Relevant bibliographies by topics / Graffiti

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
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Academic literature on the topic 'Graffiti'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Graffiti"

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Wild, Benjamin, Geert J. Verhoeven, Martin Wieser, Camillo Ressl, Jona Schlegel, Stefan Wogrin, Johannes Otepka-Schremmer, and Norbert Pfeifer. "AUTOGRAF—AUTomated Orthorectification of GRAFfiti Photos." Heritage 5, no. 4 (October 6, 2022): 2987–3009. http://dx.doi.org/10.3390/heritage5040155.

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Admired and despised, created and destroyed, legal and illegal: Contemporary graffiti are polarising, and not everybody agrees to label them as cultural heritage. However, if one is among the steadily increasing number of heritage professionals and academics that value these short-lived creations, their digital documentation can be considered a part of our legacy to future generations. To document the geometric and spectral properties of a graffito, digital photographs seem to be appropriate. This also holds true when documenting an entire graffiti-scape consisting of 1000s of individual creations. However, proper photo-based digital documentation of such an entire scene comes with logistical and technical challenges, certainly if the documentation is considered the basis for further analysis of the heritage assets. One main technical challenge relates to the photographs themselves. Conventional photographs suffer from multiple image distortions and usually lack a uniform scale, which hinders the derivation of dimensions and proportions. In addition, a single graffito photograph often does not reflect the meaning and setting intended by the graffitist, as the creation is frequently shown as an isolated entity without its surrounding environment. In other words, single photographs lack the spatio-temporal context, which is often of major importance in cultural heritage studies. Here, we present AUTOGRAF, an automated and freely-available orthorectification tool which converts conventional graffiti photos into high-resolution, distortion-free, and georeferenced graffiti orthophotomaps, a metric yet visual product. AUTOGRAF was developed in the framework of INDIGO, a graffiti-centred research project. Not only do these georeferenced photos support proper analysis, but they also set the basis for placing the graffiti in their native, albeit virtual, 3D environment. An experiment showed that 95 out of 100 tested graffiti photo sets were successfully orthorectified, highlighting the proposed methodology’s potential to improve and automate one part of contemporary graffiti’s digital preservation.
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Vivas Sainz, Inmaculada. "Un análisis comparativo de los grafitis en la zona tebana: paisaje, ubicación e intencionalidad en los grafitis figurativos del C2 Project, The Royal Cache Wadi Survey." Trabajos de Egiptología. Papers on Ancient Egypt, no. 10 (2019): 403–19. http://dx.doi.org/10.25145/j.tde.2019.10.23.

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The current research is mainly a preliminary study of some of the most significant graffiti located in the wadi C2, in the context of the ongoing investigation of the C2 Project. The Royal Cache Wadi Survey, and tries to clear out the motivations behind the location and concentration of graffiti in the area, probably related to the sacred character of the place. Through the analysis of C2 graffiti published in the work Graffiti de la Montaigne Thebaine, which are being revised in depth, the types of figurative graffiti are established, as well as those figures connected to specific textual graffiti, maybe later additions. The study of the figurative graffiti follows a comparative approach considering them in connection to the landscape and to contemporary and older graffiti in the wadi, and relating them with the presence of graffiti in Theban tombs, which have been analysed by Alexis Den Doncker and Chloé C.D. Ragazzoli. The analysis of an interesting graffito with a hunt in the desert scene (graffito 3652) will be a case-study to understand the reception of the funerary art of the New Kingdom and its transference into the rocky wall of the Theban mountains. In all, we will try to explain the presence of a significant corpus of graffito recorded in the wadi C2, within an inhospitable environment but that maybe had a sacred character linked to a religious cult. The existence of this type of human activity, graffiti, could be understood as an example of ‘space appropriation’, an intention to leave a mark on the site by creating a text or just making a drawing.
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Buendía, Pedro. "Urban art, public space, and political subversion: The Egyptian revolution through graffiti Arte urbano, espacio público y subversión política la revolución egipcia a través del graffiti Art urbain, espace public et subversion politique : La révolution égyptienne à travers du graffiti." Regions and Cohesion 2, no. 3 (December 1, 2012): 84–117. http://dx.doi.org/10.3167/reco.2012.020306.

