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Journal articles on the topic 'Graffiti'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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Echitchi, Raymond. "Graffiti and the Discursive Construction of Fitness in Gyms." Respectus Philologicus, no. 41(46) (April 15, 2022): 219–33. http://dx.doi.org/10.15388/respectus.2022.41.46.121.

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This paper is an attempt to add knowledge to scholarship in a field that has attracted less attention from researchers. It presents a study of graffiti found on a board located inside a gym in Madrid that was carried out in order to get a grasp of the functions of the graffiti and gain an insight into discursive practices in gyms. Data analysis focused on texts while overlooking the graffiti’s non-verbal features and was carried out following Fairclough’s (2004, 2013) approach, which emphasizes the study of language as a social practice and encourages a three-fold analysis of discourse that includes action, representation and identification. The study revealed that social agents attempted to act and interact directly or indirectly with fellow gym-goers through graffiti.

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Valjakka, Minna. "Graffiti in China – Chinese Graffiti?" Copenhagen Journal of Asian Studies 29, no. 1 (February 28, 2013): 61–91. http://dx.doi.org/10.22439/cjas.v29i1.4021.

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This article focuses on the emergence of graffiti in Beijing and Shanghai as an intriguing part of the contemporary art scene. Approaching graffiti through the framework of visual culture and analyzing both the visual and social aspects of creating graffiti images, I argue that contemporary graffiti in these cities can be regarded primarily as creative self-expression emphasizing aesthetic intention and a renaming process, not as vandalism. Deriving primarily from information gathered during my fieldwork in Beijing and Shanghai, I also discuss the development of graffiti in China and its characteristics. In the Euro-American context, graffiti is still commonly regarded as criminal activity that destroys public property. This allegation, however, fails to take into account how the international graffiti culture has become an enduring genre of art with strong emphasis on style and aesthetic evaluation. Although creating graffiti is a controversial issue in China also, graffiti nevertheless exists, especially in the so-called art areas (districts known for their numerous art galleries, artist studios, art-related activities and, occasionally, art museums), or in the surrounding neighbourhoods.

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Ferreira, Leonardo Gonçalves. "A EXPOSIÇÃO “GRAFITTI: NEW YORK MEETS THE DAM” DO MUSEU DE AMSTERDÃ ENQUANTO UMA ZONA DE CONTATO." Revista Pós Ciências Sociais 17, no. 33 (January 24, 2020): 275. http://dx.doi.org/10.18764/2236-9473.v17n33p275-296.

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O presente artigo objetiva analisar a exposição Graffti: New York meets the Dam, do Museu de Amsterdã, enquanto uma zona de contato (CLIFFORD, 2016). Esta exposição foi realizada entre 2015 e 2016, em parceria com o Museu da cidade de Nova York, uma vez que no início da década de 1980, ocorreu um encontro, em Amsterdã, entre grafteiros estadunidenses e holandeses, o que modifcou profundamente o grafte produzido na cidade. O propósito, assim sendo, é analisar, a partir da exposição, se as representações das assimetrias e dos confrontos do encontro entre grafteiros de Amsterdã e de Nova York estão presentes na construção narrativa da exposição e conferem a mesma o caráter de uma zona de contato.Palavras-chave: Museus. Exposição. Zona de contato. Grafite.“GRAFITTI: NEW YORK MEETS THE DAM” EXHIBITION AT AMSTERDAM MUSEUM AS A CONTACT ZONESummaryThis article aims to analyze the Graffiti exhibition: New York meets the Dam, of the Amsterdam Museum, as a contact zone (CLIFFORD, 2016). This exhibition was held between 2015 and 2016 in partnership withthe New York City Museum, since the early 1980s there was a meeting between American and Dutch graffiti artists in Amsterdam, which profoundly changed the graffiti produced in the city. The purpose, therefore,is to analyze, taking the exhibition as a starting point, if the representations of the asymmetries and the confrontations of themeeting between graffiti artists of Amsterdam and New York are present in the narrative construction of the exhibition and confer to it the character of a contact zone.Keywords: Museums. Exhibition. Contact zone. Graffiti.

