Academic literature on the topic 'Graffiti writer'
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Journal articles on the topic "Graffiti writer"
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Campos, Ricardo. "Graffiti writer as superhero." European Journal of Cultural Studies 16, no. 2 (2013): 155–70. http://dx.doi.org/10.1177/1367549412467177.
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Pani, Roberto, and Samanta Sagliaschi. "Psychopathology of Excitatory and Compulsive Aspects of Vandalistic Graffiti." Psychological Reports 105, no. 3_suppl (2009): 1027–38. http://dx.doi.org/10.2466/pr0.105.f.1027-1038.
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In this paper were explored psychological themes underlying vandalistic graffiti by 162 Italian adolescents (154 boys, 8 girls; M age = 17.5 yr., SD = 2.3) who “felt hooked” on vandalistic graffiti and agreed to participate in an interview with a graffiti writer. Use of this interview could clarify the motivations which led these youths to write on walls, the meaning they give to that act, the emotions they feel as they write, and their perception of risks and excitement involved. Qualitative analysis of their responses suggested these adolescents present a marked excitatory–compulsive trait, report a sense of emptiness, boredom, loneliness, and a lack of internal points of reference, and adopt behaviors linked to a pressing need for immediate gratification.
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Schierz, Sascha. "Graffiti als ,doing Illegalityʼ. Perspektiven einer Cultural Criminology". sub\urban. zeitschrift für kritische stadtforschung 2, № 2 (2014): 39–60. http://dx.doi.org/10.36900/suburban.v2i2.134.
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Auseinandersetzungen mit dem Thema Graffiti in der Stadt lassen sich seit einigen Jahren gehäuft in unterschiedlichen Diskurssträngen der Kriminologie oder aber Kriminalprävention auffinden. Sie gelten weitestgehend als Symbole für Kriminalität und werden mit Furcht assoziiert. Gleichzeitig wird ihnen in künstlerischen Events verstärkt die Bedeutung einer neuen Kunstform im öffentlichen Raum angetragen. Der Artikel untersucht im Sinne einer Cultural Criminology die Praktiken und Diskurse, die illegalen Graffiti in der Stadt eine Bedeutung zuweisen, wie die Praxis der Writer, sich zwischen diesen Bedeutungsräumen zu verorten.
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Figueroa Saavedra, Fernando. "Lirismo callejero para paladares de asfalto: Neorrabioso entre las fieras." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 26 (July 2, 2016): 76. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2016261417.
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Lirismo callejero para paladares de asfalto: Neorrabioso entre las fierasDentro de la efervescencia del grafiti como medio de comunicación en la ciudad contemporánea, se han integrado una serie de propuestas que ahondan en el desarrollo de la poesía textual a pie de calle. A partir de lo que catalogamos como grafiti de leyenda o leyenda ingeniosa, abordamos lo que podría calificarse como un grafiti de autor y, en concreto, aquel que tiene por objeto crear una experiencia poética, conforme a un proyecto o una actividad perseverante. Como exponente central destacamos a Batania Neorrabioso, en cuyo caso particular se reflejan una serie de pautas y características que han distinguido la creatividad popular y el grafiti en el espacio urbano desde los años sesenta hasta hoy, además de mostrar el proceso de adaptación y caracterización del grafiti como medio de expresión extraoficial hasta el siglo XXI y el papel de la poesía como dinamizador social.Palabras clave: Batania, Neorrabioso, Street Art, Graffiti, grafiti de leyenda, grafiti de autor, poesía social, política de autor. Stray lyrism for asphalt palates: Neorrabioso among wild beastsWithin the effervescence of graffiti as a media in the contemporary city, a series of proposals had been integrated, that delve into the development of textual poetry on the street. From what we classify as inscription graffiti or clever graffiti, we address what might be described as auteur graffiti and, in particular, the one that aims at creating a poetic experience, in accordance with a project or a persisting activity. Batania Neorrabioso is an outstanding exponent of this kind of graffiti. His works reflect a set of guidelines and characteristics that have distinguished the popular creativity and urban space graffiti from the 60s until today, as well as showing the adaptation process and the way to characterize graffiti as an unofficial media until the 21st century and the role of poetry as social revitalizing.Key words: Batania, Neorrabioso, Street Art, Graffiti, inscription graffiti, auteur graffiti, social poetry, writer policy
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Paul, Stan. "On the Road Again." Boom 4, no. 4 (2014): 71–75. http://dx.doi.org/10.1525/boom.2014.4.4.71.
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Photographer and writer Stan Paul explores life, the city, highway, and street views between UCLA and the Inland Empire/Riverside from his unique viewpoint as a vanpool commuter primarily along California’s I-10 and Highway 60. His photographic chronicle of commuting, seeks to capture both the historic and contemporary aspects of the city through its architecture, signage, modes of transportation, and literary places. Daily attention to the sights, weather, seasons, change of light, construction, graffiti, juxtaposition of images, ephemera, and ironies of the city as seen from the highway are the focus of this long-term project.
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Junawaroh, Siti. "KAJIAN DESKRIPTIF STRUKTURAL WACANA GRAFITI PADA TRUK." HUMANIKA 21, no. 1 (2015): 49. http://dx.doi.org/10.14710/humanika.21.1.49-55.
