Relevant bibliographies by topics / Street signs in art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Street signs in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Street signs in art"

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Donnelly, Mark. "Can Counter Histories Disturb the Present? Repohistory’s Street Signs Projects, 1992–1999." Art History & Criticism 14, no. 1 (December 1, 2018): 51–61. http://dx.doi.org/10.2478/mik-2018-0005.

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SummaryThis paper argues that where appropriations or invocations of the past have contributed to projects of social and political change, they have usually done so with little or no recourse to the historical past. Instead, activists and campaigners have used various forms of vernacular past-talk to unsettle those temporary fixings of ‘common sense’ that limit thinking about current political and social problems. The example of such past-talk discussed here is the work of the art-activist collective REPOhistory, which sought between 1989 and 2000 to disrupt the symbolic patterning of New York’s official and homogenized public memory culture by making visible (‘repossessing’) overlooked and repressed episodes from the city’s past. In effect, they challenged the ways in which history’s dominance of past-talk within the public sphere was constituted by exclusions of subjects on grounds of gender, ethnicity and socio-economic status. REPOhistory fused politically-engaged art practices with Walter Benjamin’s belief in the redemptive potential of dialectical encounters between past and present. To assess the value of their art-as-activism projects (“artivism”), this article will situate REPOhistory’s practices within a frame of ideas provided by Benjamin, Jacques Derrida, Ernesto Laclau, and Chantal Mouffe. In a series of street sign installations that mixed visual art, urban activism, social history, and radical pedagogy, REPOhistory exemplified why the past is too important to be trusted to professional historians.
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Chikarkova, Maria. "Medieval origins of street art." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 19 (2020): 99–106. http://dx.doi.org/10.34079/2226-2830-2020-10-19-99-106.

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The article deals with "street art" as a kind of urban culture, outrageous self-expression of urban youth. Its study is condensed mainly on modern modifications of phenomena such as graffiti, video projection, art intervention, flash mob and more. But the historical forms of this phenomenon, whose roots go back to cave times, are much more diverse and unexpected. The ancient street art is pretty well known to us, however the medieval street art, even the closest ‒ European, scientists were much less interested. However, the Soviet-era disregard for the experience of the Middle Ages, which was one of the most important links in the progress of our culture, is deeply flawed. The aim of this study is a scientific description of the street art of medieval Europe, its structure, spiritual orientation, genre originality and potential for further development. The article gives a detailed analysis of the theoretical projection of the problem (formation of the phenomenon of "street art" on the border of folklore and experience of professional art) and the practical need to expand the concept of street art in its historical diachrony in the study and teaching of world and domestic culture. The main idea of the articles is a comparison of medieval street art with its folklore and, in part, ancient origins, as well as the establishment of points of contact with the future Proto-Renaissance world. The article emphasizes that religious-Christian consciousness prevailed in medieval Europe, and this meant a radical change in worldview. Being ceased to be perceived as an "eternal whirlpool": the eschatological concept of the Bible prompted us to realize the temporality of the material world and the need to find ways to Eternity. Thus, street art, which used to be a signification of the everyday interests of citizens, has now received the status of a "signpost to Heaven", expressing a predominantly pious spiritual search for the urban community. This can be seen even in various inscriptions, signs, craft communities, etc. At the same time, phenomena marginal to the dominant church culture, such as "carnival culture", which condensed the hedonistic motives of pagan heritage, developed certain traditions of chivalric culture and were sometimes an echo of heretical teachings, are carefully analyzed. This article reports the results of a medieval street art as a powerful component in the formation of European culture and contributed to the involvement of broad sections of uneducated citizens in the spiritual life of the era. This situation largely became the foundation of the formation of the Renaissance process. The article is of great help to a more detailed and in-depth study of this important historical and cultural phenomenon.
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Kalashnikova, Kseniia N. "Visual Communication in the Urban Space of Novosibirsk: Differentiation and Perception." Vestnik Tomskogo gosudarstvennogo universiteta, no. 458 (2020): 101–9. http://dx.doi.org/10.17223/15617793/458/12.