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The emergence of graffiti's urban subculture as a means of political expression has become a singular issue of the so-called Arab Spring. Graffiti and urban art, which had little to no relevance in the Arab world until now, emerged with unusual force in many countries, notably in the Palestinian territories, Lebanon, and Egypt. This blossoming takes shape in tangent with the strengthening of a civil society and its rise as a decisive actor in the new political arena. In Egypt's case, graffiti achieved a leading role that reflected the milestones of civil disturbance, marking the walls with virtual snapshots of the popular sentiment. The proliferation of graffiti also had considerable resonance in international media because of the strategy of spreading rebellious and subversive slogans by means of the symbolic occupation of a public space, which, until now, was monopolized by authoritarian powers.Spanish Un fenómeno singular de la denominada “Primavera Árabe“ ha sido la eclosión de la subcultura urbana del graffiti como medio de expresión política. De escasa o nula relevancia hasta ahora, el arte urbano de las pintadas ha surgido con una fuerza inusitada en varias zonas del mundo árabe, notoriamente en los Territorios Palestinos, el Líbano y Egipto. Dicho florecimiento cuaja en paralelo con la rearticulación de la sociedad civil y su irrupción irreversible como actor de los nuevos escenarios políticos. En el caso de Egipto, los graffitis han tenido un señalado protagonismo como reflejo de los sucesivos hitos de las revueltas, marcando los muros y paredes con verdaderas instantáneas del sentir popular. La proliferación del graffiti ha tenido asimismo una considerable resonancia en los medios internacionales, debido a la estrategia de ocupar simbólicamente el espacio público, -que hasta ahora estaba reservado al monopolio de los poderes autoritarios- para la difusión de consignas contestatarias y subversivas.French Un phénomène singulier de la “printemps arabe“ a été l'émergence de la culture urbaine du graffiti comme un moyen d'expression politique. Avec peu ou pas d'importance jusqu'à ce jour, l'art urbain et le graffiti ont émergé avec une force inhabituelle dans diverses régions du monde arabe, notamment dans les Territoires Palestiniens, le Liban et l'Égypte. Ce e éclosion doit être mise en parallèle avec le renforcement de la société civile et son émergence comme acteur décisif dans le nouveau scénario politique. Dans le cas de l'Égypte, le graffiti a joué un rôle clé comme reflet des jalons successifs des révoltes, en marquant les murs avec des instantanés virtuelles du sentiment populaire. La prolifération des graffitis a rencontré aussi un écho remarquable dans les médias internationaux en raison de la stratégie d'occupation symbolique de l'espace public pour la diffusion des slogans rebelles et subversifs; un espace public qui était réservé jusqu'à aujourd'hui aux pouvoirs autoritaires.
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Jacobson. "Graffiti, Aging and Subcultural Memory—A Struggle for Recognition through Podcast Narratives." Societies 10, no. 1 (December 18, 2019): 1. http://dx.doi.org/10.3390/soc10010001.

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This article engages with the existential importance of subcultural memory for middle aged men. The social site is digital and consists of the first three Swedish graffiti podcasts where graffitied life courses are reflexively constructed through conversations. The empirical material gives unique insight into the construction of subcultural aging and self-identity and offers a critical reflection on theories of youth cultures. The results show that sharing memories of youth, crime and agency shapes the meaning of graffiti and subcultural cohesion. Retrospective narratives on personal development and increased reflexivity and self-control are constructed. Story telling has a long tradition in graffiti and social media has lately been incorporated within the subculture. As graffiti is a holistic practice, writers adopt many techniques to create graffiti personas, and podcasts, in addition to writing, have been established as a contemporary way to practice graffiti. The article illustrates how graffiti podcasting forms a mnemonic community where the meaning of graffiti is negotiated. Podcasts are memory sites in a struggle for individual and cultural recognition of what used to be labeled a deviant subculture.
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Le Quang, Grégoire. "Du murmure à l’invective : pratiques du graffiti subversif dans l’Italie des années 1970." 20 & 21. Revue d'histoire N° 156, no. 4 (September 15, 2023): 145–67. http://dx.doi.org/10.3917/vin.156.0145.

