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Journal articles on the topic 'Graffiti'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Wild, Benjamin, Geert J. Verhoeven, Martin Wieser, et al. "AUTOGRAF—AUTomated Orthorectification of GRAFfiti Photos." Heritage 5, no. 4 (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 creat

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Wild, Benjamin, Geert J. Verhoeven, Martin Wieser, et al. "AUTOGRAF—AUTomated Orthorectification of GRAFfiti Photos." Heritage 5, no. 4 (2022): 2987–3009. https://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 creat

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3

Vivas Sainz, Inmaculada. "Un análisis comparativo de los grafitis en la zona tebana: paisaje, ubicación e intencionalidad en los grafitis figurativos del C2 Project, The Royal Cache Wadi Survey." Trabajos de Egiptología. Papers on Ancient Egypt, no. 10 (2019): 403–19. http://dx.doi.org/10.25145/j.tde.2019.10.23.

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The current research is mainly a preliminary study of some of the most significant graffiti located in the wadi C2, in the context of the ongoing investigation of the C2 Project. The Royal Cache Wadi Survey, and tries to clear out the motivations behind the location and concentration of graffiti in the area, probably related to the sacred character of the place. Through the analysis of C2 graffiti published in the work Graffiti de la Montaigne Thebaine, which are being revised in depth, the types of figurative graffiti are established, as well as those figures connected to specific textual gra

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DJAÏB, Amina, and Farida TILIKETE. "La Pratique du Graffiti comme Fragment de la Rhétorique Amoureuse." ALTRALANG Journal 6, no. 1 (2024): 133–49. http://dx.doi.org/10.52919/altralang.v6i1.406.

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ABSTRACT: As a discursive practice, graffiti reveals many aspects of social life. On the one hand, it evokes the daily struggles of a community and, on the other, the graffiti artist’s emotions. Whether it is the result of an eventization or an expression of a mere feeling, graffiti is an act which production is in no sense random. In this article, we focus on romantic graffiti which main purpose is the expression of love. A feeling that can be both enchanting and devastating. This study aims to identify the rhetoric that underlies the production of a romantic graffiti. To answer this question

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Buendía, Pedro. "Urban art, public space, and political subversion: The Egyptian revolution through graffiti Arte urbano, espacio público y subversión política la revolución egipcia a través del graffiti Art urbain, espace public et subversion politique : La révolution égyptienne à travers du graffiti." Regions and Cohesion 2, no. 3 (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 vir

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Proehl, Kyle. "On the Concept of graffiti." Street Art & Urban Creativity 10, no. 1 (2024): 90–97. https://doi.org/10.25765/sauc.v10i1.921.

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In this article I present a series of reflections on the concept of graffiti. What begins as a critique of the ideological relation between “street art” and “graffiti” on the one hand and “center” and “periphery” on the other, unfolds as a schematic exploration of the relation between graffiti and social crisis. These theses argue that graffiti can and should be interpreted, and that this interpretation depends upon analyzing graffiti’s character as both text and image. In doing so they explore graffiti in crisis across the American hemisphere, moving from “center” to “periphery” and back agai

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Polyakov, Fedor. "Graffiti as a tool of urban environment appropriation: a study of spatial practices." Zhurnal sotsiologii i sotsialnoy antropologii (The Journal of Sociology and Social Anthropology) 27, no. 4 (2024): 238–72. https://doi.org/10.31119/jssa.2024.27.4.9.

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The relevance of this research lies in the fact that graffiti has consistently existed and continues to exist within a legally ambiguous or outright illegal context. Consequently, there is a need to manage and regulate public spaces within cities. It is important to note that graffiti today can be created for various reasons, including personal messages (such as love letters), commercial purposes (advertisements), or as expressions of the graffiti subculture, encompassing forms like “tags”, “bombing”, “writing”, and “murals”. In all these cases, graffiti aims to communicate with an intended au

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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 developme

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Halliday, Craig. "Graffiti as a Catalyst for Urban Creativity: Exploring Agency, Participation, and the Right to the City in Nairobi." European Journal of Development Studies 4, no. 6 (2024): 25–37. https://doi.org/10.24018/ejdevelop.2024.4.6.391.