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This paper is entitled “A Descriptive Study of Graffiti Discourse Structure on Trucks”. This research discusses about language unity form on the trucks.The purpose of this research is to describe writing language unity on the truck which consists of words, phrases, clauses and sentences of writing on the trucks. The method used in this research was qualititative descriptive and the techniques used was observationtechnique. Here, the writer usedrecorded and written techniqueduring this research. In analyzing data, the writer usessubtitution method.. According to the analysis on the data, the writing on the truk is decrypted according to language unity in the form of words, phrases, clauses, and sentences. The words found are in the form of nouns, verbs, and adjectives. The phrases found arein the form of nominal subordinative phrases, nominal coordinative phrases, verb subordinative phrases, and adjectival subordinative phrases. The clauses found includes S-P, P-S, and S-P-The sentences which are found are declarative sentencesand affirmative sentences.
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Diógenes, Glória. "Conexões entre artes de rua, criatividade e profissões: circuitos e criações de Tamara Alves." Horizontes Antropológicos 25, no. 55 (2019): 153–77. http://dx.doi.org/10.1590/s0104-71832019000300006.
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Resumo Este artigo é parte de uma etnografia realizada em Lisboa sobre arte urbana e graffiti. O texto evidencia as fluidas e porosas fronteiras que se desenham entre conexões e produções da arte urbana. Como caso exemplar, segui a trajetória da writer portuguesa Tamara Alves, que, além de “artista de rua”, se autoidentifica como designer gráfica, tatuadora, performer e DJ. Notei que, na medida em que é dado ao artista a palavra possível de cerzir o underground com outros domínios singulares de atuação, ele passa a operar no circuito entre um dentro e um fora do mercado, entre trabalho e prazer, tal qual sinaliza o pontilhismo das experimentações efetuadas por Tamara Alves. Concluo, de modo provisório, que as divisas entre o tempo de fruição da vida e o relativo ao do trabalho cada vez mais se estreitam no âmbito das profissões consideradas criativas, configurando novas agências e modulações entre trabalho e arte.
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Palková, Hana Nela. "Ciało tekstu, tekst ciała. O cielesności i Księdze w powieści Amira Gutfreunda „Agadat Bruno we-Adela”." Schulz/Forum, no. 15 (September 24, 2020): 65–73. http://dx.doi.org/10.26881/sf.2020.15.04.
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In the article, the author analyzes the communication between body and text in the latest novel published by the Israeli writer Amir Gutfreund, Agadat Bruno ve-Adela, in which the body and the text stand in its center, thus related to the texts of Schulz’s short stories from the Sanatorium under the Sign of the Hourglass. The paper refers to the essayistic considerations of Daniela Hodrová who approaches the text as a fabric and a tissue, an open work with germinal places and an ability to attract other texts. The author gradually examines the context of a murder series committed in contemporary Israel, whose victims are linked with one another not only by the rare killing weapon originating from the time of the British Palestinian Mandate, but also by graffiti from The Sanatorium under the Sign of the Hourglass and old secrets. The writing of text is defined as weaving and deep dreaming, while the behind-text, inter-text, and over-text are examined to weave the thread of the story into a meaningful pattern of fabric.
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Jacobson. "Graffiti, Aging and Subcultural Memory—A Struggle for Recognition through Podcast Narratives." Societies 10, no. 1 (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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Steinert, Heinz. "“Is There Justice? No — Just Us!”." Israel Law Review 25, no. 3-4 (1991): 710–28. http://dx.doi.org/10.1017/s0021223700010700.
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I found the slogan used as the title of this paper one sunny and cold Sunday morning in winter, 1985, on a vertical steel bar in the middle of the Brooklyn Bridge, above the East River, written with that ugly black ink that has replaced the bright colours of earlier years of graffiti in New York. Still, in contrast to the meaningless scribblings or markings of warrior names usually found in Manhattan these days, the message is nearly a joyful one: there is no point in expecting or demanding a “just society” from a state or other authorities — we will have to look after that ourselves and we can do it. By implication the writer also tells us what popular demands for “justice” really mean: an end to injustice. They are not “positive” demands, but in fact criticisms of some state of affairs or measures taken (or not taken) by the authorities: we know very well what is not just, even though we may not know what a “just” society should look like, and may even be sceptical whether we would like to live in one.
Dissertations / Theses on the topic "Graffiti writer"
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Lundy, Susan Alice. "Aerosol activists practices and motivations of Oakland's political graffiti writers /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1679387321&sid=10&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Yusuff, Stephen Ayobami. "Resistance in space : graffiti writers, skateboarders and the production of Manchester." Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533948.