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La fin des années 1960 marque une étape essentielle dans la généralisation de l’usage du graffiti contestataire. L’exemple italien montre la déclinaison d’une culture juvénile transnationale qui valorise le graffiti comme moyen d’expression et symbole d’insoumission, mais traduit aussi certaines spécificités. Graffitis et violence sont ainsi étroitement liés, tant l’écriture sur les murs représente à la fois un moyen de s’approprier un espace urbain, et d’intimider l’adversaire. In fine , le graffiti est plurivoque, allant de la provocation humoristique à l’apologie du terrorisme. Il se situe au croisement du geste militant, des enjeux spatiaux et symboliques, et du rapport entretenu à un espace public conçu comme un espace de confrontation.
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Souillard, Sasha. "La Rivoluzione Macchiata: The Stained Revolution." Interdependent: Journal of Undergraduate Research in Global Studies 2 (2021): 91. http://dx.doi.org/10.33682/nv4g-se2u.

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Although graffiti gained popularity through the expansion of American pop culture, its origins are greatly embedded in Italian culture and history. Not only does the word graffiti come from the Italian word "graffiato" or "scratched "off", but some of the world's first graffiti was found in Pompeii's ruins. Over the last few years, Italy has been governed by right-wing coalitions that have implemented fascist practices once used by Mussolini. Given that there is little space for leftist ideas to emerge in the public space, Italians have used graffiti as a form of political activism and protest. Conversations surrounding fascism, racism, women's rights, immigration and the LGTBQ community have arisen within graffiti, allowing outsiders to better understand Italians' takes on these issues. This study investigates Italy's sociopolitical climate through graffiti as a form of art, and also sheds light on how graffiti provokes its audience. The graffiti found in Florence, Bologna, and Naples proves to be linguistically complex, and provokes observers both through heightened language and visuals. This study suggests that the majority of Italian sociopolitical graffiti belongs to students who are unable to take part in democracy based on their age or legal status. While often deemed a vandalistic act, graffiti has allowed Italian individuals to protest what is unjust, and make themselves heard in a society where their voices are being suffocated by right-wing political parties and their media.
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Cotnam-Kappel, Megan. "Reflexive Graffiti Remixing: Curriculum, Corsican Language, and Critical Pedagogy." Journal of the Canadian Association for Curriculum Studies 11, no. 2 (February 22, 2014): 44–74. http://dx.doi.org/10.25071/1916-4467.36768.

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Corsica is an island covered in graffiti. These painted messages devastate/decorate the walls of cities, towns, schools and homes. They have also spread to natural sites that include rocks, trees and mountains. A number of curricular questions arise in regards to graffiti as literacy and in particular regarding the corsican endangered language: Is graffiti a performance of the aesthetics of vulnerability of a minority language? Could graffitied symbols represent a linguistic affirmation of Coriscan identity? And what could engaging with these graffiti bring to canadian curricular studies regarding minority languages? The following auto/ethno/graphy attemps to answer these curricular questions as it (de)constructs a bricolage of personal photographs taken of Corsican graffiti as well as my narrative as a Canadian doctoral candidate studying in Corsica. It begins by tracing the a/r/to- and auto/ethno- graphic research framework that shapes my research and analysis. Subsequently, this paper explores various methods of researching graffiti which include reading graffiti as praxis, marginalia and empowerment. I also discuss students’ possible roles in (re)reading graffiti as an opportunity to remix and as an opening for developing critical literacy skills. In order to share my ongoing reflexive process as a researcher, my personal narrative is included throughout the paper. I have chosen to relate this narrative in French – my mother tongue and one of two minoritized languages that are at the heart of my research. This paper therefore (re)mixes English, French and Corsican throughout with as little translation possible to engage readers in a plurilingual reading experience.
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El-Shewy, Mohamed. "The spatial politics of street art in post-Revolution Egypt." Journal of Urban Cultural Studies 7, no. 2-3 (September 1, 2020): 263–80. http://dx.doi.org/10.1386/jucs_00029_1.

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This article is concerned with exploring the politics of street art and graffiti in Egypt in the aftermath of the uprising against former President Hosni Mubarak in 2011. Rather than viewing street art and graffiti as mere by-products of the revolutionary period, the article centres them as important elements of political and social struggle. I put forward a reading of Egypt’s street art and graffiti as sites of politics through both aesthetic and spatial approaches. To do so I draw on Jacques Rancière’s concept of ‘dissensus’, a term referring to a political and aesthetic process that creates new modes of perception and novel forms of political subjectivity. In various writings, Rancière argues that part of the work of ‘dissensus’ is the creation of spaces where political activity can take place. As spatially bound practices, street art and graffiti can allow a visible ‘dissensus’ to take place. Through a semiotic analysis of several street art and graffiti works, the article makes a further contribution to scholarship on Egypt’s revolutionary street art and graffiti scene. Instead of focusing on the figure of the ‘rebel artist’, I centre the works in relation to the history of Egyptian nationalism, and argue that we need to complicate our understanding of street art and graffiti’s potential as modes of resistance.
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Gargaillo, Florian. "Graffiti and the British Postwar Poem." Genre 55, no. 2 (July 1, 2022): 141–59. http://dx.doi.org/10.1215/00166928-10001378.

