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1
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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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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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.
4
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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Sfiri, Ibrahim, and Junior Ndiaye. "Designprojekt Tag/Graffitti Remover." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-14962.
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I kursen KPP106 som är ett examensarbete mot formgivning för högskoleingenjörer så ingår det att produktutveckla en produkt mot formgivning samt skriva en rapport kring arbetet. Denna rapport har valts att delas in i fyra delar för att kunna ge läsaren en bättre förståelse för projektets riktning. De olika faserna är: förståelse av problemet, en idégenerering för att kunna finna så många lösningar som möjligt, framtagning av väsentliga lösningar till projektet samt ett val av koncept och slutligen en bearbetning av det utvalda konceptet där det omvandlas till ett resultat. Projektdirektiv har getts från handledare och uppdragsgivaren Mauri Modin. Det främsta direktivet med projektet var att omforma den nuvarande produkten så att utseendet blev mer tilltalande. Produktens syfte är att sanera klotter. Det koncept som vidareutvecklats är en förbättrad modell av den nuvarande produkten där utseende, montering och ergonomi har förbättrats.
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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.BI / Konst
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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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Sampaio, Adriana Valadares. "Graffiti teatro urbano escritural." reponame:Repositório Institucional da UFBA, 2006. http://www.repositorio.ufba.br/ri/handle/ri/9203.
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Esta dissertação buscou investigar as letras grafitadas na cidade de Salvador de modo multidisciplinar através do levantamento da técnica (influências no aspecto plástico da letra), do lugar (cidade como suporte), e da cultura local (contexto político-social). A partir de dez grafiteiros e de imagens de suas produções procura-se dialogar com parâmetros de legibilidade, inserção dessa manifestação artística no espaço público, ligação com a tipografia experimental e com a caligafia artística.
Salvador
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Bachelder, Miranda. "Graffiti : kontextualitet, platsbundenhet och innehåll." Thesis, Södertörn University College, School of Culture and Communication, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3309.
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The focus of this essay is to investigate if there lies a difference between graffiti art that is placed in the public spaces and graffiti art that is sited in an institutional art setting; in this essay exemplified in a gallery space. My thesis is that graffiti art derives a great deal of its meaning and substance from its situation consequently making a change of cultural context also a change of connotation and understanding of the graffiti art itself. Meaning that graffiti art situated in a communal space is different from graffiti art situated in the gallery space. They share aesthetic expression but their connotations differ; i.e. one being illegal and the other permissible making their meanings dissimilar. I have used a comparison between site-specific art and graffiti art to further strengthen my thesis concerning the importance of understanding how a change of context critically changes the substance of graffiti art.
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Neto, Bruno Pedro Giovannetti. "Graffiti: do subversivo ao consagrado." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-11012012-152024/.
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Nas duas últimas décadas, o graffiti se impôs como um elemento visual das metrópoles brasileiras. Passou a povoar a rotina urbana e, num embate por espaços, vem disputando a visibilidade pública com as cores dos edifícios, as placas de sinalização e outros elementos da comunicabilidade urbana. E o faz mudando a sua proposta e original essência. Este trabalho procura documentar a trajetória do graffitti de meados da década de 1960 até às vésperas da conclusão da pesquisa, em 2011, acompanhando a sua transformação \"do subversivo ao consagrado\". Através da narrativa visual pontuada por uma seleção de 400 fotografias de autoria do pesquisador, destaca-se, em especial, a cidade de São Paulo, onde o trabalho dos grafiteiros vem despertando interesse mundial e não apenas entre adeptos, simpatizantes e editoras especializadas. O graffiti tem sido um interessante campo de estudo para críticos de arte, antropólogos, semiólogos, etc., porém, é na visualidade urbana que tem o maior impacto.In the last two decades, graffiti has established itself as a visual element of the metropolis in Brazil. It became part of the urban routine, and in a dispute for space has been struggling for public visibility with building colors, traffic signs and other elements of urban communicability. And it does so by changing its intent and original essence. This paper seeks to document the trajectory of graffiti from the mid 1960s to the conclusion of the research, in 2011, following its transformation \"from subversive to acclaimed\". By means of a visual narrative marked by a selection of 400 photographs taken by the researcher, the city of São Paulo is emphasized, where graffiti is attracting worldwide attention and not only among supporters, sympathizers and specialized publishers. Graffiti has been an interesting field of study for art critics, anthropologists, semiologists, and scholars in general, but the greatest impact of this street art is on the urban scene.
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Єрмоленко, Світлана Василівна, Светлана Васильевна Ермоленко, and Svitlana Vasylivna Yermolenko. "Graffiti als ein sprachliches Phänomen." Thesis, Львівський національний університет імені Івана Франка, 2016. http://essuir.sumdu.edu.ua/handle/123456789/46492.
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Man sieht sie in manchen Ländern oft und überall wie zum Beispiel an den Wänden, an den Zügen oder auch auf dem Gehsteig, in manchen Ländern kaum. Manchmal sind sie illegal, was am öftesten ist, manchmal sind sie sogar legal, wie es z. B. in Berlin zur Zeit des Mundials war, indem man einige Gebäude den Graffiti-Meistern ganz gegeben wurden.
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Semerák, Vojtěch. "Vyhledávání graffiti tagů podle podobnosti." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2013. http://www.nusl.cz/ntk/nusl-236188.
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Graffiti tags are similar to the common human signatures. This report analyses, which signature recognition methods could be useful in the field of preventing graffiti vandalism. It also discusses differences between signatures and graffiti tags.
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Grünseisen, Vojtěch. "Vyhledávání graffiti tagů podle podobnosti." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2013. http://www.nusl.cz/ntk/nusl-236413.