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Maldonado Mangui, Silvia. "Análisis crítico del Graffiti como herramienta comunicativa de expresión urbana." Revista Arbitrada Interdisciplinaria Koinonía 4, no. 8 (July 1, 2019): 870. http://dx.doi.org/10.35381/r.k.v4i8.525.

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El presente escrito detalla la importancia del graffiti a partir de su origen hasta llegar a un periodo contemporáneo. Además, se denotó los factores y agentes que intervienen en el proceso. El objetivo de la investigación fue analizar al graffiti desde una perspectiva epistemológica-evolutiva debido a que es limitada la investigación del tema de estudio en Latinoamérica. El estudio atravesó un diseño metodológico no experimental, con pertenencia hacia un enfoque cualitativo, pues, se pretende examinar la manera en que los citadinos perciben al fenómeno. El diseño investigativo etnográfico exploró, el origen y evolución de dichos grupos sociales con diferentes rasgos culturales y simbólicos. Como resultado principal se denotó a la técnica de observación como instrumento calificativo de los graffitis bajo criterios determinados por expertos. Se concluyó que el tema de estudio es una propuesta neutral en significado. A su vez, de acuerdo a las normativas regulatorias del Ecuador se lo juzga bajo los principios de ilegalidad. Por tal razón, el graffiti ha sido un tema de gran debate, pero al mismo tiempo de gran interés por su impacto en la sociedad.

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Cavanagh, Eithne. "Graffiti." Books Ireland, no. 223 (1999): 191. http://dx.doi.org/10.2307/20631882.

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Schröer, Henning. "Graffiti." Zeitschrift für Pädagogik und Theologie 38, no. 4 (April 1, 1986): 310–12. http://dx.doi.org/10.1515/zpt-1986-0403.

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McCoy, Leeann. "Graffiti." Iowa Review 37, no. 2 (October 2007): 173–74. http://dx.doi.org/10.17077/0021-065x.6375.

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Šilbajoris, Rimvydas, and Liūnė Sutema. "Graffiti." World Literature Today 67, no. 4 (1993): 865. http://dx.doi.org/10.2307/40149755.

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KLINGMAN, AVIGDOR, and RONIT SHALEV. "Graffiti." Youth & Society 32, no. 4 (June 2001): 403–20. http://dx.doi.org/10.1177/0044118x01032004001.

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Hohman, Roxann. "Graffiti." International Feminist Journal of Politics 12, no. 1 (March 2010): 89–90. http://dx.doi.org/10.1080/14616740903429155.

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De Andrade Morandi, Thiago. "GRAFFITI." SCIAS - Arte/Educação 13, no. 1 (August 1, 2023): 118–30. http://dx.doi.org/10.36704/sciasart.v13i1.7722.

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A arte urbana do graffiti é um dos elementos mais presentes nas cidades de sociedades complexas. No ensaio “graffiti: o preparo” apresentamos os primeiros passos para a criação de uma intervenção artística no muro, ou seja, o preparo da parede para receber a pintura artística. As fotos retratam parte de um workshop sobre desenho e graffiti ministrado por Sodac durante a exposição de arte urbana “Caus”. Este muro está localizado na Rua São João, no Aglomerado da Serra, em Belo Horizonte. Um dos destaques das imagens é o uso do celular como elemento para a criação do graffiti, a partir do aparelho ubíquo Sodac mostrava aos demais o que seria pintado.

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Batista Lima, Fabio Rogério. "Graffiti:." Art&Sensorium 10, no. 01 (June 23, 2023): 97–110. http://dx.doi.org/10.33871/23580437.2023.10.01.97-110.