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This article examines graffiti as a catalyst for urban creativity in Nairobi, focusing on how young people use it to assert agency and reshape public spaces. Drawing on the concepts of the ‘right to the city’ and DIY urbanism, the study analyses two key graffiti projects to explore graffiti’s role in reclaiming public spaces from capitalist and political control. Based on research conducted from 2015 to 2018 across Nairobi’s neighborhoods, the findings highlight graffiti’s potential for civic engagement and placemaking despite challenges like gender inequality and th transient nature of urban

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Le Quang, Grégoire. "Du murmure à l’invective : pratiques du graffiti subversif dans l’Italie des années 1970." 20 & 21. Revue d'histoire N° 156, no. 4 (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

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Souillard, Sasha. "La Rivoluzione Macchiata: The Stained Revolution." Interdependent: Journal of Undergraduate Research in Global Studies 2 (2021): 91. http://dx.doi.org/10.33682/nv4g-se2u.

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Although graffiti gained popularity through the expansion of American pop culture, its origins are greatly embedded in Italian culture and history. Not only does the word graffiti come from the Italian word "graffiato" or "scratched "off", but some of the world's first graffiti was found in Pompeii's ruins. Over the last few years, Italy has been governed by right-wing coalitions that have implemented fascist practices once used by Mussolini. Given that there is little space for leftist ideas to emerge in the public space, Italians have used graffiti as a form of political activism and protest

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Kahraman, Mehmet Emin. "A Search for a New Model in Graffiti Art through the Synthesis of Eastern and Western Cultures with Artificial Intelligence." International Journal of Religion 5, no. 12 (2024): 608–18. http://dx.doi.org/10.61707/mpg2q191.

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The art of graffiti, closely associated with Hip Hop culture, has become an integral part of daily life as it is practiced in public spaces, capturing the attention particularly of younger generations. This characteristic distinguishes graffiti from other art disciplines. Moreover, graffiti is a versatile art form that easily adapts to the linguistic, religious, and racial attributes of different societies, offering a wide variety of techniques and applications. In each country, graffiti tends to reflect the culture of that nation, producing works that incorporate local cultural codes. As graf

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Cotnam-Kappel, Megan. "Reflexive Graffiti Remixing: Curriculum, Corsican Language, and Critical Pedagogy." Journal of the Canadian Association for Curriculum Studies 11, no. 2 (2014): 44–74. http://dx.doi.org/10.25071/1916-4467.36768.

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Corsica is an island covered in graffiti. These painted messages devastate/decorate the walls of cities, towns, schools and homes. They have also spread to natural sites that include rocks, trees and mountains. A number of curricular questions arise in regards to graffiti as literacy and in particular regarding the corsican endangered language: Is graffiti a performance of the aesthetics of vulnerability of a minority language? Could graffitied symbols represent a linguistic affirmation of Coriscan identity? And what could engaging with these graffiti bring to canadian curricular studies regar

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El-Shewy, Mohamed. "The spatial politics of street art in post-Revolution Egypt." Journal of Urban Cultural Studies 7, no. 2-3 (2020): 263–80. http://dx.doi.org/10.1386/jucs_00029_1.

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This article is concerned with exploring the politics of street art and graffiti in Egypt in the aftermath of the uprising against former President Hosni Mubarak in 2011. Rather than viewing street art and graffiti as mere by-products of the revolutionary period, the article centres them as important elements of political and social struggle. I put forward a reading of Egypt’s street art and graffiti as sites of politics through both aesthetic and spatial approaches. To do so I draw on Jacques Rancière’s concept of ‘dissensus’, a term referring to a political and aesthetic process that creates

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Gargaillo, Florian. "Graffiti and the British Postwar Poem." Genre 55, no. 2 (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

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Plesch, Véronique. "On the Patrimonialization of Graffiti." Mediaevalia 45, no. 1 (2024): 205–29. http://dx.doi.org/10.1353/mdi.2024.a940415.