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Abstract This essay considers how British poetry responded to the rise of graffiti after World War II, using the work of Dannie Abse, Philip Larkin, and Tony Harrison as case studies. Poets of this era were awkwardly placed to discuss graffiti. The striking formal differences between the two genres made graffiti difficult to imitate and cannibalize. Moreover, poets occupied an ambiguous position vis-à-vis the establishment culture that graffitists wished to contest. Conscious of their difficult situation, poets took up a variety of approaches, each marked by distinctive paradoxes. Abse viewed graffiti with a distancing sociological eye, even as he recognized the limits of that perspective by stressing the culpability of each person, including himself, in widening social inequalities. Larkin approached graffiti with a mix of disdain at the defacement of public property and envy over the liberties that the graffitist could take against middle-class sensibilities. Harrison found himself pulled between sympathy for a social world that was once his own and a deeper sense of alienation now that his education and his work as a poet had set him apart from that community. Such paradoxes lend the poems a special value when set against a broader public discourse that tended to simply defend or condemn graffiti.
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Rusyaeva, Anna S. "Graffiti from the Southern Temenos in Pontic Olbia." Ancient Civilizations from Scythia to Siberia 21, no. 2 (November 13, 2015): 251–79. http://dx.doi.org/10.1163/15700577-12341285.

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The dedicatory graffiti from the excavations of the SouthernTemenosin Olbia provide indisputable evidence for the existence in that district not just of an Aphroditetemenosbut also of the existence at the same time as the earlier of her sanctuaries of one for the local Hero Angelos. Despite their fragmentary nature, it has been possible to divide up the graffiti into a number of separate groups and then analyse them accordingly. The largest number of graffiti relate to the early sanctuary of Aphrodite. Worthy of special attention is the graffito [Ἀφροδίτ]ης Δήμιης – “Aphrodite Demia (of the People)” similar to Aphrodite Pandemos well-known in the Hellenic world. Using the information from all available sources it is clear that in the city of the pre-Getic period there existed two sanctuaries of Aphrodite: in the WesternTemenosfor Aphrodite Urania and in the SouthernTemenosfor Aphrodite Demia (Pandemos).
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Dissertations / Theses on the topic "Graffiti"

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Wolf, Ingmar. "Graffiti als kriminologisches und strafrechtsdogmatisches Problem /." Frankfurt am Main [u.a.] : Lang, 2004. http://www.gbv.de/dms/spk/sbb/recht/toc/394169514.pdf.

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Appelsved, Emelie. "Graffiti på spel : En kvalitativ undersökning, via NUG, om graffitins autonomi." Thesis, Södertörns högskola, Konstvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33650.