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Discute o graffiti como patrimônio cultural e propõe que este possa ser preservado para as futuras gerações. Reconhece-se o aspecto paradoxal que obras do tipo graffiti inspiram em relação à proposta de sua institucionalização e salvaguarda, posto o princípio de efeméride que carrega em si. Questiona-se: o graffiti é caracterizado como patrimônio cultural material ou imaterial? Como objetivo geral, propôs-se compreender conceitos que caracterizem o graffiti como patrimônio cultural, passível de ser documentado e preservado, e, para o seu alcance, definiu-se por analisar propostas de convergência entre os graffiti e os bens culturais materiais e imateriais de modo que contribuam para o tratamento documental dos graffiti. A pesquisa, com abordagem qualitativa e de natureza teórico-conceitual, apresenta objetivos exploratórios e faz uso de procedimentos bibliográficos e documentais. Resulta que o graffiti enquadra-se tanto na categoria de patrimônio cultural imaterial quanto material: imaterial, por estar incluído no âmbito das artes visuais como saber e forma de expressão artística, e, material, por gerar um produto tangível realizado pela mão humana por meio de uma técnica. O graffiti é passível de ter o tratamento documental tanto por conta de seus aspectos materiais quanto imateriais, o que o consagra como recurso informacional de bens culturais.

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García Aguirre, Lourdes. "Escuchar las paredes del liceo: hermenéutica del graffiti." Cuadernos de Investigación Educativa 2, no. 17 (February 28, 2018): 27–57. http://dx.doi.org/10.18861/cied.2010.2.17.2715.

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El propósito general de esta investigación ha sido identificar y analizar las interpretaciones que realizan los profesores y los estudiantes sobre el graffiti en el liceo. Se enmarca en un enfoque hermenéutico y narrativo. La metodología adoptada es cualitativa exploratoria, y biográfico-narrativa. Las técnicas elegidas fueron las siguientes: fotografía, entrevistas en profundidad a docentes y alumnos, y grupos de discusión. De la investigación surgieron algunas categorías interpretativas: “el tren”, “el juego”, “la firma”, “la red social”, “el grito”, “la fobia”, “lo político”, “fuera de actas”, “el deporte”, “el hostigamiento”. También se abordaron las siguientes cuestiones: la relación entre las tribus urbanas y el graffiti; los móviles de los que surgiría la necesidad de graffitear; por qué los docentes no “ven” los graffitis, y qué se ha hecho en los liceos con los mismos. Este artículo expone las categorías resultantes.

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Chan, Ho Man, Ka Chun Ku, Pak Kei Toma Li, Hiu Kwan Ng, and Suet Yi Michelle Ng. "Piece by piece: understanding graffiti-writing in Hong Kong." Social Transformations in Chinese Societies 12, no. 1 (May 3, 2016): 44–62. http://dx.doi.org/10.1108/stics-05-2016-006.

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Purpose This paper aims to examine the development of graffiti in Hong Kong. Based on cultural criminological theories, the study looks at graffiti from the cultural verstehen perspective (Ritzer, 1996) – giving voice to graffiti writers, instead of focusing on how the police or the general public react to the graffiti issue. The research also examines the motives of those writers and whether they perceive graffiti as an act of vandalism or an expression of an art form. Design/methodology/approach Graffiti is still an underdeveloped research topic in Hong Kong, which is absent not only in the mainstream discourse, but also in mainstream arts. It merely catches the media’s attention when graffiti are associated with political struggles. Thus, this paper aims to bridge the gap between the existing literature reviews and the graffiti development in this cosmopolitan city. In particular, it gives voice to graffiti writers to let readers understand how this hidden group of people perceive the notion of graffiti within their own subcultural discourse – and, at the same time, how the public responds to those graffiti-writings. Findings The research project, to a certain extent, manifests similarities to the literature reviews at an international level, especially the graffiti studies in London and New York. There are similarities in the graffiti styles – tags, bombs and pieces – and also in terms of the meanings carried behind graffiti-writing in public spaces, which showcase power through occupying space and its association with commercialization. Nevertheless, graffiti in Hong Kong have certain unique features, particularly as regards the official response to graffiti and the linkage of graffiti with politics. As seen in the Umbrella Movement and the Ai wei-wei incident, the legal responses were rigid and efficient, showing that the government paid great attention to the messages delivered in these cases. When no complaints or reports are made to the police, graffiti work is left undisturbed. Only when strong political messages are carried will prompt action be taken. Originality/value Graffiti are an underdeveloped research topic in Hong Kong, which is absent not only in the mainstream discourse but also in the mainstream arts. This paper aims to bridge the gap between the existing literature reviews and the graffiti development in Hong Kong. It gives voice to graffiti writers to let readers understand how this hidden group of people perceives the notion of graffiti within their own subcultural discourse and how city dwellers respond to those graffiti-writings.