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Abstract: "Graffiti" is not a word that one immediately associates with the concept of "heritage." In fact, the two are more often than not thought of as antonymic, and yet, as this article argues, we are at a crucial moment in what can be termed the "patrimonialization" of graffiti. Retracing the steps involved in this process of patrimonialization, starting with Raffaelle Garrucci's study of Pompeian graffiti in the first half of the nineteenth century, this essay surveys the steps that have paved the way for a recognition of graffiti's significance and of the need for its preservation. Rece

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Rusyaeva, Anna S. "Graffiti from the Southern Temenos in Pontic Olbia." Ancient Civilizations from Scythia to Siberia 21, no. 2 (2015): 251–79. http://dx.doi.org/10.1163/15700577-12341285.

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The dedicatory graffiti from the excavations of the SouthernTemenosin Olbia provide indisputable evidence for the existence in that district not just of an Aphroditetemenosbut also of the existence at the same time as the earlier of her sanctuaries of one for the local Hero Angelos. Despite their fragmentary nature, it has been possible to divide up the graffiti into a number of separate groups and then analyse them accordingly. The largest number of graffiti relate to the early sanctuary of Aphrodite. Worthy of special attention is the graffito [Ἀφροδίτ]ης Δήμιης – “Aphrodite Demia (of the Pe

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MacDowall, Lachlan. "A Boneyard of Data:." Street Art & Urban Creativity 2, no. 2 (2016): 48–59. https://doi.org/10.25765/sauc.v2i2.53.

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In the era of Instagram, graffiti and street art are increasingly produced as digital objects, shaped by the architecture of digital platforms and the aggregated responses of audiences, transmuted into data. This paper focuses on one aspect of this context: the complex temporal existence of graffiti and street art - their duration, speed and acceleration – across multiple time zones. It asks: how is the consumption of graffiti and street art as digital images affecting its production? Has digital culture accelerated the production of graffiti and street art, driving shorter, faster cycles of r

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Nikolić, Sara. "Beyond vandalism: Gentle privatism and the graffiti code of conduct in Block 45." Maska 39, no. 219 (2024): 62–79. http://dx.doi.org/10.1386/maska_00185_1.

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This paper explores the unique interplay between graffiti practices, ‘gentle privatism’, and urban space in Block 45, a large housing estate in New Belgrade. Focusing on the informal code of conduct adhered to by local graffiti artists, the study examines how these unwritten rules shape social hierarchies and community dynamics. Through an analysis of graffiti’s territoriality and its role in place-making, the paper reveals how artists navigate the tension between public and private domains, challenging conventional neoliberal urban paradigms. By appropriating public spaces, graffiti writers t

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

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

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

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This article focuses on the emergence of graffiti in Beijing and Shanghai as an intriguing part of the contemporary art scene. Approaching graffiti through the framework of visual culture and analyzing both the visual and social aspects of creating graffiti images, I argue that contemporary graffiti in these cities can be regarded primarily as creative self-expression emphasizing aesthetic intention and a renaming process, not as vandalism. Deriving primarily from information gathered during my fieldwork in Beijing and Shanghai, I also discuss the development of graffiti in China and its chara

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Sarıkaya, Rasim. "Duvarın İki Yüzü: Kamusallığın Yapısal dönüşümü Bağlamında Graffiti ve Sokak Sanatını Yeniden Düşünmek." Tykhe Sanat ve Tasarım Dergisi 10, no. 18 (2025): 193–219. https://doi.org/10.55004/tykhe.1583009.