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Abstract   Comments regarding Swedish graffiti writer NUG’s film Territorial Pissing (2008) express how graffiti and art appear to be two different worlds and when these worlds come together the expression of graffiti seems to transform. This thesis, Graffiti at stake: a qualitative study, via NUG, about the autonomy in graffiti, aims to both examine and bring about a general discussion on whether graffiti is autonomous when it enters the art world. The thesis also discusses transformed content and expression in the works of NUG when performed in a different context; what is exhibited in an institutional art context and what positions does NUG occupy? The French sociologist Pierre Bourdieus conceptions field and autonomy has been used as a theoretical framework, and partly as method as well. By studying the works of NUG another expression has been found within an institutional art context – black irrational lines and cascades. These are interpreted as energy generated from the act of performing graffiti and have been discussed in relation to the graffiti- and art practice as well as the symbolic capital. The thesis argues that the autonomy is situated in what is recognized and acknowledged. The thesis also concludes that NUG is entering into a masculine, conventional and strong artist position, similar to Pollock.
Populärvetenskaplig sammanfattning   Uppsatsen, Graffiti på spel: en kvalitativ undersökning, via NUG, om graffitins autonomi, tar avstamp i kommentarer rörande den svenska graffitiutövaren NUG:s videoverk Territorial Pissing (2008). Kommentarer som uttrycker att graffiti och konst tycks vara två separata världar och när dessa världar möts tycks uttrycket i graffiti inte vara detsamma – är det graffiti? Om graffiti är autonomt när det inträder i konstens fält är en generell diskussion som denna uppsats lämnar ett bidrag till. NUG har en magisterexamen i konst och tillhör de största namnen på Sveriges och Europas graffitiscener. Inom en konstinstitutionell kontext har ett annat uttryck, än de traditionella graffitibokstäverna, kunnat konstateras; irrationella streck och kaskader av svart sprayfärg. De förstås som energi, alstrad från akten att måla graffiti, samt framstår som en nödvändighet. Uppsatsen diskuterar en graffitipraktik och dess relation till konstfältet. I konstens fält står graffiti på spel och autonomin hamnar i det som igenkännes och erkännes. Detta är också en uppsats om hur NUG går från en manlig utövarposition, in till en manlig, konventionell och stark konstnärsposition, i förening med Pollock, samt hur NUG har en fot i ”graffitins fält” respektive en fot i konstens fält och hur han manövrerar dessa fält.
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Turner, Grace Sandrena Rosita. "Bahamian ship graffiti." Texas A&M University, 2004. http://hdl.handle.net/1969.1/1339.

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The Bahamian archipelago covers over 5,000 square miles of the Atlantic Ocean at the northwestern edge of the Caribbean Sea. In the Age of Sail, from the late 15th to early 20th centuries, these islands were on major sailing routes between the Caribbean, Central America, and Europe. Bahamians developed life-ways using their islands’ location to their advantage. Archaeological evidence of the significance of shipping activity is quite lacking. This research aimed to help fill the void by documenting examples of ship graffiti throughout the Bahamas. Examples of ship graffiti were documented with photographs and tracings. The Bahamian examples all date to the 19th and 20th centuries, 100 years later than other examples from the Caribbean and North America. They are also unique in being incised into the stone surfaces of building walls, caves, stones on a hillside, even on a slate fragment. It is possible that ship graffiti were also engraved on wooden surfaces but these have not survived in the archaeological record. Images depict locally-built vessels such as sloops and schooners as well as larger, ocean-going vessels. Ship graffiti are at sites associated mainly with people of African heritage, another possible social grouping being persons of lower economic status. Graffiti details consistently indicate that the artists were familiar with ship construction and rigging. This analysis of ship graffiti gives some understanding of the significance of ships and shipping in the Bahamian economy.
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Jones, Russell M. "IS GRAFFITI ART?" Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1174896719.

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Jacobson, Malcolm. "Getting paid writing graffiti : How graffiti artists produce value within marketing." Thesis, Stockholms universitet, Sociologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-114878.

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In settings such as hotels, bars and boutiques, things like cars, sodas, clothes, and cities, are fueled with the symbolic capital of graffiti. The purpose of this ethnographic study is to understand how graffiti writers, through marketing, increase the value of their work, as well as that of other products, and how this commercialization affects the meaning of graffiti.  Utilizing a perspective of social constructionism, the analysis shows how actors and social fields that are constructed as incongruous (e.g., art galleries and graffiti culture), are at the same time being mixed together to create something new, and thus create value. This study shows how practices that are considered marginal, or deviant, at the same time generate value within the general economy. Deploying an abductive approach, and building on ample empirical material, this study shows that the narrative of graffiti as something illegal is one of the main traits that enables graffiti writers to exchange subcultural capital for economic. The results show that previous research, investigating graffiti from a dichotomous perspective of either art or vandalism, do not give a satisfactory understanding of this diverse subculture.   The empirical material consists of 30 participant observations in public events, in Sweden during the autumn of 2014, where graffiti is turned into a commodity embodied with subcultural capital. Moreover, four in-depth interviews were executed with graffiti writers who have sold their competence and art for purposes of marketing, and one group interview with three of their customers. Further, several documents were collected and analyzed.
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Fortney, Christopher. ""Who Made You The Graffiti Police?": Graffiti, Public Space, and Resistance." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1400074289.

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Bürger, Gabriele. "Zwischen Schiller und Graffiti?!" Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-33037.

