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Wild, Benjamin, Geert J. Verhoeven, Martin Wieser, Camillo Ressl, Jona Schlegel, Stefan Wogrin, Johannes Otepka-Schremmer, and Norbert Pfeifer. "AUTOGRAF—AUTomated Orthorectification of GRAFfiti Photos." Heritage 5, no. 4 (October 6, 2022): 2987–3009. http://dx.doi.org/10.3390/heritage5040155.
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Admired and despised, created and destroyed, legal and illegal: Contemporary graffiti are polarising, and not everybody agrees to label them as cultural heritage. However, if one is among the steadily increasing number of heritage professionals and academics that value these short-lived creations, their digital documentation can be considered a part of our legacy to future generations. To document the geometric and spectral properties of a graffito, digital photographs seem to be appropriate. This also holds true when documenting an entire graffiti-scape consisting of 1000s of individual creations. However, proper photo-based digital documentation of such an entire scene comes with logistical and technical challenges, certainly if the documentation is considered the basis for further analysis of the heritage assets. One main technical challenge relates to the photographs themselves. Conventional photographs suffer from multiple image distortions and usually lack a uniform scale, which hinders the derivation of dimensions and proportions. In addition, a single graffito photograph often does not reflect the meaning and setting intended by the graffitist, as the creation is frequently shown as an isolated entity without its surrounding environment. In other words, single photographs lack the spatio-temporal context, which is often of major importance in cultural heritage studies. Here, we present AUTOGRAF, an automated and freely-available orthorectification tool which converts conventional graffiti photos into high-resolution, distortion-free, and georeferenced graffiti orthophotomaps, a metric yet visual product. AUTOGRAF was developed in the framework of INDIGO, a graffiti-centred research project. Not only do these georeferenced photos support proper analysis, but they also set the basis for placing the graffiti in their native, albeit virtual, 3D environment. An experiment showed that 95 out of 100 tested graffiti photo sets were successfully orthorectified, highlighting the proposed methodology’s potential to improve and automate one part of contemporary graffiti’s digital preservation.
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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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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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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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Hossain, Ghazi Shahadat. "Language and Content in Graffiti: A Case of Chittagong." Nepalese Linguistics 36, no. 1 (November 14, 2022): 62–72. http://dx.doi.org/10.3126/nl.v36i1.49460.
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This study analyzed the content and language in graffiti prevailing in Chittagong. The aim of the research was to examine how and why graffitists utilized graffiti. The data were collected from various places of Chittagong. Two frameworks i.e., Fairclough’s critical discourse analysis and Brown and Clarke’s thematic content analysis, were used to analyze data and the research method used in this study was qualitative. The findings reveal that graffitists used this form of art for a variety of purposes (such as political ideologies, social concerns) and they used diverse codes to express their meanings.
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Byeon, Gongkyu, and Sunjin Yu. "Roblox Graffiti Art Using Virtual Reality Devices: Reality and Spatial Presence in a Virtual Space." Applied Sciences 13, no. 24 (December 6, 2023): 13038. http://dx.doi.org/10.3390/app132413038.
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Graffiti makes a city’s landscape beautiful while simultaneously being considered illegal and violating a city’s cleanliness and respect for public spaces. To solve these problems, we present metaverse virtual-world technology. Within the metaverse, graffitists can freely create, share works, and express themselves through graffiti art by virtually reproducing the walls or public facilities of a city. The created virtual space used by the graffitists in this paper is Sungnyemun, a traditional Korean heritage site. When comparing Roblox PC content and VR content experiences through IPQ surveys, it was confirmed that participants in the VR content experienced a high level of realism and local presence. Accordingly, there is a new possibility for graffiti to be recognized as a form of urban culture and artistic expression through the metaverse.
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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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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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Larrère, Mathilde. "Citations et circulations révolutionnaires dans les graffitis contemporains (France)." 20 & 21. Revue d'histoire N° 156, no. 4 (September 15, 2023): 169–91. http://dx.doi.org/10.3917/vin.156.0169.
