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Gotowa bibliografia na temat „Graffitit”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 1 sierpnia 2024

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Artykuły w czasopismach na temat "Graffitit"

Wild, Benjamin, Geert J. Verhoeven, Martin Wieser, Camillo Ressl, Jona Schlegel, Stefan Wogrin, Johannes Otepka-Schremmer i Norbert Pfeifer. "AUTOGRAF—AUTomated Orthorectification of GRAFfiti Photos". Heritage 5, nr 4 (6.10.2022): 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, nr 2 (1.07.2022): 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, nr 3 (1.12.2012): 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, nr 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, nr 1 (14.11.2022): 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, i Sunjin Yu. "Roblox Graffiti Art Using Virtual Reality Devices: Reality and Spatial Presence in a Virtual Space". Applied Sciences 13, nr 24 (6.12.2023): 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, nr 4 (15.09.2023): 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, nr 1 (18.12.2019): 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, nr 4 (15.09.2023): 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, i Pratiksha Neupane. "Contents and the language used in graffiti: A case of Kathmandu Valley". Journal of NELTA 24, nr 1-2 (30.11.2019): 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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Rozprawy doktorskie na temat "Graffitit"

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.

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Jones, Russell M. "IS GRAFFITI ART?" Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1174896719.

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

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

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Fortney, Christopher. ""Who Made You The Graffiti Police?": Graffiti, Public Space, and Resistance". Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1400074289.

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Sfiri, Ibrahim, i 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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Książki na temat "Graffitit"

Granö, Veli. Itse tehty elämä, ITE: DIY lives. Helsinki]: Maahenki, 2000.

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Schildwächter, Jan P. Street Art Hamburg. [Hamburg]: Junius, 2007.

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Hervé, Vatel, i Boittiaux Michel, red. Le graffiti des tranchées: Graffitis, sculptures et autres traces de la Grande Guerre. [Nouvron-Vingré]: Soissonnais 14-18, 2008.

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Richard, Sylvestre, red. Les graffiti sur céramique d'Augusta Raurica. Augst: Augusta Raurica, 2008.

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Nebojša, Bogavac, red. Džaba ste krečili: Grafiti. Beograd: Neven, 1999.

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Schacter, Rafael. The World Atlas of Street Art and Graffiti. New Haven: Yale University Press, 2013.

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Brassaï. Graffiti. Paris: Flammarion, 1993.

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

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

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

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Części książek na temat "Graffitit"

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

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

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

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

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

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

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

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

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

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

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Streszczenia konferencji na temat "Graffitit"

Завойкина, Н. В. "Two New Graffiti of the Late Archaic Time from Phanagoria". W Древности Боспора. Crossref, 2018. http://dx.doi.org/10.25681/iaras.2018.978-5-94375-250-6.67-71.

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Two new graffiti found out in the course of archaeological researcher in “The Upper City” at Phanagoria are published in the article. Both they are dated to the Late Archaic time and relate to private life of the city. The first one is cut on an amphora wall in the shape of rectangle and consists of two lines: 1. Εὔβιος | πυγίσαι – Eubios has indulged in pederasty. It includes one of the earliest case in using of πυγίζω in the ancient Greek world. The second graffito is a private note, cutting on the bottom of black-ware cylix. Its author blames Nysa for something: 1. [Ὦ ἀγα]θὴ Νῦσα. | Ἇ, Ἇ, Ἇ, Ἇ, Ἇ. | Ναί, – Pretty Nysa. Ah! Ah! Ah! Ah! Ah! Yes, exactly! The graffiti have enriched the epigraphical collection in Phanagoria new evidence concerning to anthroponomical data and private relations in the city in the late VI – the first quarter V BC.

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Шелов‑Коведяев Ф., В. "О титулах боспорцев и их соседей IV". W Древности Боспора. Crossref, 2023. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-339-8.411-431.

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This paper continues the series of corrections to some published inscriptions from Cimmerian Bosporus. No 12 (fig. 1, 2) presents the magical phylactery on the silver cup from the castle of Artesian. No 13 (fig. 3, 3a, 4, 4ab) proposes the understanding of graffito on amphora’s fragment from the same castle as defixio on the solders named into it. No 14 insists that the graffito from Phanagoria mentioning the city founder Phanagorus was inscribed around the beginning of third quarter of VI century BC by two hands, one coming from West-Ionian islands. No 15 (fig. 5) brings the new reconstruction of the published fragment from the excavations of Patrasys in 1986. No 16 (fig. 6) formulates the new lecture of the orphic hymn from Panticapaeum recently discussed by Nikolay N. Kazansky. Nos 17 (fig. 7) & 18 rejects the Sergei Yu. Saprykin’s proposals concerning some graffiti from Panticapaeum and the collection of the Kerch State Museum. Nos 19a‑d discusses the Valery P. Yailenko’s lectures of four bosporan verse-inscriptions. No 20 publishes the correspondence with Nikolay N. Kazansky about two verse-inscriptions from Hermonassa and Phanagoria.

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

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Tokuda, Eric, Claudio Silva i Roberto Cesar-Jr. "Usage of street-level imagery for city-wide graffiti mapping". W LatinX in AI at International Conference on Machine Learning 2019. Journal of LatinX in AI Research, 2019. http://dx.doi.org/10.52591/lxai2019061510.

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Graffiti is a common phenomenon in urban scenarios. Differently from urban art, graffiti tagging is a vandalism act and many local governments are putting great effort to combat it. The graffiti map of a region can be a very useful resource because it may allow one to potentially combat vandalism in locations with high level of graffiti and also to cleanup saturated regions to discourage future acts. There is currently no automatic way of obtaining a graffiti map of a region and it is obtained by manual inspection by the police or by popular participation. In this sense, we describe an ongoing work where we propose an automatic way of obtaining a graffiti map of a neighbourhood. It consists of the systematic collection of street view images followed by the identification of graffiti tags in the collected dataset and finally, in the calculation of the proposed graffiti level of that location. We validate the proposed method by evaluating the geographical distribution of graffiti in a city known to have high concentration of graffiti - São Paulo, Brazil.

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

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

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

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

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

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

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Raporty organizacyjne na temat "Graffitit"

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

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

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

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

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

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

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This blogpost addresses the question of how ethnic identities (and societal divisions) in the city of Mostar, Bosnia and Herzegovina, are expressed through football and considers how this dominates the city’s linguistic landscape. It is therefore embedded in the context of previous literature on sport and identity but also the discipline of sociolinguistics. The post discusses the prominence of street murals and graffiti relating to Mostar’s two football clubs, FK Velež Mostar and HŠK Zrinjski Mostar, outlining how the situation is very much territorially divided along the same geographical points of the ethnic conflict in the early 1990s

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Riggs, William, Vipul Vyas i Menka Sethi. Blockchain and Distributed Autonomous Community Ecosystems: Opportunities to Democratize Finance and Delivery of Transport, Housing, Urban Greening and Community Infrastructure. Mineta Transportation Institute, lipiec 2022. http://dx.doi.org/10.31979/mti.2022.2165.

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

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