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Graffiti zaman zaman bir sanat formu olarak onurlandırılıyor olsa da, genellikle yasadışı ve rahatsızlık verici anarşist bir eylem olarak görülmektedir. Tartışmaya konu olmayan yönüyle graffitinin doğası buradayım demenin bir yolu olarak iletişimsel eyleme dayanır. Bu yönüyle kişisel bir edimin ötesine geçerek kamusallaşır ve kamu, kamusallık ve kamusal alan kavramlarıyla bağlantılı bir tarihsel dönüşüm sürecine yerleşir. Makalede graffitinin vandalizm ve anarşizmle birlikte tartışılmaya başlandığı 20. yüzyılın ikinci yarısı ve sonrası gelişmeler, Habermas’ın kamusal alan çalışmaları ve eleşti

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

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O presente artigo objetiva analisar a exposição Graffti: New York meets the Dam, do Museu de Amsterdã, enquanto uma zona de contato (CLIFFORD, 2016). Esta exposição foi realizada entre 2015 e 2016, em parceria com o Museu da cidade de Nova York, uma vez que no início da década de 1980, ocorreu um encontro, em Amsterdã, entre grafteiros estadunidenses e holandeses, o que modifcou profundamente o grafte produzido na cidade. O propósito, assim sendo, é analisar, a partir da exposição, se as representações das assimetrias e dos confrontos do encontro entre grafteiros de Amsterdã e de Nova York est

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

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El presente escrito detalla la importancia del graffiti a partir de su origen hasta llegar a un periodo contemporáneo. Además, se denotó los factores y agentes que intervienen en el proceso. El objetivo de la investigación fue analizar al graffiti desde una perspectiva epistemológica-evolutiva debido a que es limitada la investigación del tema de estudio en Latinoamérica. El estudio atravesó un diseño metodológico no experimental, con pertenencia hacia un enfoque cualitativo, pues, se pretende examinar la manera en que los citadinos perciben al fenómeno. El diseño investigativo etnográfico exp

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

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

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

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

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

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

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

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

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

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Discute o graffiti como patrimônio cultural e propõe que este possa ser preservado para as futuras gerações. Reconhece-se o aspecto paradoxal que obras do tipo graffiti inspiram em relação à proposta de sua institucionalização e salvaguarda, posto o princípio de efeméride que carrega em si. Questiona-se: o graffiti é caracterizado como patrimônio cultural material ou imaterial? Como objetivo geral, propôs-se compreender conceitos que caracterizem o graffiti como patrimônio cultural, passível de ser documentado e preservado, e, para o seu alcance, definiu-se por analisar propostas de convergênc

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Vanderveen, Gabry, and Funda Jelsma. "Kunst en/of criminaliteit." Tijdschrift voor Veiligheid 11, no. 3 (2012): 3–19. https://doi.org/10.5553/tvv/2012011003001.

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Graffiti as crime and art: variety in graffiti and people’s attitudes Graffiti has been linked in empirical studies to disorder, fear of crime, avoidance behavior, vandalism and delinquency. In most of those studies, graffiti is treated as an abstract and uniform concept: no distinctions are made between one graffiti or another. Policies based on this assumption hold a zero tolerance approach, meaning all graffiti is deemed undesirable and is or should be removed. This has been criticized by several (theoretical) studies. On the other hand however, ethnographic studies present graffiti as a mu

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Rifpan Putra Afriansyah, Eva Tuckyta Sari Sujatna, and Nani Darmayanti. "A Multimodal Discourse Analysis on Street Graffities about Indonesian Police." SALEE: Study of Applied Linguistics and English Education 6, no. 1 (2025): 271–87. https://doi.org/10.35961/salee.v6i1.1702.

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The purpose of this writing is to uncover how graffiti can multimodally represent Indonesian police and create ideology through the use of its textual and visual element. This writing is descriptive qualitative research with multimodal discourse analysis approach. The data of this research are collected through the internet, as the real graffities have been erased from the real-life locations. The data of this research consist of virtual images and sentences of the graffiti that have been documented. The data are analysed through the use of Gunther Kress and Theo van Leeuwen’s multimodal disco

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

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Purpose This paper aims to examine the development of graffiti in Hong Kong. Based on cultural criminological theories, the study looks at graffiti from the cultural verstehen perspective (Ritzer, 1996) – giving voice to graffiti writers, instead of focusing on how the police or the general public react to the graffiti issue. The research also examines the motives of those writers and whether they perceive graffiti as an act of vandalism or an expression of an art form. Design/methodology/approach Graffiti is still an underdeveloped research topic in Hong Kong, which is absent not only in the