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The main phenomena the thesis seeks to understand are resistance and space. The aims of the thesis are theoretical and empirical. Theoretically, the thesis examines different perspectives on resistance and space and draws on them to provide useful insights on the concepts. Empirically, it explores the experiences of skateboarders and graffiti writers in Manchester. The literature on graffiti writers and skateboarders often mentions 'resistance' in relation to the activities of the two groups. Such work, however, usually does not engage in a detailed, conceptual investigation of the concept and usually assumes rather than demonstrate how the use of the concept can be justified by reference to the day-to-day activities of the two groups (see for example Ferrell 1993, 1995, Borden 2001 and Flusty 2000). This thesis aims to fill this gap. The frrst chapter provides an introduction to the thesis. The second chapter explores perspectives on resistance. As the thesis progressed empirically, it became very pertinent to conceptually investigate the subject of space and this is the focus of the third chapter. The fourth chapter discusses the methodology and research design of the thesis. The necessity of demonstrating concretely what work the theoretical insights of the space chapter could do resulted in a fifth chapter on Manchester. In this chapter, Manchester as space and as the site of the empirical investigation of this thesis is explored. The sixth chapter presents themes that emerged from fieldwork with Manchester graffiti writers and skateboarders. The conclusion chapter draws together the main themes and arguments of the thesis. One of the main arguments of the thesis is that Manchester, the site of the empirical interests of the study, can be seen as a space over which diverse groups struggle. This struggle, it is argued, is brought about by the divergent interests and visions of different groups in the city. These groups are seen as all attempting in various ways to bring about spatial realities that accord with their interests. In this multiple enactment of spatial realities some social actors have greater resources at their disposal to bring to pass their interests in Manchester as space. These are 'the powerful'. There are other 'producers of space' - the weak or the 'less powerful' - these have relatively marginal resources in appropriating Manchester's spaces. The thesis argues that skateboarders and graffiti writers fall into this category. When their interests and visions in Manchester fall foul of the interests of more powerful groups,conflict, the thesis shows, ensues. It is in this conflict in definitions of Manchester as a resource for the enactment of interests that we find the skateboarder's and graffiti writer's resistance. The skateboarder and graffiti writer finds that to play in the city can bring him/her in conflict with the law. Subcultural members find out in the course of playing in the city that their activities are defined differendy by more powerful groups. What seems to be merely play turns out to be defined as crime and 'anti-social behaviour' by groups with the backing of the law. By insisting on engaging in what may be described as 'dissident play', members set themselves in opposition and resistance to certain aspects of the governance of space in the city. The thesis also brings to prominence theoretical insights that can be found in the literature on resistance and space and provides ways of approaching the subjects that may prove useful for future work in the areas.
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GONÇALVES, ANDERSON XAVIER TIBAU. "THE PEDAGOGY OF THE SPRAY: HOW ONE BECOMES A GRAFFITI WRITTER." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9455@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>Um documento de atuação. Este é o formato desta tese. O
empreendimento consiste na busca dos significados do
grafite a partir dos depoimentos de sete jovens
grafiteiros pertencentes às camadas médias-altas da Zona
Sul da cidade do Rio de Janeiro, da interpretação das
imagens fotográficas dos grafites urbanos e da análise dos
registros do diário de campo da pesquisa. O intuito maior
em documentar a atuação de Twig, Broz, Fel, Rio, Det´s,
Zat e Dog foi descobrir a razão pedagógica que torna o
grafiteiro, grafiteiro. Não obstante, busco compreender e
revelar que valores, gestos e conteúdos são mantidos,
atualizados e transmitidos de grafiteiros a grafiteiros a
fim de formar-lhes o ethos e agregá-los à cultura do
grafite. É justamente pela perspectiva da transmissão do
modus adquirendi de geração a geração que busco os nexos e
as relações entre o grafite urbano e o processo educativo
que os partícipes experimentam e pelo qual se tornam
grafiteiros. Aqui encontro o principal indício de que tal
itinerário configura-se enquanto uma pedagogia que, no
caso específico desta tese, é a própria Pedagogia do Spray.<br>A document of performance. This is the format of this
thesis. Its main task consists in a search for the
meanings of the graffiti from the standpoint views and
depositions of seven young graffiti writers belonging to
the upper-medium class of the southern area of the city of
Rio de Janeiro. It also deals with the interpretation of
the photographic images of the urban drawings as well as
the analysis of the registries on the field diary. The
major purpose in documenting the performance of Twig,
Broz, Fel, Rio, Det´s, Zat and Dog was to discover the
pedagogic reason behind those who choose this form of
expression - the graffiti. We also tried to understand and
to reveal how values, gestures and contents are
maintained, updated and transmitted from each older and
more experienced graffiti writers to the new ones
establishing an ethos, which provides them with the means
to become a part of the graffiti culture. It is exactly
from the perspective of the transmission, of the modus
adquirendi, from generation to generation that we search
for the connections and the relationships between the
urban graffiti and the educational process that involves
the process of becoming graffiti writers. Our findings
show a strong indication that such itinerary might be
viewed as a pedagogy that, in this specific case, we
designate as Pedagogy of the Spray.
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Jonsson, Björn. "Graffitins spänningsfält. En studie av graffitikultur och interventioner på en lokal arena." Doctoral thesis, Institutionen för socialt arbete, Göteborgs universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-31761.