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This work focuses on a possibility of using current computer vision alghoritms and methods for automatic similarity matching of so called graffiti tags. Those are such graffiti, that are used as a fast and simple signature of their authors. The process of development and implementation of CBIR system, which is created for this task, is described. For the purposes of finding images similarity, local features are used, most notably self-similarity features.
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Shannon, David. "Swedish graffiti : a criminological perspective /." Stockholm : Department of criminology, University of Stockholm, 2003. http://catalogue.bnf.fr/ark:/12148/cb39240844m.
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Wilson, Kieron. "Emerging Out of Graffiti Into the Gallery." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/380708.
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This exegesis develops and applies strategies for how my practice emerging out of the
tradition of graffiti in contemporary Australia can maintain its criticality in a gallery
context crossing over from the street to mainstream Visual Art practice. This exegesis
gives an account of graffiti as a criminal act deliberating the implications of the
aesthetics and the intrinsic principal of graffiti being corrupted by the mainstream.
The exegesis gives an analysis of graffiti as a skill different to art making, and looks
at the cultural background of the marginal graffiti practitioner.
In this investigation, the aim is to assess the corrupters of graffiti that are embedded in
laneways, media, industrialization and the gallery. In this exegesis, I attempt to
defend transgressing from graffiti into the gallery as a better option of losing
criticality, to gain indiscretion in my practice. This study considers the effect of
laneways, describing how they exclude graffiti by usurping public space from the
marginal, and how media reproductive capabilities can be deceptive in the
commodification of graffiti aesthetics through industrialized art and design.
The purpose of research into forms of corruption in graffiti is to create a range of
counter strategies that utilize a historical resistance and subvert the supposed rules
and terms of graffiti. Using the proposition of Australian Bushmen artists of the
Heidelberg School ‘9 by 5’ impressionist exhibition format informs my practice of
making work that is cheaper, quicker and less elitist.
Utilizing techniques associated with the critical reception of the ‘9 by 5’ exhibition
such as the loose unfinished look of their paintings, provides a method of how to
examine ways to connect Visual Art and graffiti that maintain an authentic, less
incriminating perception of graffiti to be displayed. The proposed new methodology
uses graffiti’s form in context of it’s aesthetics with those of outmoded visual art
practices such as, ceramics and watercolours, combined with contemporary forms of graffiti subjects in the landscape.Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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Andrieu, Morgane. "Graffites et société en Gaule lyonnaise : contribution à l'étude des inscriptions gravées sur vaisselle céramique." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040117.
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L'écriture latine est l'un des principaux outils permettant d’étudier la période gallo-romaine. Les contacts entre Romains et indigènes ont favorisé sa diffusion à l'ensemble de la Gaule. Bien que peu de traces nous soient parvenues, l'écriture est un précieux témoignage du passé et l'objectif de cette thèse est d'en étudier l'usage quotidien dans les capitales de cité de Gaule Lyonnaise à travers l'exemple des cités d'Autun, Chartres et Sens. Pour cela, notre étude s'appuie sur l'analyse desinscriptions gravées (graffites) sur vaisselle céramique. La vaisselle en céramique constitue un objet du quotidien accessible à toute la population gallo-romaine et un support épigraphique non périssable. Ainsi, les graffites sur céramique font partie des rares témoignages à notre disposition pour comprendre le quotidien épigraphique des gallo-romains. La première partie de ce travail a consisté à recenser l'ensemble des graffites sur céramique découverts à Autun, Chartres et Sens. Les missions organisées avec l'aide des différentes équipes de bénévoles et le soutien financier du Centre archéologique européen (Bibracte), celui du Ministère de la Culture et celui de l'Université Paris-Sorbonne (Paris IV) nous ont permis de recenser un total de 676 graffites dont la plupart sont inédits. Tous sont répertoriés, illustrés et commentés dans le catalogue de cette thèse. L'étude du corpus intègre les inscriptions, leur analyse linguistique etpaléographique ainsi que leur support et leur contexte de découverte. Les messages transmis par ces inscriptions sont divers (indications de contenu, mesures, voeux, dédicaces, etc.) mais la plupart consistent en des marques d'appartenance incisées sur de la vaisselle de qualité. L'étude révèle des pratiques épigraphiques similaires dans les trois cités et la confrontation des résultats avec les données issues des études précédentes montre que ces codes épigraphiques dépassent largement les frontières de la Gaule LyonnaiseLatin writing is one of the main types of evidence for studying the Gallo-Roman period. Contacts between Romans and natives have favoured its spread throughout Gaul. Although few traces have remained, writing is a valuable testimony of the past and the objective of this thesis is to study its everyday use in the capital cities of Gallia Lugdunensis through the examples of Autun, Chartres and Sens (France). Therefore, this study is based on the analysis of the incised inscriptions (graffiti) on pottery tableware which was an everyday object accessible to the entire Gallo-Roman population and made of a non-perishable material. Thus, graffiti on pottery are among the rare examples at our disposal to understand the daily epigraphic habits of the Gallo-Roman population. The first part of this work was to identify all graffiti on pottery discovered in Autun, Chartres and Sens. The missions, which were possible thanks to the help of volunteers and to the financial support of the European Archaeological Centre (Bibracte), the Ministry of Culture and Paris-Sorbonne University, allowed us to identify a total of 676 graffiti, most of them are unpublished. All are listed, illustrated and discussed in the catalogue of this thesis. The study of the corpus includes the inscriptions, their linguistic and palaeographic analysis, the identification and the dating of their support and context of discovery. The messages transmitted by these inscriptions were different contents, wishes, dedications, etc.), but most consisted of ownership marks incised on quality crockery. The study reveals similar epigraphic practices in the three cities and the comparison with the results of previously published studies shows that these epigraphic codes are used far beyond the borders of Gallia Lugdunensis
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Claeson, Tobias. "Förebyggande åtgärder mot illegal graffiti : En ekonometrisk studie av hur otillåten graffiti påverkas av situationella åtgärder." Thesis, Uppsala University, Department of Economics, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-6381.