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Fogaça, Joana, Tomás Brandão, and João C. Ferreira. "Deep Learning-Based Graffiti Detection: A Study Using Images from the Streets of Lisbon." Applied Sciences 13, no. 4 (February 9, 2023): 2249. http://dx.doi.org/10.3390/app13042249.

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This research work comes from a real problem from Lisbon City Council that was interested in developing a system that automatically detects in real-time illegal graffiti present throughout the city of Lisbon by using cars equipped with cameras. This system would allow a more efficient and faster identification and clean-up of the illegal graffiti constantly being produced, with a georeferenced position. We contribute also a city graffiti database to share among the scientific community. Images were provided and collected from different sources that included illegal graffiti, images with graffiti considered street art, and images without graffiti. A pipeline was then developed that, first, classifies the image with one of the following labels: illegal graffiti, street art, or no graffiti. Then, if it is illegal graffiti, another model was trained to detect the coordinates of graffiti on an image. Pre-processing, data augmentation, and transfer learning techniques were used to train the models. Regarding the classification model, an overall accuracy of 81.4% and F1-scores of 86%, 81%, and 66% were obtained for the classes of street art, illegal graffiti, and image without graffiti, respectively. As for the graffiti detection model, an Intersection over Union (IoU) of 70.3% was obtained for the test set.

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Yendra, Yendra, Ketut Artawa, I. Nyoman Suparwa, and Made Sri Satyawati. "Symbolic Functions of Graffiti in Padang City of Indonesia: Critical Linguistic Landscape Studies." JURNAL ARBITRER 7, no. 1 (April 26, 2020): 100. http://dx.doi.org/10.25077/ar.7.1.100-108.2020.

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This study concerned with language in written form that is visible as graffiti in the Padang city, Indonesia landscape. The mushroomed of graffiti in Padang city landscapes increasingly has been a growing problem in society. Even local government as the official authority has created some task to prohibit graffiti, but a new graffiti has always been emerging in public space. Therefore graffiti has been considered a crime. It is interesting to explore graffiti in Padang city landscapes from other perspectives, particularly the symbolic functions of graffiti. The study uses qualitative approaches by applying Critical Discourse Analysis. The result shows that graffiti in Padang city landscapes accomplished two principal symbolic functions; first graffiti as a medium of demonstration in which providing space for marginalized expression with the opportunity to voice controversial ideas publically; second graffiti as social critics in which providing input into the public discourse that is not concerned by other conventional media.

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Wibisono, Aryo Bayu, and Ryan Rizki Herdianto. "GRAFFITI CHANGE IN A DECADE, BECOME A COMMERCIAL COMMODITY IN THE CITY OF SURABAYA." Journal of Society & Media 2, no. 1 (July 30, 2018): 31. http://dx.doi.org/10.26740/jsm.v2n1.p31-36.

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Commodity Graffiti is the art of the streets that adorned cities in the modern era. Graffiti is a culture that cannot be separated from the role of human communal in certain areas, in addition to show on the group existence , graffiti often perceived as markers an epoch. Graffiti but is no longer owned by groups that feel they own the art of course, Graffiti develops into a medium that transformed and give oasis in urban cities Surabaya. Research with the title “Change Graffiti On a decade, into a Commercial Commodity in the city of Surabaya” will break down how and what factors make Graffiti in the era of modernity is now turned towards the commercial. Research method used to unravel Graffiti changes in Surabaya first with the observation field technique to Graffiti artist or advertisers, second analysis of interviews with Graffiti stakeholders and the last book, literature journals as well as the media as secondary data research to supporting.

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Okon, Patrick Edem, Okon Effiong Udoyo, and Leonard Odum Ojorgu. "Graffiti and new media: Levearaging technology to advance creativity and learning in Nigeria." International Journal of Arts and Humanities 4, no. 1 (October 6, 2023): 166–80. http://dx.doi.org/10.25082/ijah.2023.01.005.