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The overall aim of the thesis is to explore and analyse graffiti in a translocal context, by asking questions about the actors' view on activity, meaning and interaction. The study has been located to a physical place, Jönköping, where actors with different interest perform graffiti-related activity. The study is based on qualitative data where participant observation and interviews form the two main methods. The study also utilizes other materials, such as newspaper articles and municipal documents. Central for the theoretical orientation is that empirical data has been collected that is first-hand information on how the actors themselves find meaning in graffiti. This implies a constructivist perspective on knowledge where meaning shifts depending on whose perspective is analysed. Theoretically, the study also is linked to Becker and his arguments that research in deviance must take notice of the interaction between actors who are perceived to deviate and those actors who respond to the deviant group. The actors consist of two main groups; graffiti writers and interveners. Graffiti writers mainly consist of young men who describe themselves as belonging to a global graffiti culture. The word “interveners” has bee selected as a generic name for actors who are involved in graffiti issues due to professional duties. Similar to the graffiti writers' interveners find the meaning in graffiti by actively select information from an “outside”, which corresponds with their professional commitment. The analysis links different approaches to perspectives of combating crime, confirming art and caring for the young men's socialisation. From those different understandings, three parallel patterns of interaction are observed. Interaction developed around graffiti as a crime has elements of a battle situation. From the graffiti writers' perspective, this fight is important when designing the local scene as an integral part of a global graffiti context. At the same time there are disadvantages managing an enemy. On a personal level, individual graffiti writers have to make an estimate how graffiti writing will affect life in the long term. Interaction developed around graffiti as an art form unites graffiti writers and interveners in an ideological consensus where graffiti can be seen as an art form that adds creative qualities to urban space. One significant difference is that the graffiti writers find the local arena as an important place. This local orientation is not necessary when actors from a cultural sector put attention on graffiti. Youth workers way of caring for graffiti writers follows a tradition of social work. This approach focuses the graffiti writers themselves and how to redirect them to accepted forms of artistic expression. The youth workers have good potential to make contact, but it seems difficult to establish long-term relations because graffiti writers themselves do not find it necessary to formalize graffiti as a scheduled activity. A conclusion made is that there is something locked up about graffiti issues because actors see graffiti from their "own" perspective, and at the same time they remain critical of alternative approaches. Somewhat contradictory to an interaction structured around distinctive perceptions, the study shows that actors express uncertainty about what they are doing. Such critical self-reflections seem to be perceived as personal objections and are not shared with others. This, together with the fact that interest in graffiti comes and goes in waves, adds ambivalence to the conflictual field of graffiti. The thesis ends with a hypothetical discussion of how the conflict level could change if graffiti would be met with a differentiated policy.
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Santos, Sandra dos. "O graffiti Stencil como proposta pedagógica, na distinção entre manifestação artística e vandalismo." Master's thesis, 2010. http://hdl.handle.net/10400.26/6879.
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Este estudo incidiu num projecto que teve a intenção de ser um contributo para
a abordagem do Graffiti, mais especificamente o Graffiti Stencil, em contexto
escolar, a partir de um processo investigativo efectuado no decorrer deste ano
lectivo.
Uma proposta pedagógica integrada numa actividade de caracter simples,
aplicada a alunos do 2º ciclo do ensino básico, mas com uma mensagem
intrínseca e relevante a transmitir ao público-alvo. Em contexto escolar existe a
necessidade de variar as práticas e de incutir valores sociais aos alunos. A
disciplina de EVT, é um espaço por si só propício à abordagem destas questões
e ao desenvolvimento de conteúdos que possam interagir com o meio que nos
rodeia. Urge reflectir sobre o que é contemporâneo e as formas diversas de
expressão associadas, entre elas a Arte Urbana e neste caso particular o
Graffiti, tema que se propõe abordar, no sentido de compreender se os alunos
conseguem fazer a distinção entre esta forma de arte e o vandalismo a si
associado.
Sendo hoje em dia, praticamente impossível contemplar uma cidade que não
esteja num local ou outro contagiado por esta forma de manifestação artística,
para alguns considerado vandalismo e para outros “…poesia visual no espaço
urbano…” (Susana Távora Almeida; 2008, p.12).
Este projecto, tem também como finalidade, compreender a opinião dos jovens
sobre o Graffiti, o que à partida já conheciam relativamente a este tema (antes
da implementação do projecto) e que conceitos adquiriram após a conclusão
deste.<br>Escola Superior de Educação, Instituto Politécnico de Setúbal
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Matos, Rita Fernandes de. "A relação do writer e do street artist com as galerias de arte: análise do perfil do writer e do street artist português." Master's thesis, 2015. http://hdl.handle.net/10071/10983.
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O graffiti e a street art são movimentos que na sua essência ocorrem na rua e no espaço público, num formato, sobretudo, ilegal. Contudo, ao longo dos últimos anos tem-se assistido, a nível global e também em Portugal, a uma visível domesticação e institucionalização de ambos os campos por parte de outras entidades, como sejam o poder local ou organismos privados, atribuindo a estas práticas um cariz legal. Esta nova configuração também se verifica no âmbito do mundo da arte contemporânea com a presença mais assídua de artistas relacionados com estes campos, bem como das suas obras no mercado de arte, nomeadamente nas galerias de arte.
Esta investigação teve como objetivos compreender qual a relação que street artists e graffiti writers portugueses têm com as galerias, o que os afasta e o que os aproxima destes espaços e como assistem estes a uma cada vez mais manifesta institucionalização de ambos os movimentos. É indubitável, para esta investigação, que esta nova configuração dos campos teve consequências na atuação destes artistas tal como foi evidenciado pelas dez entrevistas realizadas a street artists e graffiti writers portugueses. Em virtude da fase do ciclo de vida em que se encontravam, da formação académica que detinham, do seu habitus social e motivados pela possibilidade de obter rendimento da sua arte, estes aceitam, agora, estar presentes em espaços e eventos de cariz legal, mantendo contudo uma assertiva preferência de atuação em espaço público.<br>The graffiti and street art are two movements that occur in the street and in public places, in a way, mainly, illegal. However, over the past few years we have seen globally as well as in Portugal, a visible domestication and institutionalization of both fields by other entities such as local power or private bodies, attributing to these practices a legal nature. This new configuration is also true within the world of contemporary art with the more regular presence of artists related to these fields, as well as their works in the art market, particularly in art galleries.