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Depuis 2016, les mobilisations sociales sont marquées par un recours quasi systématique et croissant au « braconnage de l’espace public » par des graffitis, ou des affichages sauvages. Ces mêmes mouvements charrient, assument diverses références mémorielles à l’histoire longue des luttes. Aussi, un certain nombre de graffitis citent-ils explicitement des révolutions du passé. En s’appuyant sur un corpus de clichés, majoritairement personnels, inédits, l’article présente et interroge l’inscription sur les murs des imaginaires révolutionnaires au cœur des mouvements contemporains, des citations à la Commune sur les places de Nuit debout en 2016 aux graffiti des Gilets jaunes évoquant la Révolution française, en passant par les références ambivalentes à mai 68.
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Paudel, Jagadish, and Pratiksha Neupane. "Contents and the language used in graffiti: A case of Kathmandu Valley." Journal of NELTA 24, no. 1-2 (November 30, 2019): 52–76. http://dx.doi.org/10.3126/nelta.v24i1-2.27680.
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Graffiti is prevalent in modern cities across the world. It represents a range of issues and ideas, and its meaning can be interpreted socially, culturally, and politically. It features distinct forms of language. Using Multimodal Discourse Analysis (MDA) approach, this study analyses the contents, language and linguistic features of 44 graffiti arts found in the Kathmandu Valley to interpret the meanings of the graffiti. The results of this study reveal multiple issues such as culture, politics, gender discrimination and violence against women. The use of language and linguistics in the graffiti seems distinct in terms of word choice, syntactic structure, and rhetorical devices. It was found that the graffitists used multiple modes such as sign, symbol, color, words with images and stylish writing structures. The study will be of great importance to the researchers who want to analyze the language of graffiti and interpret the meanings they denote and to contribute to the body of existing literature on linguistic studies of graffiti. It is also useful for course designers and educators as they can incorporate graffiti in the courses and use them as resource materials in the classroom.
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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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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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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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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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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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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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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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Patrois, Julie. "RÍO BEC GRAFFITI: A PRIVATE FORM OF ART." Ancient Mesoamerica 24, no. 2 (2013): 433–47. http://dx.doi.org/10.1017/s0956536113000278.
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AbstractThis article focuses on graffiti recorded in the micro-region of Río Bec (a 10 × 10 km zone around Group B), an art form well-known but little studied to date. Incised in plastered supports (wall, benches, or doorjambs), graffiti is found on residences of all ranks. A meticulous recording method has enabled us to distinguish two classes: graffiti produced during a building's occupation and those executed post-abandonment. The former were probably made by the residence dwellers themselves, children and adults. Their productions, which can be considered authentic artistic creations, reflected their unequal technical capacities, talents, ages, and inspirations. The subject matter was personal; remarkable individuals or animals, or outstanding collective events as memorialized by individuals. These graffiti emerge as the principal form of individual expression (retrieved by the archaeologist) from Río Bec society. Once the buildings were abandoned and full of rubble, new graffitists (occasional visitors or squatters) decorated the still accessible portions of plastered walls and notably illustrated some specific topics, such as female imagery and fabulous entities perhaps drawn during specific ceremonies. In the region as a whole, where glyphic inscriptions are scarce, graffiti provide a privileged emic source for the understanding of Río Bec society.
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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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Polinskaya, Irene, and Sergey Skory. "A New Greek Graffito from the Bilsk Hillfort and Greek Graffiti in Scythian Contexts." Ancient Civilizations from Scythia to Siberia 29, no. 2 (January 25, 2024): 220–61. http://dx.doi.org/10.1163/15700577-20232910.