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Ända sedan graffiti började förekomma i Sverige för ca 20 år sedan har den, nästan utan
undantag, ständigt ökat i omfattning. Sveriges kommuner har försökt bemöta den illegala
graffitins framfart med olika sorters förebyggande åtgärder. Dock har dessa metoder sällan
utvärderats kvantitativt, och resultaten av de implementerade åtgärderna är ofta osäkra. Syftet
med denna studie är att med ekonometrisk metod utvärdera två av dessa metoder; lagliga
väggar och snabbsanering. Förhållandet mellan dessa åtgärder och anmälda graffitibrott
undersöks med OLS-regressioner genomförda för en panel med 172 svenska kommuner under
perioden 1996-2004. De viktigaste resultaten i uppsatsen är 1) den vanligaste åtgärden i
Sveriges kommuner – snabbsanering – uppvisar ingen negativ effekt på illegal graffiti.
Tvärtom ger resultaten indikationer på att anmälda graffitibrott ökar som en följd av denna
metod 2) resultaten för lagliga väggar visar att denna metod inte verkar påverka illegal
graffiti överhuvudtaget, vilket således motsäger både förespråkare och kritiker av detta som
en klotterförebyggande åtgärd.
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Alnaji, Ahmad. "Graffiti as Voice for Voiceless People : Critical Discourse Analysis of Sudanese Graffiti During Sudanese Revolution 2019." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-40747.
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This paper highlights street art in the social movement in Sudan and the role of murals andpolitical graffiti in relation to the Sudanese revolution of 2019. Characteristic for thismovement is the appearance of murals depicting the events of the revolutions. In particular,the colourful graffiti during the Sudanese uprisings of 2019 has been a crucial element in thesocial movement in the country.This study explores role of graffiti, its function as an art of resistance and as a communicationmedium during Sudanese movement, how graffiti contributes to Sudanese revolution 2019.Sudanese graffiti creates a profound understanding of the social transformation in Sudan,including most important events after revolution such as the third of June massacre inKhartoum and the political process and solidarity against discrimination. It establishes asocial relational space that ranks high values on collaboration and sharing significance, aswell introduces emancipatory alternative for better future in Sudan.The study uses four-dimensional analytical framework including graffiti as communicationtool, illegality and call for place, visual and verbal language, and graffiti as a public memory.Furthermore, it uses critical discourse analysis method through utilizing three-dimensionalframework including text, discursive practice, and sociocultural context. At the same time, thestudy uses telephone interviews method and photo-elimination method as data collectionmethods and encompassing structure for the research.
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Sariyildiz, Hatice Ozlem. "Graffiti And Urban Space In Istanbul." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608345/index.pdf.
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The aim of this study is to uncover and discuss the spaces appropriated by graffiti writers and to reveal out the possible resistances involved in the act throughout the writers’
motivations, characteristics, spaces they produce and all over process they are entering into together with the specifications of graffiti in Turkey. It demands to unfold the possibilities sheltered in everyday practices looking through graffiti and subsequently revealing out possibilities in graffiti looking through everyday life. It sees the urban space as a social product, which is incomplete without the tactics of the inhabitants and redefined as a result of appropriation. It looks through the history of graffiti, graffiti writers, their motivations and descriptions, working mechanism of the act, spaces chosen and their overall relations to power placed upon urban space in regard to its predescribed theoretical framework reaching out an integrated explanation on play/game theory and resistance it describes. It claims graffiti as a game of the juveniles acting in urban space as their playground.
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Crummey, Colleen Kathleen Mary. "Semiotics and graffiti in sectarian Belfast." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0022/MQ33478.pdf.
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Kütter, Jochen. "Graffiti auf römischer Gefässkeramik aus Neuss." Aachen Shaker, 2007. http://d-nb.info/98934178X/04.
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Steinat, Carolin. "Graffiti auf Spurensuche im urbanen Zeichendschungel." Marburg Tectum-Verl, 2003. http://d-nb.info/98704883X/04.
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Lima, Fábio Rogério Batista [UNESP]. "O graffiti como patrimônio cultural material." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/153543.
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Na atualidade vivencia-se o que Bauman (2001) conceituou de modernidade líquida, identificada como aquela em que as relações humanas e sociais são caracterizadas por não terem configuração de solidez ou como aquela em que não se conserva forma por muito tempo; prima-se pela mudança; vive-se das inconstâncias. A natureza desta liquidez é reconhecida por conta da leveza, da mutabilidade e da mobilidade das relações. A importância da preservação da memória artística para as futuras gerações também tem mudado. Com o grande avanço nas tecnologias de reprodução e exposição às massas, obras de arte se disseminam com a facilidade de circulação das imagens. Essas manifestações estão nos muros da cidade, locais esses que têm suas superfícies alteradas e apagadas diariamente. Diante disso, questiona-se como se dá o tratamento documental do graffiti como manifestação de arte efêmera? Em decorrência, como pressuposto da tese, aponta-se que o tratamento documental do graffiti, convertido em recurso digital, apresentará elementos para sua consolidação como patrimônio cultural material. Delimitou-se como objetivo propor como se dá o tratamento documental do graffiti, convertido em recurso imagético, considerando a ubiquidade, os aspectos da informação líquida e da ecologia da informação e as novas formas de disponibilizar o acesso. O estudo apresenta abordagem qualitativa, de natureza descritivoexploratória tendo como universo de pesquisa projetos de exposições digitais de arte urbana. omo resultado, verificou-se que o uso estratégico das tecnologias de informação e comunicação e a aplicação efetiva dos padrões de representação de obras de artes são fatores determinantes para garantia do armazenamento, recuperação e acesso ubíquo ao patrimônio cultural material. A proposta de representação documental de graffiti apresenta o padrão de estrutura de dados R ore - Resources Association Visual versão 4 0, por sua melhor adequação à descrição da manifestação de arte do tipo graffiti, por possibilitar a correlação entre obra, imagem e coleções Nesse sentido, foi possível elaborar uma proposta de aplicação contendo três novos elementos descritivos: "citação cultural", "citação espaço temporal" e "citação ideológica" como forma de trazer o contexto em que o graffiti foi criado e apresentar elementos que viabilize a efetivação do graffiti como patrimônio cultural material.