This research aimed to understand what the relationship that Portuguese street artists and graffiti writers have with galleries, what pulls them away and draws them near from these spaces and how they watch the institutionalization of both movements. Undoubtedly, for this investigation, this new configuration of these fields had consequences in the performance of
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these artists as can been confirmed in the ten interviews with Portuguese street artists and graffiti writers. Due to the phase of the cycle of life they were in, the academic training they held, their social habitus and motivated by the possibility of obtaining income from their art, they would accept to be present in spaces and legal-oriented events, keeping however an assertive preference to act in public space.
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Costa, Raquel Matos da. "Graffiti & Street art: a relação dos criadores de arte na rua com as novas tecnologias de informação e comunicação (dispositivos e plataformas online)." Master's thesis, 2016. http://hdl.handle.net/10071/12806.
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Tal como muitas das práticas artísticas também o graffiti e a street art estão cada vez mais em rede - online. Esta tendência de crescente mediação de um fenómeno que tem na sua génese e na sua conduta uma estreita ligação com a rua, parece despertar cada vez maior interesse de investigadores, requerendo um estudo dos desafios e potencialidades lançados por uma ordem tecnológica em constante mudança e novas apropriações da mesma.
A presente dissertação teve como principal objetivo perceber a forma como graffiti writers e street artists portugueses utilizam as novas tecnologias da informação e comunicação –dispositivos, internet e redes sociais, enquanto plataformas privilegiadas para inspiração, criação e mediação das suas obras. Pretendeu-se compreender, em certa medida, a importância da utilização ou não destas tecnologias por parte dos mesmos, enquanto recurso de expansão e visibilidade na sociedade contemporânea. Por último, foram identificadas as razões e motivações para optarem por aderir, ou não, a este espaço online.
Através de uma metodologia baseada numa estratégia de investigação qualitativa, com recurso a documentação, observação online, offline e entrevistas semi-estruturadas, procurou-se compreender a perspetiva dos graffiti writers e street artists portugueses em relação à apropriação das novas tecnologias e quais as suas formas de navegação neste universo.
Neste percurso reflexivo pudemos constatar uma divergência entre os testemunhos destes criadores urbanos, em relação à sua participação digital e presença das suas obras na rede online. Por um lado, os que manifestaram a sua desaprovação por esta mutação dos movimentos urbanos e consequentes atitudes online, defendendo que o graffiti e a street art são para ser vistos e mantidos na rua. Por outro, os de opinião favorável, defendem que a presença digital leva o graffiti e a street art ao seu maior reconhecimento, não temendo uma evolução destas culturas/subculturas. Esta dissertação aborda e explora factores influenciados por uma apropriação digital em constante crescimento.<br>Just as many artistic practices, graffiti and street art are also increasingly present in an online network. This tendency of increasing mediation of a phenomenon that has in its genesis and in its conduct, a close link with the street, seems to awaken a growing interest of researchers, requiring a study of the challenges and potentialities introduced by a changing technological order and new appropriations of the same.
This thesis aimed to understand how graffiti writers and street artists utilize new information and communication technologies, including internet and social media networks as privileged platforms for inspiration, creation and mediation of their work. It was intended to comprehend, to some extent, the importance of the use or not, of these technologies by the same, as expansion and visibility resources in contemporary society. Finally, the reasons and motivations for choosing or not to join this online space are identified.
Through a methodology based on a qualitative research strategy, using documentation, online and offline observation and semi-structured interviews, we try to understand the perspective of theses urban actors on the appropriation of new technologies and which are their forms of navigation in this universe.
In reflexive path we could verify differences between the testimonies of graffiti writers and street artists in relation to their digital participation and presence of their works in the online network. On one hand, those who expressed their disapproval regarding such change of urban movement and consequent attitudes online, arguing that graffiti is to be seen and kept on the street. On the other hand, those of favorable opinion, argue that the digital presence takes graffiti and street art to its highest recognition, not rejecting the evolution of these cultures / subcultures. This paper discusses and explores factors influenced by a constantly growing digital appropriation.
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Mangeya, Hugh. "Sociologuistic analysis of graffiti written in Shona and English found in selected urban areas of Zimbabwe." Thesis, 2014. http://hdl.handle.net/10500/18670.