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This research focuses on the numerous manifestations of visual informal communication in the urban public space. Such manifestations are among the most important symptoms of modern development. The study of objects of visual communication can give knowledge that clarifies points of contact and, conversely, discrepancies in perception that can cause conflicts. The author’s aim was to identify and describe the types of objects of visual communication and the peculiarities of their perception by residents on the example of Novosibirsk, Russia. To achieve this aim, the author used several sources of information: interviews with street artists and residents with the help of visual materials, and a large archive of the photos of the objects. To distinguish the types of objects, the author used Harold Lasswell’s communication model as presented by Arthur Berger as a basis. She modified the model according to the features of informal visual communication and the criteria that differentiate objects. The criteria were: message source, author, message, medium, channel, audience, and perception. As a result, the author determined the following types of objects of visual communication: inscriptions and signs, graffiti, street art, public art, HCS (housing and communal services) art, buffs. Perception as a process is not detached from the creation of an object. It is perception that can separate ordinary inscriptions on fences from street art because, even judging by the name, the main criterion for the selection of inscriptions and signs is its means. But some inscriptions surprise, catch attention, and change the choreography of movements, and it is this effect that creates street art. Graffiti are distinguished by a specific means—the font—and by the principles of location in space. Public art is distinguished by the presence of a customer, and its means are almost similar to those of street art. HCS art is a specific category distinguished primarily by the means, the channel, and the author. Buffs are an unexpected discovery, postulating the bilateral nature of informal public communication, characterized primarily by the means. So, one of the key criteria for classifying the types of objects is the means, or the way of coding, which can influence human perception. Types of objects largely determine perception, but even if all the signs of the object can be attributed to one or another type, this does not determine perception. Aesthetics, location, meaning are the main characteristics of the object, which were decisive for respondents’ perception. Respondents’ personal characteristics certainly had an impact on perception, but this was clearly manifested only in the case of HCS art.
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Umdu, Duygu Cinar. "Street Graffiti and Residents’ Attitude: Izmir City." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 130–38. http://dx.doi.org/10.18844/prosoc.v4i11.2867.

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Humanity has always been in a struggle to express itself to others. They conveyed through marks and symbols on cave walls, head stones, clay tablets and papyrus before the invention of writing and society. Today urban areas and especially streets are places that carry social marks first-hand. They retain these semiotic signs and become a collective of symbols that link the past to the present and future. Graffiti, which is a part of such communication, is the way people express emotions and ideas to society through symbols. In this study, the attitude of the residents in Izmir City about graffiti, whether they see it as an art form or visual pollution, is studied. A survey was applied to 100 citizens, including fieldwork, photo-shoots and interviews done with 20 people. Part of the graffiti in Izmir urban identity is determined and the results are presented. Keywords: Graffiti, resident’s attitude, Izmir.
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Бобренко, Ростислав. "Artistic Transformation of Road Signs in the Works of Klet Abraham in the Context of Street Art." Artistic Culture. Topical Issues, no. 16 (June 11, 2020): 81–85. http://dx.doi.org/10.31500/1992-5514.16.2020.205242.

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Zídek, Karel, Tomáš Koubek, David Procházka, and Marcel Vytečka. "Assistance System for Traffic Signs Inventory." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 63, no. 6 (2015): 2197–204. http://dx.doi.org/10.11118/actaun201563062197.

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We can see arising trend in the automotive industry in last years – autonomous cars that are driven just by on-board computers. The traffic signs tracking system must deal with real conditions with data that are frequently obtained in poor light conditions, fog, heavy rain or are otherwise disturbed. Completely same problem is solved by mapping companies that are producing geospatial data for different information systems, navigations, etc. They are frequently using cars equipped with a wide range of measuring instruments including panoramic cameras. These measurements are frequently done during early morning hours when the traffic conditions are acceptable. However, in this time, the sun position is usually not optimal for the photography. Most of the traffic signs and other street objects are heavily underexposed. Hence, it is difficult to find an automatic approach that can identify them reliably. In this article, we focus on methods designed to deal with the described conditions. An overview of the state-of-the-art methods is outlined. Further, where it is possible, we outline an implementation of the described methods using well-known Open Computer Vision library. Finally, emphasis is placed on the methods that can deal with low light conditions, fog or other situations that complicate the detection process.
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Sanches, Tatiana Amendola, and Tarcisio Torres Silva. "Graffiti, affective inscriptions and new expressions of visibilities in São Paulo’s urban landscape." RUA 22, no. 1 (June 16, 2016): 5. http://dx.doi.org/10.20396/rua.v22i1.8646062.

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AbstractThis paper intends to discuss the ways Street Art has been promoting new affective inscriptions in the urban landscape of São Paulo city. This practice is verified through works promoting “sensible shocks”, which occur using signs that sensibilize the passerby’s look. The discussion starts addressing local cultural art movements in order to show how Brazilian Street Art is linked to other forms of politicization in the cities. Then, it is shown how the articulation of structures of feeling can be observed in the city in events involving disagreements between graffiti artistis and the municipal government. Finally, it is argued that the affective inscriptions reveal the social structures of the city and contribute to highlight imbalances between expectation and reality.ResumoEste trabalho procura discutir as maneiras como a arte de rua vem promovendo novas inscrições afetivas na paisagem urbana da cidade de São Paulo. Verifica-se que esta prática é feita através de “choques de sentimento” que ocorrem através do uso de signos que sensibilizam o olhar do transeunte. A discussão começa com movimentos artísticos locais a fim de mostrar como a arte de rua brasileira está conectada a outras formas de politização nas cidades. Em seguida, é mostrado como a articulação de estruturas de sentido pode ser observada na cidade em eventos envolvendo conflitos entre grafiteiros e o poder municipal. Finalmente, argumenta-se que as inscrições afetivas revelam as estruturas sociais da cidade e contribuem para enaltecer desequilíbrios entre expectativa e realidade.Palavras-chave: Arte de Rua; Cultura; Estudos Culturais; Grafite; São Paulo.
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Mulyanto, Agus, Wisnu Jatmiko, Petrus Mursanto, Purwono Prasetyawan, and Rohmat Indra Borman. "A New Indonesian Traffic Obstacle Dataset and Performance Evaluation of YOLOv4 for ADAS." Journal of ICT Research and Applications 14, no. 3 (March 31, 2021): 286–98. http://dx.doi.org/10.5614/itbj.ict.res.appl.2021.14.3.6.

