead of a painter, long before I bought him the spray rig. As far as that goes, I was nothing but a talker and a painters’ groupie. I was still going to become a businessman. “The trouble with God isn’t that He so seldom makes Himself known to us,” he went on. “The trouble with God is exactly the opposite: He’s holding you and me and everybody else by the scruff of the neck practically constantly.” He said he had just come from an afternoon at the Metropolitan Museum of Art, where so many of the paintings were about God’s giving instructions, to Adam and Eve and the Virgin Mary, and various saints in agony and so on. “These moments are very rare, if you can believe the painters—but who was ever nitwit enough to believe a painter?” he said, and he ordered another double Scotch, I’m sure, for which I would pay. “Such moments are often called ‘epiphanies’ and I’m here to tell you they are as common as houseflies,” he said. “I see,” I said. I think Pollock was there listening to all this, although he and Kitchen and I were not yet known as the “Three Musketeers.” He was a real painter, so he hardly talked at all. After Terry Kitchen became a real painter, he, too, hardly talked at all. “ ‘Contentedly adrift in the cosmos,’ were you?” Kitchen said to me. “That is a perfect description of a non-epiphany, that rarest of moments, when God Almighty lets go of the scruff of your neck and lets you be human for a little while. How long did the feeling last?” “Oh—maybe half an hour,” I said. And he leaned back in his chair and he said with deep satisfaction: “And there you are.” •

If we continue laying waste to the diversity of life and the natural beauty on the planet then we are like vandals going through an art gallery with spray-paint and Stanley knives. When we come out the other side, or when we grow up, we look back and wonder why we didn't behave with more restraint, and we realize that the excitement and enjoyment that we had was rather twisted and in no way was worth the damage we did. Nobody gains from our vandalism and we are ourselves diminished.