Full textAbstract:
Various researches across the world have established that graffiti writing is a universal social practice. The actual occurrence or manifestation of graffiti is however far from being universal cross-culturally. It varies based on a wide array of social variables. This research therefore set out to interrogate the occurrence of graffiti writing as a unique social practice in Zimbabwean urban areas. Three Zimbabwean urban areas (Harare, Chitungwiza and Gweru) were specifically sampled for the collection of graffiti inscriptions on various surfaces which included toilet walls, durawalls as well as road signs. Graffiti data collected from the various surfaces was complemented by reader feedback contributions from The Herald and Newsday. Focus group discussions provided a third tier of data aimed at establishing participants’ multiple reactions towards the practice of graffiti. Analysis of data was done based on three
significant sections of participants’ attitudes towards graffiti, urban street protest graffiti as well as educational graffiti collected from various toilet surfaces in urban areas. Participants’ attitudes towards graffiti revealed varied reactions towards the practice of graffiti. The reactions were partly influenced by the participants’ ages as well as levels of education and maturity. Age and maturity proved to be predictors of the extent to which participants were willing to be pragmatic in so far as the appreciation of graffiti writing is concerned. Older and more experienced and mature participants were thus willing to look past the ‘deviant’ nature of graffiti writing to consider the various pressures that force writers to take to the wall. Urban street protest graffiti is a term coined in this research to capture the unique type of graffiti that is written on various surfaces along streets in urban areas. This highly textual graffiti is drastically different from the post-graffiti commonly found in Western urban cities and is aptly referred to as street art. Urban street protest mainly manifested itself in Zimbabwean urban areas in two main themes of protest inscriptions directed towards the operations of Zimbabwe’s electrical energy supplier (commonly referred to by its former name of the Zimbabwe Electricity Supply Authority - ZESA) as well as through political inscriptions. Political inscriptions expose a high degree of nuances that have not been hitherto discussed in literature on political graffiti inscriptions. The research analysed how graffiti writing can be employed for both pro-hegemonic and anti-hegemonic purposes. Inscriptions in high schools and tertiary institutions highlighted a differential construction of discourse on
a gendered basis. Inscriptions in female toilets indicated a tendency of graffiti writers to
perpetuate dominant educational, health, traditional and religious discourses which assert male dominance. The inscriptions show a major preoccupation with restricting or policing of female sexuality by fellow students mainly through the discursive usages of social corrective Shona labels such as hure (prostitute) and gaba ([big] tin). These are labels that are virtually absent in graffiti inscriptions in male toilets which is suggestive of a situation whereby female inscriptions are conservative. A consequence of such conservatism in inscriptions in female toilets is that no new sexualities are reconstructed and negotiated through discourses in discursive spaces provided by the inherently private nature of toilets in general. Thus, cultural and religious normative expectations are regarded as still weighing heavily on female high school writers in the construction and negotiation of sexuality and gendered behaviours, attitudes, norms and values through discourses constructed through graffiti. In contrast, male inscriptions highlight a major subversion of dominant discourses on abstinence and responsible sexual behaviours and attitudes. Corrective social labels such as ngochani (gay
person) are mainly employed to pressure males into indulging and engaging in heterosexual behaviours. Discourses constructed through graffiti inscriptions in male toilets also demonstrate how sexuality is constructed through debate on the appropriateness of marginalised sexualities such as masturbation and homosexuality.<br>African Languages<br>D. Litt. et Phil. (African Languages)
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Mangeya, Hugh. "Sociologuistic analysis of graffiri written in Shona and English found in selected urban areas of Zimbabwe." Thesis, 2014. http://hdl.handle.net/10500/18670.
Full textAbstract:
Various researches across the world have established that graffiti writing is a universal social practice. The actual occurrence or manifestation of graffiti is however far from being universal cross-culturally. It varies based on a wide array of social variables. This research therefore set out to interrogate the occurrence of graffiti writing as a unique social practice in Zimbabwean urban areas. Three Zimbabwean urban areas (Harare, Chitungwiza and Gweru) were specifically sampled for the collection of graffiti inscriptions on various surfaces which included toilet walls, durawalls as well as road signs. Graffiti data collected from the various surfaces was complemented by reader feedback contributions from The Herald and Newsday. Focus group discussions provided a third tier of data aimed at establishing participants’ multiple reactions towards the practice of graffiti. Analysis of data was done based on three
significant sections of participants’ attitudes towards graffiti, urban street protest graffiti as well as educational graffiti collected from various toilet surfaces in urban areas. Participants’ attitudes towards graffiti revealed varied reactions towards the practice of graffiti. The reactions were partly influenced by the participants’ ages as well as levels of education and maturity. Age and maturity proved to be predictors of the extent to which participants were willing to be pragmatic in so far as the appreciation of graffiti writing is concerned. Older and more experienced and mature participants were thus willing to look past the ‘deviant’ nature of graffiti writing to consider the various pressures that force writers to take to the wall. Urban street protest graffiti is a term coined in this research to capture the unique type of graffiti that is written on various surfaces along streets in urban areas. This highly textual graffiti is drastically different from the post-graffiti commonly found in Western urban cities and is aptly referred to as street art. Urban street protest mainly manifested itself in Zimbabwean urban areas in two main themes of protest inscriptions directed towards the operations of Zimbabwe’s electrical energy supplier (commonly referred to by its former name of the Zimbabwe Electricity Supply Authority - ZESA) as well as through political inscriptions. Political inscriptions expose a high degree of nuances that have not been hitherto discussed in literature on political graffiti inscriptions. The research analysed how graffiti writing can be employed for both pro-hegemonic and anti-hegemonic purposes. Inscriptions in high schools and tertiary institutions highlighted a differential construction of discourse on
a gendered basis. Inscriptions in female toilets indicated a tendency of graffiti writers to
perpetuate dominant educational, health, traditional and religious discourses which assert male dominance. The inscriptions show a major preoccupation with restricting or policing of female sexuality by fellow students mainly through the discursive usages of social corrective Shona labels such as hure (prostitute) and gaba ([big] tin). These are labels that are virtually absent in graffiti inscriptions in male toilets which is suggestive of a situation whereby female inscriptions are conservative. A consequence of such conservatism in inscriptions in female toilets is that no new sexualities are reconstructed and negotiated through discourses in discursive spaces provided by the inherently private nature of toilets in general. Thus, cultural and religious normative expectations are regarded as still weighing heavily on female high school writers in the construction and negotiation of sexuality and gendered behaviours, attitudes, norms and values through discourses constructed through graffiti. In contrast, male inscriptions highlight a major subversion of dominant discourses on abstinence and responsible sexual behaviours and attitudes. Corrective social labels such as ngochani (gay
person) are mainly employed to pressure males into indulging and engaging in heterosexual behaviours. Discourses constructed through graffiti inscriptions in male toilets also demonstrate how sexuality is constructed through debate on the appropriateness of marginalised sexualities such as masturbation and homosexuality.<br>African Languages<br>D. Litt. et Phil. (African Languages)
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Mejstříková, Dorotea. "Konec kariéry writera: Urbánní folklór za hranou zákona." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-435616.