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Abstract The article presents a recent find of a potsherd, bearing an ancient Greek graffito, reported from the area of the Bilsk Hillfort. The area of discovery, considered by some archaeologists to be the city of Gelonos (Hdt. 4.108), makes this otherwise ordinary graffito potentially significant. The authors discuss the historical, archaeological, and epigraphic contexts of the find and possible scenarios of how it may have ended up at the site. To provide an epigraphic background for the find, the study is accompanied by a catalogue of Greek graffiti and dipinti from Scythian burials and settlements of the Northern Black Sea area and steppe and forest-steppe zones of Eastern Europe.
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López Jiménez, María Angeles. "El arte de la calle." Revista Española de Investigaciones Sociológicas, no. 84 (February 28, 2024): 173–94. http://dx.doi.org/10.5477/cis/reis.84.173.
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Con el lenguaje de los signos, la ciudad puede articular mecanismos de inclusión y exclusión jerárquica de sus ciudadanos. A la luz de una pintada en la ciudad letrada (y escrituraria) latinoamericana y sólo por su capacidad explicativa de la tensión por el espacio urbano de la escritura, se analiza el graffiti urbano contemporáneo y su potencial insurgente. Se contraponen dos movimientos diferentes, situados ambos en los años sesenta del siglo XX: el de los estudiantes que protagonizaron las revueltas estudiantiles de París y el de los jóvenes habitantes de los suburbios emigrantes de Nueva York. Entre el graffiti que producen ambos, los estudiantes con su saber y los jóvenes suburbanos con su defensa de la comunidad primigenia, se dan convergencias y divergencias. Se trata de explicar cada uno de ellos en su imbricación con el otro. Los graffitis de los noventa toman como referente a Zaragoza, ciudad piloto en España para el estudio de los comportamientos culturales urbanos de los españoles
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Cook, John Granger. "Envisioning Crucifixion: Light from Several Inscriptions and the Palatine Graffito." Novum Testamentum 50, no. 3 (2008): 262–85. http://dx.doi.org/10.1163/156853608x262918.
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AbstractThe Palatine graffito of a crucified man with an ass's head, a graffito that uses crucifixion as an obscenity, and the remnant of a crucified man's foot transfixed by a nail provide visual imagery of ancient Roman practice. Less well known to NT scholars are two Latin inscriptions that mention crucifixion. One describes a contract for a public undertaker that includes a number of references to crucifixion and the torture that accompanied it. Private individuals, for example, could have their slaves crucified for a modest sum. Another inscription includes a reference to an alleged crucifixion of a Roman centurion by Piso. It helps indicate how rare crucifixion was in the case of citizens. The inscriptions and graffiti illuminate crucifixion—a central focus of NT texts and NT theology.
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Mak, Ariane. "La guerre des V." 20 & 21. Revue d'histoire N° 156, no. 4 (September 15, 2023): 103–28. http://dx.doi.org/10.3917/vin.156.0103.
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Le 17 janvier 1941, Victor de Laveleye, speaker belge de la BBC, enjoint ses compatriotes à inscrire en tout lieu, en symbole de défiance à l’occupant, la lettre V : le V de la Victoire, le V de Vrijheid (la liberté) en flamand. Les graffitis du V de la victoire ne tardent pas à proliférer sur les murs des nations européennes occupées, mais également en Grande-Bretagne, où à l’été 1941, la BBC encourage les Britanniques à rejoindre l’« armée des V ». À partir des notes de terrain du collectif d’enquête du Mass-Observation, l’article explore ce cas rare de « graffiti encouragé », politique sans pour autant être subversif – du moins dans la Grande-Bretagne épargnée par l’occupation, comme ne cessent de le rappeler les contemporains.
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Barros, Erna. "O QUE VOCÊ JÁ DEIXOU DE FAZER POR SER MULHER?" Revista Ambivalências 10, no. 20 (May 5, 2023): 123–39. http://dx.doi.org/10.21665/2318-3888.v10n20p123-139.