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The paper explored the relationship between graffiti and new media, with specific focus on the effect of new media appropriation on the growth of graffiti writing in Nigeria. Qualitative research design and methodologies were used. The theory of technological determinism provided the conceptual directions. Findings showed that graffiti artists were increasingly active on social media; and, used social media for different purposes, including graffiti-based artistic activities. While a wide range of social media were used, only Instagram was the most preferred, because of its unique technical qualities. The engagements of graffiti artists with new media were, in varying ways, bearing innovative and socio-cultural benefits. Apart from providing opportunities for the showcasing of talents or the digital documentation of graffiti, the interface had also allowed for improved artistic creativity, through the placements of graffiti arts unto virtual spaces as Non-Fundable Token Arts (NFTs), as well as the education of young adults online/offline on graffiti arts. Also, in order to mitigate the low status of public awareness on graffiti in Nigeria, graffiti artists should heighten their engagements with social media to popularize the practice in its contextual form; and, the placements of graffiti arts on NFT panels should be seen as a step in the right direction, towards the preservation of graffiti arts for posterity.

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Galliou, Patrick, and Bernard Tanguy. "Armorican Graffiti. Prolégomènes à l’étude des graffites romains d’Armorique." La Bretagne linguistique, no. 4 (June 1, 1988): 79–83. http://dx.doi.org/10.4000/lbl.9011.

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Karaś, Sławomir, Maciej Kowal, and Anna Leniak-Tomczyk. "Graffiti on bridges." Budownictwo i Architektura 15, no. 1 (April 1, 2016): 051–60. http://dx.doi.org/10.24358/bud-arch_16_151_05.

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The article dealt with a problem of graffiti on bridges. Graffiti can be perceived as a form of artistic expression. Two historical examples of graffiti, one from antiquity times and the other one from the forties of the past century were presented. An attempt was made in order to define the graffiti on the basis of the analysis of the Lublin’s graffiti culture The obtained descriptive characteristic/definition of graffiti indicates stable, independent and even illegal activity which seems to be impossible to be constricted. The graffiti was examined on the example of Santiago Calatrava bridges. On the basis of simple statistical method, which was applied, the groups of students assessed the displayed graffiti on bridges by answering the questions by means of 1/0 estimation (positive/negative impression). The reliable results were obtained. It was concluded that some graffiti on bridges can optionally be accepted and therefore can be remained as a result of rational judgement of the artistic expression.

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Furtado, Janaina Rocha. "Tribos urbanas: os processos coletivos de criação no graffiti." Psicologia & Sociedade 24, no. 1 (April 2012): 217–26. http://dx.doi.org/10.1590/s0102-71822012000100024.

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O graffiti urbano se caracteriza como movimento de intervenção na cidade, por meio do qual diversos grupos expressam novas formas de viver nos espaços urbanos. Este trabalho visa refletir sobre os processos de criação coletiva no graffiti urbano de Florianópolis. Realizou-se entrevistas com seis grafiteiros da cidade de Florianópolis, pertencentes a crews diferentes, observações, registros fotográficos e filmagens de suas atividades criadoras na cidade. Percebeu-se que a formação dos grupos de grafiteiros depende de relações de afinidade e proximidade a partir das quais partilham suas experiências e emoções. Nos processos de criação dos graffitis participam grafiteiros de diferentes crews, as quais trocam entre si técnicas e sugestões. As relações na crew e entre crews dos grafiteiros investigados se caracterizam por certa volaticidade e flexibilidade em suas relações. A re-qualificação do espaço urbano ocorre por meio destas intervenções conjuntas, reinventando a cidade e a si mesmos.

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Eissa Mousa Abu Eissa, Fadi, and Luqman Rababah. "Exploring Types of Graffiti at Jadara University in Jordan." Journal for the Study of English Linguistics 8, no. 1 (September 27, 2020): 200. http://dx.doi.org/10.5296/jsel.v8i1.17749.