Full textAbstract:
Graffiti is a game in which heroic courage and great tension are applied. It is an unusual and risky activity beyond the law, associated with dangerous and illegal intrusion into the secured areas of the underground metro system or climbing the roofs of buildings and high walls. All this means for the writer to write his name on the wall and reap the recognition of his colleagues from the subculture for it. The work looks at graffiti from the perspective of their representatives. Its aim is to answer the question whether the writer's motives to remain in the graffiti subculture change over time, how the writers perceive the sanctions of their surroundings, and whether the sanctions of the institutions affect the end of the writer's career. Data collection will take place through semi-structured interviews with respondents from the graffiti environment, participatory observation and qualitative content analysis of printed materials and websites, used for the exchange of information, especially between active members of the subculture. Keywords Graffiti, subculture, art, vandalism, subcultural career, criminal liability, social sanctions Title The End of Writer's Career: Urban Folklore Which Breaks the Law.
Books on the topic "Graffiti writer"
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Montanawriterteam. Montana Writer Team - Graffiti at Its Best: Atom Cantwo Dash Kent Smash137. Publikat, 2006.
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David, Villorente, ed. Piecebook: The secret drawings of graffiti writers. Prestel, 2008.
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Almqvist, Björn. Writers United: Historien om WUFC, ett svenskt graffiticrew = the story about WUFC, a Swedish graffiti crew. Dokument Förlag, 2005.
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Almqvist, Björn. Writers united: Historien om WUFC - ett svenskt graffiticrew : the story about WUFC - a Swedish graffiti crew. Dokument, 2005.
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Graffiti and the writing arts of early modern England. University of Pennsylvania Press, 2001.
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Aylen, Christopher. 'I just write my name': A history of graffiti in London. LCP, 1999.
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Taylor, Myra. Friendships, peer socialization, and social identity among adolescent skateboarders and graffiti writers. Nova Science Publisher's, 2010.
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Sŭvremennite grafiti: (lingvistichen aspekt). Universitetsko izdatelstvo "Episkop Konstantin Preslavski", 2008.
Find full textBook chapters on the topic "Graffiti writer"
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Zeitlin, Steve. "Kindred Spirits." In The Poetry of Everyday Life. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702358.003.0002.
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In this chapter, the author shares the wisdom and wit of some extraordinary people, the “kindred spirits,” as well as the lessons he has learned from each of them, such as Tony Butler, who made his home in the tunnels of the New York City subway; the photographer Margaret Morton, who took pictures of the structures where many homeless people live in the tunnels and under the bridges of Manhattan; Ethel Mohamed, a seamstress who began to embroider her memories after the death of her Lebanese husband; Moishe Sacks, a retired baker and the unofficial rabbi of the Intervale Jewish Center in the South Bronx; Kewulay Kamara, from whom he learned about how an ancient mythology can shape a way of life far from its indigenous roots; former medicine show doc Fred Bloodgood; the young subway graffiti writer Skeme; and Mae Noell, from whom he learned about publishing, finding your voice, and sticking to your guns. The author concludes by recounting some wonderful expressions he has picked up from his travels.
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Iljadica, Marta. "Painting on Walls." In Creativity without Law. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479841936.003.0006.
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Although graffiti images are copyright eligible in the abstract, the inherently illicit act of spray painting private property without permission complicates efforts to rely on formal law. Marta Iljadica’s empirical research on the graffiti subculture in London demonstrates that despite its illegality, graffiti writing has rules. Those rules address questions of subject matter, originality, and copying common to any expressive work. But they also extend to concerns unique to the graffiti context. Because graffiti is inextricably tied to the physical environment, it raises questions of placement: which structures are appropriate canvasses for graffiti writings and which are off-limits? And because available real estate is limited, graffiti writers must confront scarcity: Under what conditions is it permissible to cover another artist’s work with your own? So while the rules of graffiti writing parallel those of formal copyright law in some ways, they also go beyond it to confront a set of problems graffiti writers are themselves best suited to address.
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Pabón-Colón, Jessica Nydia. "Performing Feminist Masculinity in a Postfeminist Era." In Graffiti Grrlz. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479806157.003.0002.
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This chapter engages an ongoing conversation within Hip Hop Studies in regards to masculinity. Instead of asking what Hip Hop masculinity does to girls and women, whereby they become victims of masculine gender performance, this chapter asks what graff grrlz do with masculine gender performance. Examining the self-presentation, aesthetics of, and approach to graffiti art by graffiti writers Are2 (USA), Miss17 (USA), Motel7 (South Africa), Jerk LA (USA), EGR (Canada), and Ivey (Australia), the chapter proposes “feminist masculinity” to name performances of masculine gender characteristics that empower rather than subjugate. Rather than reproducing oppressive toxic masculinity at the center of Hip Hop’s discourse of “realness,” upholding hegemonic liberal feminism, or accepting a politically sterilized postfeminism, these grrlz fashion the traits of masculinity to demand equity on behalf of their graffiti grrl community.