Nowadays we live what Bauman (2001) defined as liquid modernity, it is identified as human and social relationships that are caracterized by not having solid aspects in it or that one which doesn´t keep its format for too long; changes are constant and inconsistencies are lived. The nature of this liquidity is know by the lightness, mutability and mobility of relationships. The importance of artistic memories preservation has also changed. With the breakthrough in playback technologies and exposition techniques to majority of people has made works of art disseminate easily just like images. These manifastations are in the city walls, places that have their surfaces changed and erased daily. In view of this, one questions how the documentary treatment of graffiti as a manifestation of ephemeral art takes place? As a consequence of this thesis, it is pointed out that the documentary treatment of graffiti, converted into a digital resource, will present elements for its consolidation as material cultural patrimony. The purpose of this paper was to propose how the graffiti documentary treatment, converted into an imagery resource, considering the ubiquity, the aspects of net information and information ecology, and the new ways of making access available, were proposed. The study presents a qualitative approach, of a descriptive-exploratory nature having as research universe projects of digital exhibitions of urban art. As a result, it has been found that the strategic use of information and communication technologies and the effective application of the standards of representation of works of art are determining factors for guaranteeing storage, retrieval and ubiquitous access to material cultural heritage. The graffiti document representation proposal presents the VRA Core - Resources Association Visual Version 4.0 data structure standard, due to its better adaptation to the description of the graffiti - type art manifestation, as it allows the correlation between work, image and collections. In this sense, it was possible to elaborate an application proposal containing three new descriptive elements: "cultural citation", "citation space" and "ideological citation" as a way to bring the context in which graffiti was created and present elements that make feasible the graffiti as material cultural heritage.
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Loch, Claudia. "Do graffiti à ciberintervenção urbana interativa." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/16496.
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Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Arte, 2014.Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2014-10-09T11:22:49Z No. of bitstreams: 1 2014_ClaudiaLoch.pdf: 3787016 bytes, checksum: 691d8d58252b510a56735554f578ae67 (MD5)
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No contexto da era da informação computacional e considerando a ciurbi como uma ação artística ativista, esta pesquisa busca responder as seguintes questões: qual a metodologia de trabalho adotada pela equipe do MídiaLab Laboratório de Pesquisa em Arte computacional da Universidade de Brasília? De que modo o trabalho artístico intitulado ciberintervenção urbana interativa (ciurbi) atualiza e se difere do graffiti tradicional? A pesquisa aqui apresentada é prática-teórica. O ponto de partida foi o estudo de atividades artísticas de jovens que se dedicam ao graffiti urbano, no qual procurou-se dar destaque e refletir sobre a condição social destes indivíduos, que constroem intrincadas estratégias de gestão da identidade e do seu cotidiano. Além disso, a partir do trabalho junto de artistas-programadores e programadores-artistas do MídiaLab, procura-se relatar a prática artística e refletir sobre o graffiti digital. A tese foi desenvolvida a partir de intervenções urbanas denominadas ciurbi. Apresenta-se o registro das ações, entrevistas com interatores, e análise dos resultados. A prática valese de alguns pontos reincidentes, como atividades performáticas relacionadas à intervenção urbana e à utilização da fotografia e do vídeo como meios de registro. Além do desenvolvimento destes trabalhos práticos são também realizadas oficinas visando criar multiplicadores para a realização das ciurbis. A metodologia do texto recorre aos conceitos delimitados durante a prática, tecendo algumas relações com o campo da mídia, da arte em geral e, especificamente, da arte computacional. Os conceitos, emergem dos procedimentos práticos e são indagados pelo viés da teoria, bem como são testados novamente em experimentações práticas. O resultado constitui-se a partir de quatro ciurbis principais, inseridas no contexto da arte computacional, propondo uma abordagem particular sobre aspectos da ciberintervenção urbana interativa. ______________________________________________________________________________ ABSTRACT
This is a theoretical-practical PhD research that seeks to reflect on and to contribute to sociological theory, extending it by building a new concept (the word ciurbi). The thesis is developed from the practice and observation of ciurbi, urban interactive cyber-interventions. This research is conducted in the Programa de Pós-Graduação em Artes Visuais PPG-Arte of Universidade de Brasília with MídiaLab team. The research uses testimonies and reflections on the social status of graffiti writers who build intricate tactics of identity and routine management. The work is also based on the author’s experience of collaborating with artist-programmers and programmer-artists from MídiaLab, and resulting in a final report on the production of a number of artworks and reflections on the medium of digital graffiti. The artistic practice on which the thesis is based are interactive urban cyber-interventions (referred to in the project as ciurbi). The name ciurbi comes from the first project of this kind developed in MídiaLab, under the title 1#.Ciurbi. The ciurbis use digital technology including locative media, and also feature a relationship to electro-acoustic sound. During the development of this research the word ciurbi became a category, used to refer to any urban intervention that utilizes interactive projection on architecture. Beside the development of these practical artworks, workshops were also conducted in order to allow people to realize their own ciurbis. In what sense are the ciurbis different from traditional graffiti? This question is discussed through some ideas of Sociological Art. To execute the artistic practice of this thesis the MídiaLab team uses the methodology of Sociological Art, created by artists Hervé Fischer, Fred Forest, and Jean-Paul Thénot in 1975. However, the team update this methodology to current Brazilian context.