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Das „Steinhaus e.V.“ mit der Stadtbibliothek Bautzen veranstaltete als jüngstes von zahlreichen kulturellen Angeboten eine Festwoche zu Ehren zu Friedrich Schillers 250. Geburtstag. Vor allem die Schüler waren aufgerufen, sich mit der Person des Dichters und seinen Werken aus heutiger Perspektive auseinanderzusetzen. Dies gelang mit großen Erfolg, da zahlreiche Schüler imaginäre Briefe an den Dichter richteten und damit einen Diskurs über den Stellenwert der Klassiker innerhalb der heutigen Gesellschaft führten.
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Kjellerstedt, Jonatan. "Graffiti, varför? : graffitimålarnas motivationer." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3283.

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Undersökningen vill visa på den motivation som dagens graffitimålare i Stockholm har till att göra sina målningar och vad jag som blivande lärare kan ta till mig vad det gäller att motivera elever till sina estetiska produktioner. Min frågeställning är: Vilka motivationer för estetisk produktion finns hos individerna inom graffitikulturen? Vidare ger jag en kort introduktion till graffitins tidiga år både i USA och sverige.Sedan presenterar jag ett referat från Håkan Jenners texter om motivation och motivationsarbete. Min empiri består av intervjuer med fyra stycken graffitimålare som är aktiva idag(2009). Intervjuerna har varit semistrukturerade och samtalen har utgått ifrån olika teman som skall hjälpa mig att förstå informanternas förhållande till graffitin. Dessa teman har bland annat inriktats på informanternas syn på sitt eget konstnärskap, grupptillhörigheter och framtidstro men framförallt drivet hos dem, själva motivationen. Jag har sedan tolkat deras svar med hjälp av de motivationsteorier som Jenner presenterat i texten Motivation och Motivationsarbete. I min slutdiskussion tar jag upp vad jag har lärt mig och kommer ta med mig i mitt blivande yrke som lärare. Den gestaltande delen i examensarbetet utgörs av citaten från examensarbetet vilka jag med hjälp av en dator och digitalprojektor projicerat stort på väggen och sedan målat av. Detta för att ge min gestaltning egenskaperna hos graffiti men på ett institutionaliserat sätt då jag har använt mig av typsnittet Times new roman vilket för mig konnoterar vetenskap och byråkrati. Platsen för detta var vita havet på Konstfack.
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Pavlica, Jan. "Re-identifikace graffiti tagů." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2020. http://www.nusl.cz/ntk/nusl-432839.

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This thesis focuses on the possibility of using current methods in the field of computer vision to re-identify graffiti tags. The work examines the possibility of using convolutional neural networks to re-identify graffiti tags, which are the most common type of graffiti. The work experimented with various models of convolutional neural networks, the most suitable of which was MobileNet using the triplet loss function, which managed to achieve a mAP of 36.02%.
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Christensson, Niclas. "Graffiti - ett didaktiskt problemområde?" Thesis, Malmö högskola, Lärarutbildningen (LUT), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32095.

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I detta arbete undersöks niondeklassares attityder gentemot bildämnet, graffiti samt den illegala aspekten av graffiti. Graffiti är ett visuellt uttryck vars vara eller icke vara i skolans bildämne är omdebatterat. I förhållande till Jan Thavenius (2003) resonemang om skolans rädsla för att införliva en radikal estetik i undervisningen framstår graffiti som ämnesstoff som en välkommen didaktisk utmaning. Skeptiker menar dock att undervisning kring graffiti i skolan riskerar att uppmuntra illegalt klottrande. Med utgångspunkts i didaktikens vad-fråga reds en del av denna problematik ut. Texten syftar dels mot att undersöka om ungdomar uppfattar graffiti som ett meningsfullt fenomen. Med litteraturens definition av graffiti, en exkluderande, extremt sluten subkultur, tycks detta långt ifrån självklart. Utifrån en andra frågeställning undersöks dessutom huruvida infölivandet av graffiti i bildundervisningen påverkar elevernas attityder till dess illegala aspekt. I arbetet redovisas resultaten av en kvantitativ enkätundersökning, genomförd vid två olika skolor i södra Sverige. En analys av dessa visar att graffiti fungerar bra som svar på didaktikens vad-fråga. Niondeklassare uppfattar graffiti som ett meningsfullt fenomen – vilket i förlängningen kan ha potential att motivera dem i deras lärande. I arbetet konstateras dessutom att undervisning kring graffiti tycks påverka elevernas syn på dess illegala aspekt, men på så sätt att de i.o.m. undervisningen blir mer benägna att ta avstånd från illegal graffiti.
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Books on the topic "Graffiti"

1

Brassaï. Graffiti. Paris: Flammarion, 1993.