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

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This research work comes from a real problem from Lisbon City Council that was interested in developing a system that automatically detects in real-time illegal graffiti present throughout the city of Lisbon by using cars equipped with cameras. This system would allow a more efficient and faster identification and clean-up of the illegal graffiti constantly being produced, with a georeferenced position. We contribute also a city graffiti database to share among the scientific community. Images were provided and collected from different sources that included illegal graffiti, images with graffi

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

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El propósito general de esta investigación ha sido identificar y analizar las interpretaciones que realizan los profesores y los estudiantes sobre el graffiti en el liceo. Se enmarca en un enfoque hermenéutico y narrativo. La metodología adoptada es cualitativa exploratoria, y biográfico-narrativa. Las técnicas elegidas fueron las siguientes: fotografía, entrevistas en profundidad a docentes y alumnos, y grupos de discusión. De la investigación surgieron algunas categorías interpretativas: “el tren”, “el juego”, “la firma”, “la red social”, “el grito”, “la fobia”, “lo político”, “fuera de acta

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

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This study concerned with language in written form that is visible as graffiti in the Padang city, Indonesia landscape. The mushroomed of graffiti in Padang city landscapes increasingly has been a growing problem in society. Even local government as the official authority has created some task to prohibit graffiti, but a new graffiti has always been emerging in public space. Therefore graffiti has been considered a crime. It is interesting to explore graffiti in Padang city landscapes from other perspectives, particularly the symbolic functions of graffiti. The study uses qualitative approache

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

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Commodity Graffiti is the art of the streets that adorned cities in the modern era. Graffiti is a culture that cannot be separated from the role of human communal in certain areas, in addition to show on the group existence , graffiti often perceived as markers an epoch. Graffiti but is no longer owned by groups that feel they own the art of course, Graffiti develops into a medium that transformed and give oasis in urban cities Surabaya. Research with the title “Change Graffiti On a decade, into a Commercial Commodity in the city of Surabaya” will break down how and what factors make Graffiti

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Jacobson, Malcolm. "Marketing with graffiti:." Street Art & Urban Creativity 3, no. 2 (2017): 104–11. https://doi.org/10.25765/sauc.v3i2.86.

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Graffiti is extensively used within marketing. Products such as cars, sodas, and clothes are fueled with the symbolic capital of illegal graffiti. Graffiti artists transform settings such as hotels, bars and boutiques into daring experiences. Building on ethnographic observations and interviews in Sweden, this article shows that graffiti artists and commercial companies cooperate in maintaining a narrative where graffiti is presented as essentially illegal. This narrative enables graffiti writers to exchange symbolic capital for economic capital and preserve their identity as authentic graffit

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Huntington, David. "Sustainable Graffiti Management Solutions for Public Areas." Street Art & Urban Creativity 4, no. 1 (2018): 46–74. https://doi.org/10.25765/sauc.v4i1.122.

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Towards advancing sustainable graffiti management solutions for public areas, this article investigates the efficacy and socio- ecological effects of a range of contemporary graffiti management tactics. In addition to finding that reactive management tactics (e.g. painting over graffiti, chemical-based graffiti removal, and anti-graffiti coatings) are largely ineffective at deterring graffiti vandalism in public areas, it is shown that reactive management efforts also entail both short- and long-term environmental risks. Moreover, a comparison of reactive and proactive management tactics (e.g.

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

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The paper explored the relationship between graffiti and new media, with specific focus on the effect of new media appropriation on the growth of graffiti writing in Nigeria. Qualitative research design and methodologies were used. The theory of technological determinism provided the conceptual directions. Findings showed that graffiti artists were increasingly active on social media; and, used social media for different purposes, including graffiti-based artistic activities. While a wide range of social media were used, only Instagram was the most preferred, because of its unique technical qu

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

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The article dealt with a problem of graffiti on bridges. Graffiti can be perceived as a form of artistic expression. Two historical examples of graffiti, one from antiquity times and the other one from the forties of the past century were presented. An attempt was made in order to define the graffiti on the basis of the analysis of the Lublin’s graffiti culture The obtained descriptive characteristic/definition of graffiti indicates stable, independent and even illegal activity which seems to be impossible to be constricted. The graffiti was examined on the example of Santiago Calatrava bridge

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Puspita, Danenin Brenindadini Puspita. "The Role of Graffiti as an Expression of Youth Identity." Commsphere: Jurnal Mahasiswa Ilmu Komunikasi 2, no. II (2024): 149–65. http://dx.doi.org/10.37631/commsphere.v2iii.1596.