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Andersson, Li F. ""Graffiti som bildspråk - min estetiska läroprocess"." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-29746.
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Idén till mitt examensarbete höstterminen 2008, kom från en lust att lära mig något som jag tidigare upplevt vara ett främmande språk: bildspråket graffiti. Jag hade även en vilja att undersöka en estetisk läroprocess på nära håll, och att i ett avslutande studentarbete, fördjupa mig i vad och hur kunskapande kan vara och se ut. Att själv vara den lärande och den gestaltande var ett val som gav mig en närhet till min undersökning, vilket både har stärkt min analys och skapat en svårighet till distans. Den estetiska läroprocessen där skissernas roll fått ta stor plats, har bestått av både individuellt och socialt lärande, något som jag i en analys av lärandet kunnat reflektera över. Jag har kommit fram till att det sociokulturella lärandet borde ha fått mer plats, för det är främst bristen på det som skapat låsningar under projektets gång. Jag har fått ny kunskap om informellt lärande och hur olika kunskapsformer kan se ut och att lust, utmaning och mod kan vara tre positiva drivkrafter i ett lärande.Jag har uppnått de mål jag satt för mitt projekt, samt skapat en grundkunskap till graffiti som bildspråk.Min förhoppning är att denna projektredogörelse och min processportfolio kommer att komplettera varandra och ge en bra helhetsbild av mitt examensarbete hösten 2008.
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Feret, Gaële Sylvestre Richard. "Les graffiti sur céramique d'Augusta Raurica /." Augst : Römerstadt Augusta Raurica, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783715100401.
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Lima, Fábio Rogério Batista. "O graffiti como patrimônio cultural material /." Marília, 2018. http://hdl.handle.net/11449/153543.
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Orientadora: Plácida Leopoldina Ventura Amorim da Costa SantosBanca: Zaira Regina Zafalon
Banca: Ana Maria Pereira
Banca: Ana Cristina de Albuquerque
Banca: Ricardo César Gonçalves Sant'Ana
Resumo: Na atualidade vivencia-se o que Bauman (2001) conceituou de modernidade líquida, identificada como aquela em que as relações humanas e sociais são caracterizadas por não terem configuração de solidez ou como aquela em que não se conserva forma por muito tempo; prima-se pela mudança; vive-se das inconstâncias. A natureza desta liquidez é reconhecida por conta da leveza, da mutabilidade e da mobilidade das relações. A importância da preservação da memória artística para as futuras gerações também tem mudado. Com o grande avanço nas tecnologias de reprodução e exposição às massas, obras de arte se disseminam com a facilidade de circulação das imagens. Essas manifestações estão nos muros da cidade, locais esses que têm suas superfícies alteradas e apagadas diariamente. Diante disso, questiona-se como se dá o tratamento documental do graffiti como manifestação de arte efêmera? Em decorrência, como pressuposto da tese, aponta-se que o tratamento documental do graffiti, convertido em recurso digital, contribuirá para sua consolidação como patrimônio cultural material. Delimitou-se como objetivo propor como se dá o tratamento documental do graffiti, convertido em recurso imagético, considerando a ubiquidade, os aspectos da informação líquida e da ecologia da informação e as novas formas de disponibilizar o acesso. O estudo apresenta abordagem qualitativa, de natureza descritivo-exploratória tendo como universo de pesquisa projetos de exposições digitais de arte urbana. Como resultado... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Nowadays we live what Bauman (2001) defined as liquid modernity, it is identified as human and social relationships that are caracterized by not having solid aspects in it or that one which doesn't keep its format for too long; changes are constant and inconsistencies are lived. The nature of this liquidity is know by the lightness, mutability and mobility of relationships. The importance of artistic memories preservation has also changed. With the breakthrough in playback technologies and exposition techniques to majority of people has made works of art disseminate easily just like images. These manifastations are in the city walls, places that have their surfaces changed and erased daily. Having that in mind, the question that arises is how the documentary treatment of graffiti as a manifestation of ephemeral art occurs? As a consequence of this, by the thesis' theoric references, it is pointed out that the documentary treatment of graffiti, converted into a digital resource, will contribute to consolidation as a material cultural heritage. The objective decided was to identify how the documentary treatment of graffiti occurs when converted into an image resource, considering ubiquity, the aspects of liquid information and information ecology and new ways to make acess available. The study presents a qualitative approach, of a descriptive-exploratory nature having as the research universe, projects of digital exhibitions of urban art. As a result, it has been found that the... (Complete abstract click electronic access below)
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Macdonald, Nancy. "The graffiti subculture : youth, masculinity and identity in London and New York /." New York : Palgrave, 2001. http://catalogue.bnf.fr/ark:/12148/cb38900294r.
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Burokaitė, Ramutė. "Pozityvi jaunimo ir paauglių socializacija dalyvaujant graffiti veiklose." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120731_144405-13391.
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Tema aktuali tuo, kad jaunimas ir paaugliai vis labiau domisi graffiti veiklomis. Tai jiems yra labai svarbu, nes tai vienas iš saviraiškos būdų. Dalyvavimą graffiti veiklose galima sieti su pozityvia socializacija, nes joje galima įžvelgti pozityvių aspektų. Šiais laikais, graffiti populiarėjimo jaunimo ir paauglių tarpe negalime išvengti, tačiau suyeikus galimybes galima graffiti veiklas nukreipti pozityvia linkme. Šio magistrinio darbo objektas – paauglių ir jaunimo socializacijos galimybės dalyvaujant graffiti veiklose. Darbo tikslas – ištirti jaunimo ir paauglių pozityvios socializacijos galimybes dalyvaujant graffiti veikloje.Topic relevant to the fact that young people and teenagers are more interested in graffiti activities. It is very important to them, because it is one of the ways of expression. Participation in the activities of the graffiti may be related to positive socialization, as it can see the positive aspects. Nowadays, young people and graffiti popularity among adolescents can not be avoided, but opportunities suyeikus graffiti activities can be directed in a positive direction. The master thesis - teenagers and young people opportunities for socialization activities in the presence of graffiti. Aim - to investigate youth and teen opportunities for positive socialization activities in the presence of graffiti.