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Sutema, Liūnė. Graffiti. Chicago, IL (7338 South Sacramento Ave., Chicago, Ill.): AM & M Publications, 1993.

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Weisel, Deborah Lamm. Graffiti. Washington, D.C: U.S. Dept. of Justice, Office of Community Oriented Policing Services, 2002.

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Akbib, Abdellatif. Graffiti. Tanger: Slaiki Brothers, 1997.

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Belitt, Ben. Graffiti. [Easthampton, Mass.?]: Emanon Press, 1989.

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Anita, Sedlin̦a, ed. Graffiti Latvijā =: Graffiti in Latvia. [Rīga]: Raktuve, 2007.

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Flërova, V. E. Graffiti Khazarii =: Graffiti von Khazaria. Moskva: Ėditorial URSS, 1997.

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Frederick, Baker, Lipstadt Deborah E, Jenkins, David, 1957 Sept. 25-, and Görner Reinhard, eds. The Reichstag Graffiti =: Die Reichstag-Graffiti. Berlin: Jovis, 2003.

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Saren, Michael. Marketing Graffiti. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Earlier edition published in 2006 as: Marketing graffiti : the view from the street.: Routledge, 2017. http://dx.doi.org/10.4324/9781315795300.

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Huber, Joerg. Paris graffiti. London: Thames and Hudson, 1986.

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Book chapters on the topic "Graffiti"

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Kleele, Sebastian. "Graffiti." In Ästhetischer Widerstand gegen Zerstörung und Selbstzerstörung, 393–409. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-18767-5_25.

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Edwards, Elsy. "Graffiti." In Issues & Arguments, 148–52. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-11090-2_25.

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Levesque, Roger J. R. "Graffiti." In Encyclopedia of Adolescence, 1212–13. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-1695-2_431.

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Brühwiler, Herbert. "Graffiti." In Methoden der ganzheitlichen Jugend- und Erwachsenenbildung, 60. Wiesbaden: VS Verlag für Sozialwissenschaften, 1994. http://dx.doi.org/10.1007/978-3-322-93638-7_17.

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Hügel, Hans-Otto. "Graffiti." In Handbuch Populäre Kultur, 221–26. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05001-4_45.

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Blume, Regina. "Graffiti." In Critical Theory, 137. Amsterdam: John Benjamins Publishing Company, 1985. http://dx.doi.org/10.1075/ct.3.09blu.

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Karlander, David. "Graffiti." In The Routledge Handbook of Language and Youth Culture, 277–88. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003166849-27.

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Smith, Susan J. "Graffiti." In Performance and the Contemporary City, 206–10. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-12006-9_18.

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Levesque, Roger J. R. "Graffiti." In Encyclopedia of Adolescence, 1644–45. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-33228-4_431.

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Weide, Robert D. "Graffiti." In Shades of Deviance, 72–75. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003138198-17.

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Conference papers on the topic "Graffiti"

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Angelova, Ralitsa, Gjergji Kasneci, Fabian M. Suchanek, and Gerhard Weikum. "Graffiti." In the 18th international conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1526709.1526869.

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Jain, Anil K., Jung-Eun Lee, and Rong Jin. "Graffiti-ID." In the First ACM workshop. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1631081.1631083.

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Shamma, David A., Jürgen Scheible, and Renata M. Sheppard. "Graffiti dance." In Proceeding of the seventh ACM conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1640233.1640365.

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Sugiura, Yuta, Koki Toda, Takayuki Hoshi, Masahiko Inami, and Takeo Igarashi. "Graffiti fur." In ACM SIGGRAPH 2014 Emerging Technologies. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2614066.2614085.

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Sugiura, Yuta, Koki Toda, Takayuki Hoshi, Masahiko Inami, and Takeo Igarashi. "Graffiti fur." In ACM SIGGRAPH 2014 Studio. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2619195.2656324.

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Tsujimoto, Yuki, Yuichi Itoh, and Takao Onoye. "Ketsuro-graffiti." In SA'15: SIGGRAPH Asia 2015. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2818466.2818482.