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Graffiti art has drawn pros and cons from the public and is considered a Form of vandalism or crime because it damages public facilities. However, for graffiti artists or bombers, graffiti is a place to express themselves. Even though it received a lot of negative responses from the public, graffiti was able to survive and continue to exist. Based on this, the author wants to know the meaning behind the activities of the bombers who chose graffiti art as a medium of expression. The author uses qualitative research methods. The data collection techniques used in this article are interviews, obs

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

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

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This study aims to explore types of graffiti at Jadara University in Jordan. The study sample consists of (130) graffiti works from Jadara University, Jordan. The sample is randomly selected from the university public places. To achieve the purpose of the study, critical discourse analysis is used. The study revealed that the most common types of graffiti are: personal and emotional, social, national, religious, sport, and academic ones. In light of the results, the study recommends studying graffiti works from a psychological point of view to more understand the hidden messages in graffiti wo

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Witjaksono, M. Dimas Yudi, Juju Masunah, and Nanang Ganda Prawira. "Hermeneutics fusion of horizons hans georg gadamer in understanding graffiti motif pucuk kapal jung Lampung." SHS Web of Conferences 197 (2024): 05003. http://dx.doi.org/10.1051/shsconf/202419705003.

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This research examines the phenomenon of art in Bandar Lampung coffee shops in the form of graffiti art expressions. The main question in this study is: what is the process of graffiti artists creating Jung’s ship’s ship motif works in placing the framework of local wisdom as their graffiti work? with the aim of understanding graffiti texts in proportion to Hans Georg Gadamer’s hermeneutic idea of horizon fusion which is applied to the graffiti text with the Jung Lampung ship’s top motif. The phenomenon of graffiti in urban public spaces has become a vital urban cultural marker, visual graffit

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

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Since their appearanceon the streets as alternative communication tools in 1980s, graffiti have led to controversies over their conceptualization as vandalism of the public property. Despite this negative understanding, however, graffiti are tools through which minorities and marginalized groups are able to represent themselves and express their voices in public spheres. Thus, graffiti are turning into alternative and protest tools of communication. Today, through the possibilities that new media and especially social media offer, the lost voices are disseminated faster through graffiti and th

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

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O graffiti urbano se caracteriza como movimento de intervenção na cidade, por meio do qual diversos grupos expressam novas formas de viver nos espaços urbanos. Este trabalho visa refletir sobre os processos de criação coletiva no graffiti urbano de Florianópolis. Realizou-se entrevistas com seis grafiteiros da cidade de Florianópolis, pertencentes a crews diferentes, observações, registros fotográficos e filmagens de suas atividades criadoras na cidade. Percebeu-se que a formação dos grupos de grafiteiros depende de relações de afinidade e proximidade a partir das quais partilham suas experiên

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Schreer, George E., and Jeremy M. Strichartz. "Private Restroom Graffiti: An Analysis of Controversial Social Issues on Two College Campuses." Psychological Reports 81, no. 3 (1997): 1067–74. http://dx.doi.org/10.2466/pr0.1997.81.3.1067.

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We collected 428 pieces of graffiti from men's and women's restrooms on two American campuses (one college and one university) in a small town in upstate, New York. The graffiti were coded by sex, institution, and type of building, and then sorted into 19 content categories. Chi-squared analyses indicated that compared to women's restrooms, men's restroom graffiti contained significantly more insulting (especially antigay) and scatological references but not more sexual graffiti. Women's restrooms had more political graffiti than men's, but contrary to previous research, very few romantic insc

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