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Guerrero, Ryan. "Mural Graffiti Painting: Positively Affecting a Community." Fogler Library, University of Maine, 2011. http://www.library.umaine.edu/theses/pdf/GuerreroR2011.pdf.
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Ismail, Khairul. "Pudu Jail's Graffiti : beyond the prison cells." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/5142.
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The aim of this thesis is to examine and analyse the images of graffiti contained within the portfolio of ‘Pudu Jail’s Graffiti (PJG)’, documented work from the abandoned prison facility in Kuala Lumpur, Malaysia, between 2002 and 2003. The objective has been to discover whether the ‘Pudu Jail’s Graffiti’, has a distinct visual narrative(s) compared with other prison graffiti research, concluding that its qualities lies in the complexity of visual cultures brought within the space of the prison cells. The prison graffiti retrieved from this portfolio has been analysed through a process of qualitative review; in order to find its thematic alignments based on comparative categorical contexts. This research will assess the concepts of the proposed themes of the PJG (there are ten themes such as Names, Time, Food, Religious gates, God(s), etc.) noting that the graffiti’s visual and textual narrative context was based on the local, vernacular culture, and social influences, which remained as part of the inmates’ or the cells’ previous occupants memories and the cultural embodiment that they had reflected onto the cell walls. It will look into the PJG’s significance and function, which contained a mixture of memories, events, places, professions of love, religious commitments and various tell-tale signs of messages that seemed to have been made exclusively for the inmates themselves. These personalised marks would throw light on the relationship between the inmates and the prison cells’ embodiment of their narratives. Thus, this research represents a continued effort to obtain an updated description of prison graffiti by finding an alternative approach within prison graffiti research. Combining both elements of the research, namely the meaning of the images and the acknowledgment of the space in which they reside, may lend greater argument to prison graffiti research and reveal the deeper connections that graffiti may have towards its cultural surroundings.
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Baccile, Claudia Vasconcelos. "Graffiti : interações sociais através da semiótica visual." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/23511.
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Dissertação (mestrado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2017.Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2017-05-08T18:07:14Z No. of bitstreams: 1 2017_ClaudiaVasconcelosBaccile.pdf: 6043532 bytes, checksum: 83d747fcf635c633e518c93f45bcb00d (MD5)
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O objetivo desse trabalho de pesquisa é investigar de que maneira se dá a relação entre o objeto de estudo graffiti e a sociedade, com recorte geográfico nas cidades de Brasília e São Paulo. Para tal estudo serão analisados, em primeiro lugar, o objeto em si, desde sua origem e caminhos percorridos até o momento atual, em específico de acordo com o olhar social. Em segundo, o contexto das cidades de Brasília e São Paulo com relação a seus comportamentos sociais que podem interferir na vivência com o objeto. E por último, a metodologia semiótica visual apresentada nas categorias de pessoa, espaço e tempo. De modo a uma melhor elucidação do assunto, serão feitas as montagens de esquemas, desde o quadrado semiótico abordado por Landowski (1992) até esquemas autorais. Ademais, partindo da teoria do plano da expressão e plano do conteúdo de Oliveira (2004), faz-se necessária a montagem de um sistema analítico que possibilita o acesso ao significado dos registros fotográficos dos graffitis, entendendo assim que o acesso ao significado é a resposta da problemática proposta.
The objective of this research is to investigate how the relationship between the object of graffiti study and society, with geographic cut in the cities of Brasília and São Paulo. For this study, will be analyzed, first, the object in itself, from its origin and paths traveled until the present moment, in specific according to the social gaze. Second, the context of the cities of Brasília and São Paulo in relation to their social behaviors that can interfere in the experience with the object. And finally, the visual semiotic methodology presented in the categories of person, space and time. In order to better elucidate the subject, schema assemblies will be made, from the semiotic square approached by Landowski (1992) to authorial schemes. In addition, starting from the theory of the plane of the expression and plan of the content of Oliveira (2004), it is necessary to set up an analytical system that allows access to the meaning of photographic records of graffiti. Understanding that access to meaning is the answer to the problematic proposal.
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Da, Cunha e. Alvelos Heitor Manuel Pereira Pinto. "The fabrication of authenticity : graffiti beyond subculture." Thesis, Royal College of Art, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489034.
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Burgi, Gary. "L'art urbain des graffitis : expérimentation des frontières esthétiques." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080131/document.