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This study aims to explore types of graffiti at Jadara University in Jordan. The study sample consists of (130) graffiti works from Jadara University, Jordan. The sample is randomly selected from the university public places. To achieve the purpose of the study, critical discourse analysis is used. The study revealed that the most common types of graffiti are: personal and emotional, social, national, religious, sport, and academic ones. In light of the results, the study recommends studying graffiti works from a psychological point of view to more understand the hidden messages in graffiti works found. Future research examining the differences in graffiti types and functions between different groups of students (e.g. in public vs. private university) is needed. Studying graffiti works from a psychological point of view to more understand the hidden messages in graffiti works found is also needed.

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Ashcraft, Alyce A. "Statistical Graffiti." Journal of Nursing Education 45, no. 1 (January 1, 2006): 44–45. http://dx.doi.org/10.3928/01484834-20060101-12.

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Mehlman, Jeffrey. "American graffiti." Médium 51, no. 2 (2017): 136. http://dx.doi.org/10.3917/mediu.051.0136.

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Cornell, Christen. "Graffiti Beijing." Cultural Studies Review 10, no. 1 (September 2, 2013): 81–99. http://dx.doi.org/10.5130/csr.v10i1.3522.

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I find it difficult to identify the first moments of my encounter with China, the crucial point at which I made, succumbed or arbitrarily happened upon the decision to study this culture and its official, national language of Mandarin. That moment a product of the last, delivered from the one preceding. I can’t get a hold of the one loose end with which this story commenced, the original beginning from which this particular hybridity was formed. There must have been a day when I ticked a box to enrol to study Chinese, a day that I finally decided against other options, but unable now to identify this moment, I can’t help querying just how significant it could have been. My memories of China the idea, or story, extend to the vanishing point of earliest childhood, through celestial stereotypes in storybooks, through the smell of incense in Chinatown, through stories of ‘The Orient ... almost a European invention’, culminating in a myriad of stimuli.

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Robertson, Thomas S. "Corporate Graffiti." Business Strategy Review 6, no. 1 (March 1995): 27–44. http://dx.doi.org/10.1111/j.1467-8616.1995.tb00170.x.

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Roa, Richard L. "Bacterial Graffiti." Baylor University Medical Center Proceedings 7, no. 4 (October 1994): 14. http://dx.doi.org/10.1080/08998280.1994.11929886.

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Tarlo, Harriet. "Leaf graffiti." Green Letters 17, no. 3 (November 2013): 300–302. http://dx.doi.org/10.1080/14688417.2013.862052.

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Tarsha, Amir Adam. "Bad graffiti." Families, Systems, & Health 33, no. 4 (2015): 419. http://dx.doi.org/10.1037/fsh0000160.

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Georgeon, Dounia. "Revolutionary Graffiti." Wasafiri 27, no. 4 (December 2012): 70–75. http://dx.doi.org/10.1080/02690055.2012.714122.

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Crane, Leah. "Rocket graffiti." New Scientist 234, no. 3119 (April 2017): 26–27. http://dx.doi.org/10.1016/s0262-4079(17)30626-7.

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FERRELL, JEFF. "Urban Graffiti." Youth & Society 27, no. 1 (September 1995): 73–92. http://dx.doi.org/10.1177/0044118x95027001005.

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Onita, Adriana. "Graffiti Silence." TranscUlturAl: A Journal of Translation and Cultural Studies 6, no. 1 (November 4, 2014): 67. http://dx.doi.org/10.21992/t91k9v.

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These tricontinental ekphrastic poems feature graffiti art(ists) that have caught my heart off guard. The first poem titled “Graffiti of Silence” is a response to the anonymous “listen bird”, ubiquitous in Edmonton's urban geography from 2003 to about 2008. Stenciled, spray painted or stickered, it always featured a speech bubble with one word: listen. It quickly became part of Edmonton’s local iconography, but the city’s Graffiti Management Program managed to eliminate the bird from its streets, but not from public memory. The second ekphrasis titled “The Fisherman” features the work of El niño de las pinturas (Raúl Ruiz), an internationally-renowned graffiti artist based in Granada, Spain. Known for his large-scale wall murals which are almost always accompanied by his own poetic text, he dresses the skin of this city in sienna strokes, covers its bruises with layers of light, becoming a source of symbolic pride for Granada. The third poem, “Monsters in Montevideo,” is inspired by Alfalfa (Nicolás Sánchez), an iconic street artist based in Montevideo, Uruguay. His unique style uses organic lines and bright colours to create fantastical creatures that add a sense of play and surprise to many of the city’s streets. These three ekphrastic poems are an attempt to translate the poetic experience of viewing street art. Through poetry, the impermanent art of graffiti is rendered immortal as a self-portrait of each city and each spectator.