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A identificação de espaços hostis à presença das mulheres no ambiente público da cidade é trabalhada neste artigo como forma de refletir acerca da resistência das grafiteiras a estes espaços através da reinvindicação de uma agência na cidade por meio das imagens dos graffitis. A proposta é uma observação do graffiti como fenômeno urbano em diálogo com a estrutura da cidade, e um olhar sob esta cidade como espaço de disputas a partir de uma perspectiva de gênero. Para isso, busca-se como metodologia o registro fotográfico de intervenções na cidade de Aracaju-SE e a disposição dessas imagens em pranchas, a partir da metodologia da fotoetnografia em Robinson Achutti (1997) e das imagens postas em relação, Segundo Didi-Huberman (2010).
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Malik, Shushma. "CVCVTA AB RATIONIBVS NERONIS AVGVSTI: A JOKE AT NERO'S EXPENSE?" Classical Quarterly 69, no. 2 (November 12, 2019): 783–92. http://dx.doi.org/10.1017/s0009838819000910.
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On the outside wall and in the vestibule of the ‘House of Publius Paquius Proculus’ in Pompeii (building I.7.1) three graffiti containing the name Cucuta can be found. The first simply reads Cucuta (CIL 4.8065 [outside wall]). The second tells us that Cucuta was an attendant of the Emperor Nero (CIL 4.8066 [outside wall]): Cu(cuta) | Cucuta Ner(onis). From the third we learn that Cucuta was a financial secretary (a rationibus) of Nero (CIL 4.8075 [vestibule]): Cucuta ab ra[t]ioni[b]us | Neronis Augusti. While the meaning and significance of these graffiti may seem apparent—that one of Nero's attendants scratched his name on the wall and vestibule pillar as he waited for the emperor to return from a meeting—the closeness between Cucuta (an otherwise unattested name) and cicuta (hemlock) raises a key question: should we read Cucuta as Cicuta and therefore understand the third graffito in particular as a joke about Nero's rumoured fondness for killing family, friends and his senatorial enemies with poison? In other words, is it Poison, and not a person, that keeps Nero's finances in order? And, if so, can the Cucuta graffiti give us an alternative insight into the plethora of wall inscriptions found outside building I.7.1 greeting Publius Paquius Proculus and recommending him for office?
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Clayr de Arruda Silveira, Paolla. "No meio do caminho tinha um graffiti." arq.urb, no. 34 (August 5, 2022): 82–93. http://dx.doi.org/10.37916/arq.urb.vi34.584.
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Com o objetivo de propor um dispositivo metodológico aplicável de forma online, o embasamento bibliográfico deu suporte para a construção de um percurso investigativo, que, unindo conceitos da etnotopografia e do mapeamento visual, pode ser aplicado como piloto aos participantes de uma oficina virtual temática, contida na programação de um evento acadêmico local, com potencial para revelar atributos e elementos da percepção, pertencimento, cultura, memória e identidade, a fim de questionar se as pessoas percebem a presença e/ou como identificam as táticas discursivas presentes em seu cotidiano. Delimitou-se um caminho linear para um flâneur digital para observar os graffitis ao longo da Avenida XV de Novembro na região central da cidade de Campos dos Goytacazes/RJ, às margens do Rio Paraíba do Sul, onde aconteceu o Festival Campos Graffiti, em 2016.
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Crath, Rory. "Governing youth as an aesthetic and spatial practice." Urban Studies 54, no. 5 (July 19, 2016): 1263–79. http://dx.doi.org/10.1177/0042098015625034.
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The Graffiti Transformation Project was a City of Toronto, Canada sponsored programme funding ‘marginalised youth’ to paint over graffitied walls with public murals. I argue the imperatives driving the project extended beyond the reaches of policy concentrated on youth remediation, to include concerns of urban governance as a spatial and aesthetic problematic. I explore the manner in which practices of graffiti eradication and community mural making generated a set of calculations that were informed by globally mobile aesthetic norms and were, in turn, aesthetically informing. These calculations were used as an epistemological baseline for assessing, at least at the level of appearance, a host of urban problematics including Toronto’s desire to position itself globally as a functioning multicultural city. Turning to Jacques Ranciere’s thoughts about the space of political aesthetics, I draw on an ethnographic example to tease out a moment of aesthetic engagement in which youth artists interrupted the codes and practices associated with creative city entrepreneurialism to render another configuration of politics, another way of being social. Implications for broadening the scope of urban youth policy scholarship to include analysis of an aesthetic turn are considered.