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Un graffiti est exposé à la vue de tous dans la rue : lieu du passage, de l’échange, de l’intenseproximité. Un regard doit-il/peut-il se constituer, se conformer à un lieu d’approximation, dedistance, de rencontre, de conflit ?Or, exposer ce type d’oeuvre ailleurs, semble, a priori, une hérésie ; sa décontextualisation, unpléonasme. En quoi l’acte d’exposer contredit-il cette pratique urbaine, si, littéralement, un graffitiest directement accessible à nos sens, exposé ? Le mur est-il une frontière qui fait écran, entre lemonde du réel et de l’irréel ?Une représentation persiste inconsciemment : l’art urbain peut aussi faireconsensus. Comment autrui intervient-il dans ce type de représentation ?Avec des hypothèses élaborées à partir d’oeuvres urbaines, un corpus d’image constituera uneméthode de recherche pour engager un dialogue avec le corps du passant, suivant les modalités deproduction ou de création de cette vision de graffiti.Une expérimentation des frontières esthétiques, peut-elle rendre compte, a posteriori, dudevenir de l’anonymat d’une oeuvre d’art réalisée sur les surfaces anonymes et phénoménales de laville ?La comparaison du corps d’un être humain à celui d’une ville, est-elle fortuite ? Cetteréduction de l’homme au mur, dit métaphoriquement, est-elle constitutive de rapportshumains ? Réels, fictifs ? Relatifs ?Comment l’art peut-il former dans l’urgence un regard historique, voire collectif, sans ladistance ?A graffiti is exposed for every body in the street : place of passage, exchange, of the intenseproximity. Should or could a glance be able to constitute itself or to observe itself, a place ofapproximation, of distance, of meeting, of conflict ?But, to expose this type of work elsewhere, seems, a priori, a heresy ; its decontextualization,a pleonasm. How does the act of exposing contradict this urban practice, if, literally, a graffiti isdirectly accessible to our senses, exposed ? Is the wall a boundary between the real and the unreal ?A representation persists unconsciously : urban art can also make a consensus. How doesanother person intervene in this type of representation ?With hypotheses developed from urban works, a corpus of images will constitute a researchmethod for engaging a dialogue with the body of the passer-by, according to the modalities ofproduction or creation of this vision of graffiti.Can an experiment on aesthetic borders explain, a posteriori, the future of the anonymity of apiece of art produced on the anonymous and phenomenal surfaces of the city ?Is the comparison between the body of a human being and the corpse of a city, fortuitous ? Isthis reduction of the man to the wall, metaphorically speaking, constitutive of human relationships ?Real, fictional ? Relative ?How can art form in the emergency a historical view and collective, without distance ?
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Díaz, Moscoso Pablo. "Nubes, colores y nombres : el graffiti actual contado por sus propios autores (en Santiago de Chile)." Tesis, Universidad de Chile, 2009. http://www.repositorio.uchile.cl/handle/2250/115810.
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Langner, Martin. "Antike Graffitizeichnungen : Motive, Gestaltung und Bedeutung /." Wiesbaden : L. Reichert, 2001. http://catalogue.bnf.fr/ark:/12148/cb39087700w.
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Hughes, Melissa. "Street art & graffiti art developing an understanding /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/50/.
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Thesis (M.A. Ed.)--Georgia State University, 2009.Title from title page (Digital Archive@GSU, viewed July 1, 2010) Melody Milbrandt, committee chair; Melanie Davenport, Teresa Bramlette Reeves, committee members. Includes bibliographical references (p. 49-50).
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Parks, Michelle. "Writing on the walls: Graffiti and civic identity." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28256.
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This exploratory study uses Westheimer and Kahne's (2004) conceptual model of the three planes of 'good' citizenship activity to consider the civic contribution of youth graffiti writers in the community of Ottawa, Ontario, Canada. Through seven qualitative case studies of youth and young adults, it examines young graffiti artists' perceptions of their participation in their communities and their views on graffiti writing and its place in their lives. The results show that contrary to public opinion, the youth interviewed who participate in graffiti writing in its most artistic form, "piecing", are not focused on vandalism but have carefully considered their relationships with their community and their art. The use of a Youth Research Assist ant in five of the interviews demonstrates that youth themselves, given specific roles in the research process, can add to the richness of data collected. Drawing on literature in graffiti, Hip-Hop cultural studies and community and youth engagement, this study adds to the growing body of research that focuses on youth 'assets' (the existing strengths that youth bring to their involvement in societal affairs) (Benson, 1997; Scales & Laffert, 1999; Ungar, 2005). The research and findings offer an alternate perspective on youth voice, civic identity, citizenship and rule breaking in Canadian democratic society.
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Christie, Nancy Lynn. "Graffiti, what you know is what you get." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0019/MQ56802.pdf.
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Choi, Sung Hun. "Graffiti a visual vernacular as graphic design source /." [Ames, Iowa : Iowa State University], 2007.
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Hughes, Melissa L. "Street Art & Graffiti Art: Developing an Understanding." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/50.
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While graffiti is revered as an art form to some, it is often seen as an unwanted nuisance by others. While vibrantly rich in history, graffiti has a controversial past, present, and future that will likely continue to be the subject of debate, especially with the insurgence of street art, an art form that often overlaps graffiti art in subject matter, media, aesthetic appearance, and placement as a public form of art. Distinguishing between street art and graffiti art proves quite challenging to the undiscerning eye, yet through a series of interviews and thorough investigation, I questioned the contexts of street art and graffiti art. By introducing non-traditional forms of art that are engaging to adolescent students, street art and graffiti art can expand the secondary art curriculum by helping students become more cognizant of current social, visual and cultural aesthetics in their own visual world.
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Geiger, Erik William. "Graffiti in Hong Kong : transgressive signs, inscriptions, art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/192983.
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The primary focus of this dissertation is to examine how graffiti is emplaced in Hong Kong. Artifactual and contextual photographs have been collected of examples of graffiti and will be considered according to their place in the semiotic aggregate, the facets and foci of thirteen styles of graffiti, and as they represent the inscription site. Geosemiotics, defined as ‘signs in place’, will be utilized to analyze the transgressive nature of graffiti. Gestural routines are also studied as they relate to the body of the graffiti writer acting in space, inscribing place. The subsets of graffiti as it relates to urban and street art is weighed as well as the tools and means at its disposal. An understanding of Hong Kong’s situated cultural experience in negotiating meaning and contesting perception through inhabiting public space made cultural space will be sought in this dissertation. The way in which previous cultural understandings of rock-carving and inscription, as well as a study of the terms as used in Hong Kong can help to illuminate the background of graffiti as it has occurred within Hong Kong and China. Finally, a purposeful look at the active sight of the individual in coming to terms with the language systems in urban spaces can give a nuanced perception of how the material placement of graffiti challenges planned space and provides a ‘street-wise’ aesthetic.published_or_final_version
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Galushko, Nastia. "Graffiti as the origin of the Ukrainian language." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/16658.