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Pabón-Colón, Jessica Nydia. "Introduction." In Graffiti Grrlz. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479806157.003.0001.
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This chapter introduces the stakes of the book by narrating two stories that illustrate how the dynamics of gender difference affect belonging for women who write graffiti on both an individual and a structural level. Briefly surveying the current state of Graffiti Studies, the introduction argues that without accounting for the dynamics of gender difference within graffiti subculture, graffiti grrlz (and the ways they develop strategies of resistance in order to thrive) remain invisible. The introduction then breaks into four sections: Writing Grrlz describes the interdisciplinary ethnographic method and major interventions to the fields of Graffiti Studies and Hip Hop Studies; Digital Ups introduces the importance of digital media as a mode for grrlz to connect across geographical borders, language barriers, and time zones; Hip Hop Graffiti Diaspora frames the book’s utilization of diaspora and performance to account for the multiracial, multiethnic reality of transnational graffiti subculture; and Performing Feminism “Like a Grrl” explains how and why these strategies are framed as feminist performance.
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Pabón-Colón, Jessica Nydia. "Re-Membering Herstory and the Transephemeral Performative." In Graffiti Grrlz. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479806157.003.0005.
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This chapter examines how the relatively new phenomenon of graffiti subculture’s online activity affects graffiti grrlz’ “herstorical” presence in the production of the subcultural archive. Through the example of Brazil’s first all-grrl crew Transgressão Para Mulheres (TPM), the chapter interrogates the social and political potential of a digital existence for those who have literally been written out of history at the same time that it offers “transephemerality” as a conceptual tool describing the ontological condition of an ephemeral art form that remains present in the digital world. TPM’s “real life” inactivity is countered by their activity online, a digital presence that reaches across time and space. Without their graffiti images existing online as transephemeral objects the historical impact of TPM to graffiti history might be forgotten, whereas now it is made available to a wider public capable of re-membering TPM’s herstory despite their “disappearance.”
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Stern, Karen B. "Carving Graffiti as Devotion." In Writing on the Wall. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691161334.003.0002.
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This chapter examines how graffiti was inscribed and painted by ancient Jews to communicate with and about the divine. It begins with a discussion of paintings and carvings that cover the surfaces of the Church of the Holy Sepulchre—revered by many Christians as the site where Jesus was crucified and buried—and serve as physical vestiges of pilgrims' devotions, rather than marks of defacement. It then considers common assumptions that govern studies of ancient Jewish prayer before analyzing Aramaic and Greek signature and remembrance graffiti in the Dura-Europos synagogue and elsewhere in Dura, as well as devotional graffiti written by Jews in shrines shared by pagans and Christians, such as Elijah's Cave. The chapter suggests that certain acts of graffiti writing are in reality modes of prayer conducted by Jews and their neighbors alike, and that ancient Jews prayed in a variety of built and natural environments.
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"You'll be forgotten: visibility and mobility of graffiti writers." In Struggles for Subjectivity. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9781139106870.011.
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Mattern, Shannon. "Of Mud, Media, and the Metropolis." In Code and Clay, Data and Dirt. University of Minnesota Press, 2017. http://dx.doi.org/10.5749/minnesota/9781517902438.003.0003.
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“Of Mud, Media, and the Metropolis…,” examines the entwined histories of brick-making, mark-making, and city-building. I examine how urban surfaces have served as substrates for writing, from ancient epigraphy to contemporary graffiti; how written documents have been critical to our cities’ operations; and how our scripts’ formal properties are often reflected in urban form.
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Millie, Andrew. "Aesthetics and crime." In Philosophical Criminology. Policy Press, 2016. http://dx.doi.org/10.1332/policypress/9781447323709.003.0004.
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The link between criminology and aesthetics might not be immediately apparent. People’s expectations of aesthetics are central to what is regarded as acceptable behaviour within public spaces. This chapter shows how aesthetics and expectations are central to what gets criminalised and what doesn’t. For example, which graffiti writers become celebrities and considered ‘art’ and who ends up in prison or, ideas of landscape beauty which dictates what, or who, is permitted to be in a certain place. This chapter argues that beauty is not objective but subjective based on notions of taste. Taste is essential to what is authorized and what is criminalised. Class and power plays a key role on whose tastes becomes legislated and seen as valid, and whose tastes are seen as ‘wrong’ leading to marginalisation. Ultimately, it becomes clear that aesthetics have a key role to play within criminology.
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Vinagre, Margarita. "The linguistic landscape: enhancing multiliteracies through decoding signs in public spaces." In Innovative language pedagogy report. Research-publishing.net, 2021. http://dx.doi.org/10.14705/rpnet.2021.50.1231.
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What is it? The Linguistic Landscape (LL) is a relatively new field which draws from several disciplines such as applied linguistics, sociolinguistics, anthropology, sociology, psychology, and cultural geography. According to Landry and Bourhis (1997), “the language of public road signs, advertising billboards, street names, place names, commercial shop signs, and public signs on government buildings combines to form the linguistic landscape of a given territory, region, or urban agglomeration” (p. 25). More recently, the type of signs that can be found in the public space has broadened to include the language on T-shirts, stamp machines, football banners, postcards, menus, products, tattoos, and graffiti. Despite this wider variety of signs, Landry and Bourhis’s (1997) definition still captures the essence of the LL, which is multimodal (signs combine visual, written, and sometimes audible data) and can also incorporate the use of multiple languages (multilingual).