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Barrera Maturana, José Ignacio. "Grafitos de presos, de los siglos XVIII-XIX, en la Torre del Homenaje de la Alhambra." De Arte. Revista de Historia del Arte, no. 15 (November 30, 2016): 179. http://dx.doi.org/10.18002/da.v0i15.3577.
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<p>In the Homage tower the Alhambra palace. The prisioners graffitis between XVIII-XIX centuries. </p><p>RESUMEN</p><p>Algunos autores han visto por la forma en que se dispone el recinto de La Alhambra en la colina de la Sabika, a un barco varado cuya proa es la Alcazaba. Es en esta proa y concretamente en el interior de la Torre del Homenaje, donde localizamos un numeroso grupo de grafitos, mayoritariamente barcos, que son objeto de nuestro estudio. Creemos que fueron realizados por presos, quizás algunos de ellos ingleses, alojados en este espacio durante los siglos XVIII-XIX.</p><p>PALABRAS CLAVE: Prisión, Torre del Homenaje, grafitos, barcos, pingue, presos ingleses, Isla de Menorca.</p><p>ABSTRACT</p><p>Some authors have seen by the way the grounds of the Alhambra is available in Sabika Hill, a stranded boat whose bow is the Alcazaba. It is in this bow and specifically in side of Homage Tower, where we located a large group of graffiti, mostly ships, which are the subject of our study. We believe they were made by prisoners, perhaps some of them British, housed in this space during the XVIII-XIX” centuries.</p><p>KEY WORDS: Prison, Homage Tower, graffiti, ships, pingue, British prisoners, Island of Minorca.</p>
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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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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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Mikheev, Savva M. "On Two Old Russian Inscriptions from Belarus and Poland." Slovene 4, no. 1 (2015): 311–22. http://dx.doi.org/10.31168/2305-6754.2015.4.1.18.
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Two Old Russian graffiti inscriptions are examined in the present paper. The first one, dating back to the late 13th–early 14th centuries, is located on one of the walls of the Savior Transfiguration Church in the St. Euphrosyne convent in Polotsk, Belarus. It reads Marъkova žana dobra ‘Mark’s wife is good.’ The second graffito was inscribed on a knife handle excavated in Drohiczyn, Eastern Poland (Old Russian Dorogyčinъ), and dates to the end of the 11th through the 12th centuries. The inscription reads Ežьkovъ nožь a iže i ukradetь proklętъ . . . ‘Ezhko’s knife. Whoever steals it, be cursed . . .’ Although both inscriptions have been published, the present study adds more in-depth paleographic and linguistic commentary and suggests corrected readings. The laudatory inscription from Polotsk is particularly interesting because it contains an early example of a spelling reflecting yakanye, a trait of Belarusian phonetics, whereas the interest of the Drohiczyn inscription lies in its unusual paleographic features.
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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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Lima de Oliveira, Francisca Poliane, and Maria Helenice Araújo Costa. "A recategorização como processo de construção de objetos de discursos: quando grafitar é transformar a realidade." Entrepalavras 8, no. 2 (August 11, 2018): 137. http://dx.doi.org/10.22168/2237-6321-21104.