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Koistinen, Otto. "Graffitikulturens funktion för utövaren : Manligt identitetsskapande genom graffiti." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5776.
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Examensarbetes frågeställning lyder;Vilken funktion fyller graffitikulturen för dess utövare?Identitets skapande genom graffiti.Frågeställningen som behandlas har sin bakgrund i min nyfikenhet på de pojkar intresserade avgraffiti jag stött på inom skolan där jag gjorde min verksamhetsförlagda utbildning (VFU)vårterminen 2010. Jag ville undersöka funktionerna som fylls hos graffitikulturens utövare för attfinna förståelse för de studenter jag mötte då så gott som alla studenter av manligt kön hade enrelation till graffitins estetiska uttryck. Jag som kommer att möta dess elever behöver känna till vadgraffiti är och vad det är för något som driver utövarna. Jag ansåg jag det relevant att skapa ettunderlag till oss bildpedagoger i detta avseende. Jag har även själv ett långvarigt förhållande tillgraffitikulturen. Så denna skrift fyller även en funktion för mig, som självförståelse.Examensarbetets gestaltande del är en fortsättning på denna uppsats del där jag valt att titta närmarepå närliggande homosociala arenor som bär likheter med graffitikulturen som jag undersöker iuppsatsen och kommer fram till som slutsats. Gestaltningen utgör en egentillverkad bok med bildervilka illustrerar dessa olika homosociala gemenskaper, boken skildrar bland annat militärförband,mc-gäng, fotbollslag, jägare, konstföreningar och scouter alla homosociala grupper där likandehierarkiska världen gäller. Inom dessa kulturer liksom inom graffitikulturen är handling som räknas,därför valde jag att skapa min gestaltning för hand, att göra den själv.I resultatdiskussionen framkommer dels ämnets mångfacetterade natur där det är tydligt attfunktionen graffitikulturen fyller för dess manlige utövare är vid och består av många delar. Dettaresultat bidrar till reflektioner kring hur man som pedagog kan arbeta med gruppen studenter som ärnyfikna på graffitikulturen som fenomen eller tillhör dess utövare. Utövandet är inte meningslöstutan fyller i högsta grad funktioner för individen. Vad detta är för funktioner kan skilja sig frånindivid till individ och i tid.
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Mensch, Nicolas. "L'art transgressif du graffiti : pratiques et contrôle social." Thesis, Besançon, 2013. http://www.theses.fr/2013BESA1029/document.
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Le graffiti hip-hop est un objet d’étude à la croisée de la sociologie urbaine, de l’art, de la jeunesse et du droit. Autour de cet objet, les représentations divergent, entre art et vandalisme. L’hypothèse ici retenue est que, sous l’angle des critères permettant d’authentifier la valeur d’un graffiti, la démarche transgressive de son auteur prime autant que ses qualités picturales. Il y aurait une relation dialogique entre pratiques « vandales » et pratiques « artistiques ». Dans un premier temps, cette thèse s’attache à retranscrire comment des jeunes intègrent le mouvement graffiti et quelles en sont les normes. Répandue au sein de divers univers sociaux, cette pratique est un palliatif à des mécanismes d’intégration défaillants et exprime un refus de l’assignation. La transgression intervient comme un moyen de conquérir une place, tant sur les murs que dans l’espace social. L’expérience de l’écart est toujours prise de risque. Hors normes, les graffiteurs sont étiquetés déviants. La seconde partie de ce travail s’attarde sur les liens du graffiti au « sentiment d’insécurité ». Visant à résoudre les problèmes posés, punir, (mé) dire et effacer sont trois verbes qui permettent de décrire la répression ordinaire du graffiti et de ses acteurs. Ces dispositifs ont pour effet de conforter ceux-ci dans leurs engagements. Enfin, la dernière partie traite des liens qui unissent les mondes de l’art au graffiti, de l’inscription de graffiteurs dans des dispositifs de médiation culturelle à leur professionnalisation. Autonomie, expérience et transgression restent invoquées comme critères d’authentification de la valeur « artistique » du graffitiHip-hop graffiti is a study object which mixes urban, art, youth and right sociologies. Concerning this object, representations diverge, between art and vandalism. The assumption is that, in terms of the criteria used to authenticate the value of a graffiti, transgressive approach of the author is as important as its pictorial qualities. There would be a dialogic relationship between “artistic” practices and “vandal” practices. The first part of this thesis explains how teenagers enter the graffiti movement and its standards. This practice is widespread in various social worlds and it palliates failure of integration mechanisms. Graffiti also expresses a rejection of social assignment. Infringment become a way to conquer a place, on walls as in society. Deviance is always risky, graffitists are labeled as being. The second part of this work focuses on the relationship between graffiti and the “feeling of insecurity”. To solve problems, three verbs describe the ordinary repression of graffiti and its actors: punish, discredit and erase. These devices tend to reinforce graffitists in their commitments. The third part shows the links between the worlds of art and graffiti, from the inclusion of graffitists in cultural mediation to their professionalization. Independence, experience and transgression keep invoked as authentication of “artistic” value of graffiti
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Maron, Christian Oliver. "Das 39. Strafrechtsänderungsgesetz die strafrechtliche Antwort auf Graffiti?" Konstanz Hartung-Gorre, 2009. http://d-nb.info/99531859X/04.
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