The year 2006 was the golden
anniversary, or the 50th birthday, of the Dwight D. Eisenhower
National System of Interstate and Defense Highways. This system, usually
referred to as The Interstate Highway System, is a system of freeways named
after the U.S. President who supported it. The system is the largest highway
system in the world, consisting of 46,876 miles (75,440 km) of freeways. The
construction of the interstate highway system is an important part of American
history. It has played a major role in preserving and maintaining the America way of life.
The interstate highway system has
several major functions. One of its major functions is to facilitate the distribution of US good. Because the
intestate passes through many downtown areas, it plays an important role in the
distribution of almost all goods in the United States.
Nearly all products travel at least part of the way to their destination on the
Interstate System. Another major function of the interstate is to facilitate
military troop movement to and from airports, seaports, rail terminals and
other military destinations. The Interstate highways are connected to route in
the Strategic Highway Network, which is a system of highways that are vital to the U.S. Department of Defense.
Today, most of the Interstate system
consists of newly constructed highways. The longest section of the Interstate
system runs from Boston, Massachusetts to Seattle, Washington. It covers
3,020.54 miles. The shortest two-digit interstate is from Emery, North Caroline
to Greensboro, North Caroline. It covers only 12.27 miles. All state capitals
except five are served by the system. The five that are not directly served are
Juneau, AK, Dover, DE, Jefferson City, MO, Carson City, NV, and Pierre, SD. The
Interstate Highway System serves almost all major U.S. cities.
EACH Interstate highway is marked
with a red, white, and blue shield with the word “Interstate,” the name of the
state, and the route number. Interstate highways are named with one or
two-digit numbers. North-south highways are designated with odd numbers; east-west highways are
named with even numbers. The north-south Interstate highways begin in the west
with the lowest odd number; the east-west highways begin in the south with the
lowest even numbers. There all mile markers at each mile of the interstate
system, starting at the westernmost or southernmost point on the highway. Every
Interstate highway begins with the number “0”. Interchanges are numbered
according to their location on the highway in relation to mileage; an exit
between milepost 7 and milepost 8 would be designated “Exit 7.” This system
allows drivers estimate the distance to a desired exit, which a road is leading
off the highway. Despite the common acceptance of the numbering system on the
Interstate highways, some states have adopted different numbering systems. For
example, a portion of the Interstate 19 in Arizona is measured in kilometers
instead of miles since the highway goes south to Mexico.
Since the Interstate highways are
freeways-highways that do not have signs and cross streets – they have the
highest speed limits in the nation. Most interstate highways have speed limits
between 65 – 75 miles per hour (105 – 120 kilometers per hour), but some areas
in Texas and Utah have an 80 mile-per-hour (130 kilometer-per-hour) speed
limit.
The federal government primarily
funds interstate highways. However, they are owned and operated by the
individual states or toll authorities in the states. The federal government
generally funds up to 90% of the cost of an Interstate highway, while the
states pay the remainder of the cost.
When you facilitate something, you
I am writing in response to response
to the article “Protecting our public spaces” in issue 14, published this
spring in it, the author claims that “all graffiti is public spaces.” I would
like to point out that many people believe that graffiti is an art from that
can benefit our public spaces just as much as sculpture, fountains, or other,
more accepted art forms.
People who object to graffiti
usually do so more because of where it is, not what it is. They argue, as your
author does, that posting graffiti in public places constitutes an illegal act
of property damage. But the location of such graffiti should not prevent the
images themselves from being considered genuine art.
I would argue that graffiti is the
ultimate public art form. Spray paint is a medium unlike any other. Though
graffiti, the entire world has become a canvas. No one has to pay admission or
travel to a museum to see this kind of art. The artists usually do not receive
payment for their efforts. These works of art dotting the urban landscape are
available, free of charge, to everyone who passes by.
To be clear, I do not consider
random words or names sprayed on stop signs to be art. Plenty of graffiti is
just vandalism, pure and simple. However, there is also graffiti that is
breathtaking in its intricate detail, its realism, or its creativity. It takes
great talent to create such involved designs with spray paint.
Are these creators not artists
just because they use a can of spray paint instead of a paintbrush, or because they
cover the side of a building rather than a canvas?
To declare that all graffiti is
vandalism, and nothing more, is an overly simplistic statement that I find out
of place in such a thoughtful publication as your magazine. Furthermore,
graffiti is not going anywhere, so might as well find a way to live with it and
enjoy its benefits. One option could be to make a percentage of public space,
such as walls or benches in parks, open to graffiti artists. By doing this, the
public might feel like part owners of these works of art, rather than just the
victims of a crime.
According to the writer, random
words sprayed on stop sings are not
I am writing in response to response
to the article “Protecting our public spaces” in issue 14, published this
spring in it, the author claims that “all graffiti is public spaces.” I would
like to point out that many people believe that graffiti is an art from that
can benefit our public spaces just as much as sculpture, fountains, or other,
more accepted art forms.
People who object to graffiti
usually do so more because of where it is, not what it is. They argue, as your
author does, that posting graffiti in public places constitutes an illegal act
of property damage. But the location of such graffiti should not prevent the
images themselves from being considered genuine art.
I would argue that graffiti is the
ultimate public art form. Spray paint is a medium unlike any other. Though
graffiti, the entire world has become a canvas. No one has to pay admission or
travel to a museum to see this kind of art. The artists usually do not receive
payment for their efforts. These works of art dotting the urban landscape are
available, free of charge, to everyone who passes by.
To be clear, I do not consider
random words or names sprayed on stop signs to be art. Plenty of graffiti is
just vandalism, pure and simple. However, there is also graffiti that is
breathtaking in its intricate detail, its realism, or its creativity. It takes
great talent to create such involved designs with spray paint.
Are these creators not artists
just because they use a can of spray paint instead of a paintbrush, or because they
cover the side of a building rather than a canvas?
To declare that all graffiti is
vandalism, and nothing more, is an overly simplistic statement that I find out
of place in such a thoughtful publication as your magazine. Furthermore,
graffiti is not going anywhere, so might as well find a way to live with it and
enjoy its benefits. One option could be to make a percentage of public space,
such as walls or benches in parks, open to graffiti artists. By doing this, the
public might feel like part owners of these works of art, rather than just the
victims of a crime.
Which sentence from the passage
best illustrates the writer’s feeling about the graffiti art?