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Miyazaki, Yohei, Yuichi Itoh, Yuki Tsujimoto, Masahiro Ando, and Takao Onoye. "Ketsuro-Graffiti." In ACE '14: 11th ADVANCES IN COMPUTER ENTERTAINMENT TECHNOLOGY CONFERENCE. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2663806.2663872.

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Sugiura, Yuta, Koki Toda, Takayuki Hoshi, Youichi Kamiyama, Takeo Igarashi, and Masahiko Inami. "Graffiti fur." In UIST '14: The 27th Annual ACM Symposium on User Interface Software and Technology. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2642918.2647370.

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Tsujimoto, Yuki, Yuichi Itoh, and Takao Onoye. "Ketsuro-Graffiti." In ISS '16: 2016 ACM International Conference on Interactive Surfaces and Spaces. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2992154.2992159.

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Curtis, Cassidy, and Eric Rodenbeck. "Graffiti archaeology." In ACM SIGGRAPH 2004 Web graphics. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1186194.1186196.

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Reports on the topic "Graffiti"

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Napp, Anke. Graffiti. Technische Universität Dresden, Forschungsstelle für Vergleichende Ordensgeschichte (FOVOG - Dresden), 2022. http://dx.doi.org/10.25368/2023.30.

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Becker, Cole, Andrew Eden, Brandon Hamerlinck, John Parker, Joseph R. Vanstrom, and Jacek A. Koziel. Natural Soy Graffiti Remover. Ames: Iowa State University, Digital Repository, April 2017. http://dx.doi.org/10.31274/tsm416-180814-6.

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Barbaro, Alethea B., Lincoln Chayes, and Maria R. D'Orsogna. Territorial Developments Based on Graffiti: a Statistical Mechanics Approach. Fort Belvoir, VA: Defense Technical Information Center, October 2011. http://dx.doi.org/10.21236/ada555755.

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Parker, Alexandra, Samkelisiwe Khanyile, and Kate Joseph. Where do we draw the line? Graffiti in Maboneng, Johannesburg. Gauteng City-Region Observatory, March 2019. http://dx.doi.org/10.36634/naah5310.

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Girard, Nancy. Prospective Course - ART H 4XX/5XX Beyond Graffiti, History of Street Art. Ames (Iowa): Iowa State University, January 2011. http://dx.doi.org/10.31274/cc-20240624-1171.

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Willis, Craig. ECMI Minorities Blog. Ethnic Identity and Football in Mostar – A Clear Divide along the Old Front Line. European Centre for Minority Issues, December 2023. http://dx.doi.org/10.53779/sklp2233.

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This blogpost addresses the question of how ethnic identities (and societal divisions) in the city of Mostar, Bosnia and Herzegovina, are expressed through football and considers how this dominates the city’s linguistic landscape. It is therefore embedded in the context of previous literature on sport and identity but also the discipline of sociolinguistics. The post discusses the prominence of street murals and graffiti relating to Mostar’s two football clubs, FK Velež Mostar and HŠK Zrinjski Mostar, outlining how the situation is very much territorially divided along the same geographical points of the ethnic conflict in the early 1990s
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Riggs, William, Vipul Vyas, and Menka Sethi. Blockchain and Distributed Autonomous Community Ecosystems: Opportunities to Democratize Finance and Delivery of Transport, Housing, Urban Greening and Community Infrastructure. Mineta Transportation Institute, July 2022. http://dx.doi.org/10.31979/mti.2022.2165.

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This report investigates and develops specifications for using blockchain and distributed organizations to enable decentralized delivery and finance of urban infrastructure. The project explores use cases, including: providing urban greening, street or transit infrastructure; services for street beautification, cleaning and weed or graffiti abatement; potential ways of resource allocation ADU; permitting and land allocation; and homeless housing. It establishes a general process flow for this blockchain architecture, which involves: 1) the creation of blocks (transactions); 2) sending these blocks to nodes (users) on the network for an action (mining) and then validation that that action has taken place; and 3) then adding the block to the blockchain. These processes involve the potential for creating new economic value for cities and neighborhoods through proof-of-work, which can be issued through a token (possibly a graphic non-fungible token), certificate, or possible financial reward. We find that encouraging trading of assets at the local level can enable the creation of value that could be translated into sustainable “mining actions” that could eventually provide the economic backstop and basis for new local investment mechanisms or currencies (e.g., local cryptocurrency). These processes also provide an innovative local, distributed funding mechanism for transportation, housing and other civic infrastructure.
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