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Lloyd, David, and Mike Jenkins. "Graffiti Narratives." World Literature Today 70, no. 1 (1996): 196. http://dx.doi.org/10.2307/40151948.

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Jones, David. "Celestial graffiti." Nature 372, no. 6508 (December 1994): 732. http://dx.doi.org/10.1038/372732a0.

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Verhoeven, Thibaut. "DESKTOP graffiti." Aesthetic Investigations 1, no. 1 (July 16, 2015): 129–34. http://dx.doi.org/10.58519/aesthinv.v1i1.12012.

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And then Christophe showed me his nicely tailored folders. He still accompanied it with the parlé people nowadays treat young managers during their Powerpoint presentations. When the first folder was opened, though, something changed drastically, in a flash. Suddenly the need for explications dropped away. Without a doubt, these were scribbles straight from the gut, vomited onto the paper when the urge was highest. Without parlé or excuse. Surprising! That is when we really started talking, Christophe and I.

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Szubert, Alicja, and Kazimierz Michalewski. "Graffiti łódzkie." Acta Universitatis Lodziensis. Folia Linguistica 37 (January 1, 1998): 73–82. http://dx.doi.org/10.18778/0208-6077.37.09.

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Brunner, Kevin. "A Child-Centric Interface: Graffiti or Not Graffiti." Design Principles and Practices: An International Journal—Annual Review 4, no. 1 (2010): 313–32. http://dx.doi.org/10.18848/1833-1874/cgp/v04i01/37838.

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De groupe, Exposition. "Le graffiti danse comme… / The graffiti dances like…" ti< 7, no. 1 (March 31, 2018): 8–11. http://dx.doi.org/10.26522/ti.v7i1.1731.

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Le graffiti danse comme… / The graffiti dances like… (2018)Lithophanies (photographies digitales et impression 3D) sur le thème du mouvement + Ecriture poétique à partir du graffiti de Mat Vizbulis. Les verbes de mouvement entre guillemets dans le texte en français sont empruntés à L’esprit du temps / The Spirit of the Time (2015) de l’artiste/auteur Daniel DugasLithophanies (digital photographs and 3D printing) on the theme of movement + Creative writing based on graffiti artwork by Mat Vizbulis. Verbs of movement placed between brackets in the French text are excerpted from L’esprit du temps / The Spirit of the Time (2015) by artist/author Daniel Dugas

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Kececi, Eser. "GRAFFITI AS ALTERNATIVE COMMUNICATION TOOLS: DISCUSSIONS OF VANDALISM AND THE EFFECTS OF NEW MEDIA." International Journal of Advanced Research 9, no. 06 (June 30, 2021): 564–75. http://dx.doi.org/10.21474/ijar01/13047.

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Since their appearanceon the streets as alternative communication tools in 1980s, graffiti have led to controversies over their conceptualization as vandalism of the public property. Despite this negative understanding, however, graffiti are tools through which minorities and marginalized groups are able to represent themselves and express their voices in public spheres. Thus, graffiti are turning into alternative and protest tools of communication. Today, through the possibilities that new media and especially social media offer, the lost voices are disseminated faster through graffiti and therefore, graffiti are transformed into more effective communication channels.While acknowledging the yet ongoing vandalistic approach to graffiti, this study contributes theoretically, through a qualitative method of analysis, to the theories on graffiti by offering a discussion on how new media affects the dissemination and conceptualization of graffiti. The analysis and conclusive discussions suggest that despite the negative conceptualization of graffiti as a vandalistic act, they have been utilized as alternative communication tools and are reached by a huge number of audiences through their dissemination by new media even after their actual disappearance from the street walls.

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