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Pelos relatos que temos sobre a escrita, no decorrer da história, constatamos que o graffiti convive conosco há muito tempo. Atualmente, estas marcas “expressam com traços, letras e desenhos, as contradições implicadas na vivência urbana contemporânea”. A partir dessa premissa nos dedicamos a analisar uma obra que nos chamou a atenção por sua peculiaridade em termos de produção. Para tanto, nos apropriamos de uma concepção dinâmica de texto – em que este é tido como um evento comunicativo (BEAUGRANDE, 1997) – e também de uma noção de recategorização que aponta para além da materialidade textual (COSTA, 2007; JAGUARIBE, 2007). Além das observações acerca do fazer nesta obra específica, buscamos ainda mostrar o poder de transformação social, cognitiva e estética que os graffitis podem operar na realidade. Estudar mais detidamente uma situação de produção textual, como essa que trouxemos aqui, nos fez ver como se processa a discretização do mundo nos discursos e como se dá a junção da vida com a arte. Tomar o exemplar desta análise do modo como o fizemos nos auxiliou a pensar atentamente acerca dessa característica de dinamismo das produções de linguagem sobre a qual viemos falando e ainda a mostrar que a recategorização é um processo que ocorre também em nível extratextual, ou seja, sobre a realidade.
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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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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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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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Schreer, George E., and Jeremy M. Strichartz. "Private Restroom Graffiti: An Analysis of Controversial Social Issues on Two College Campuses." Psychological Reports 81, no. 3 (December 1997): 1067–74. http://dx.doi.org/10.2466/pr0.1997.81.3.1067.
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We collected 428 pieces of graffiti from men's and women's restrooms on two American campuses (one college and one university) in a small town in upstate, New York. The graffiti were coded by sex, institution, and type of building, and then sorted into 19 content categories. Chi-squared analyses indicated that compared to women's restrooms, men's restroom graffiti contained significantly more insulting (especially antigay) and scatological references but not more sexual graffiti. Women's restrooms had more political graffiti than men's, but contrary to previous research, very few romantic inscriptions. The university sample from a more diverse student body than that of the college, contained more racist and political graffiti. Compared to residence halls, libraries across both college campuses contained more inflammatory graffiti. Based on these findings, private restroom graffiti appear to provide a useful and unobtrusive method for investigating controversial and sensitive social issues.
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Halsey, Mark, and Alison Young. "The Meanings of Graffiti and Municipal Administration." Australian & New Zealand Journal of Criminology 35, no. 2 (August 2002): 165–86. http://dx.doi.org/10.1375/acri.35.2.165.
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This article explores various sociocultural aspects of graffiti, and examines municipal administrative responses to its occurrence. It is argued that the diversity of graffiti — in terms of its authors, styles and significance — poses a number of problems for agencies attempting in the first instance to classify graffiti (as “crime” or “art”) and in the second to control its occurrence (whether to “eradicate” or “permit”). Drawing on discussions with local council representatives and on interviews with graffiti artists themselves, the article challenges the stereotypical view of graffiti artists as immersed in cycles of vandalism and/or gang violence. Instead, the article brings to light the complex and creative aspects of graffiti culture and suggests that it is possible (indeed necessary) for regulatory bodies to engage with and promote graffiti culture and that, further, such engagement and promotion need not be seen as authorising a profusion of graffiti related activity across communities.
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Annuk, Eve, and Piret Voolaid. "Representations of Gender in Estonian Graffiti and Street Art." Folklore: Electronic Journal of Folklore 92 (April 2024): 7–48. http://dx.doi.org/10.7592/fejf2024.92.annuk_voolaid.
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The paper focuses on gender aspects in graffiti and street art as context- and communication-based cultural phenomena. The key issues tackled here are how gender aspects and gender-based communication are expressed in graffiti and the nature of the gendered aesthetics of street art. The analysis aims to identify gender clichés in graffiti, illustrating stereotypical views from a broader sociocultural perspective. The study also highlights the role of graffiti and street art in challenging gender stereotypes and bringing novel concepts to the fore. The paper combines studies on graffiti and street art with the gender studies approach and employs as a research method the contextualisation of graffiti and street art as ephemeral cultural phenomena from a viewer’s perspective. Graffiti works collected mainly in 2010–2020 and held in the online graffiti database of the Estonian Literary Museum constitute the sources of this paper.