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Intelligent transport systems (ITS) are a promising area of studies. One implementation of ITS are advanced driver assistance systems (ADAS), involving the problem of obstacle detection in traffic. This study evaluated the YOLOv4 model as a state-of-the-art CNN-based one-stage detector to recognize traffic obstacles. A new dataset is proposed containing traffic obstacles on Indonesian roads for ADAS to detect traffic obstacles that are unique to Indonesia, such as pedicabs, street vendors, and bus shelters, and are not included in existing datasets. This study established a traffic obstacle dataset containing eleven object classes: cars, buses, trucks, bicycles, motorcycles, pedestrians, pedicabs, trees, bus shelters, traffic signs, and street vendors, with 26,016 labeled instances in 7,789 images. A performance analysis of traffic obstacle detection on Indonesian roads using the dataset created in this study was conducted using the YOLOv4 method.
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Bucholtz, Mary. "White affects and sociolinguistic activism." Language in Society 47, no. 3 (June 2018): 350–54. http://dx.doi.org/10.1017/s0047404518000271.

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This year, undergraduates in my class ‘Language, race, and ethnicity’ carried out collaborative sociolinguistic activism projects addressing a range of issues in our community, such as racist street signs and California's ban on diacritics in personal names on official documents. Despite my and my teaching assistants’ explicit instructions that the projects should aim to effect some tangible change—the replacement of the street signs, the legalization of diacritics—many students focused instead on the more amorphous goal of ‘raising awareness’ of these issues on our campus and in the local community. As we explained, while raising the public profile of a social injustice is a necessary step toward changing it, this act alone cannot bring about change.
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Chikarkova, Maria. "Graffiti as a sign: the semiotic approach to the study of the phenomenon." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, no. 18 (2019): 92–98. http://dx.doi.org/10.34079/2226-2849-2019-9-18-92-98.

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Although graffiti is a well-known phenomenon of street art, there is still no single point of view on this phenomenon (even if it is considered art at all). Both the essence and the manifestations of graffiti remain a matter of debate - there are dozens of different classifications, that they are based on different characteristics. However, the phenomenon has rarely attracted attention from the point of view of semiotics, though it is the semiotic reading of graffiti that makes it possible to understand its nature more deeply. Due to semiotics we could create an integrative classification, which would combine stylistics and subject matter into one system. The article made exactly such an attempt –providing of the semiotic classification of graffiti, based on Ch. Peirce’s classification of semiotic signs. Graffiti is a sign, because it has a material shell of the latter, a marked object and rules of interpretation. It functions within the subculture and signifies the individual's desire to escape from the deterministic nature of urban life (J. Baudrillard). It is a culture of the semiosphere, which continuously gives rise to new connotations and, accordingly, generates new receptions. An important component of graffiti interpretation is the cultural code; it is not read outside the field of conventionality, cultural context. Decoding of graffiti can occur in three ways. From our point of view, it is appropriate to use S. Hall’sclassification. He suggested a scheme for "decrypting" messages in the media, however, in our opinion, his scheme works for any communicative act (including graffiti). He distinguished dominant ("dominant-hegemonic"), oppositional ("oppositional") and negotiated ("negotiated") decoding. In the graffiti situation, oppositional decoding prevails among ordinary recipients (passers-by). U. Eco called this type aberrant, because it provides "decryption" of text with a different code than the one it was created for. Authors of graffiti themselves are often not fully aware of what they createalso. Modern writers use techniques of op-art, Dadaism, surrealism, etc., without being very oriented in all these directions. When graffiti combines different types of art (for example, the combination of painting with literature), it takes into account the features of inter-semiotic translation, which makes the decoding situation even more complicated. We offercreating a semioticclassificationofgraffiti, that might be based on Ch. Peirce’s classification of semiotic signs, whichdistinguishthesigns-copies, signs-indexes, signs-symbols. It could help the essence of graffiti and decode them.
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Dissertations / Theses on the topic "Street signs in art"

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Cheong, Cheok-kio. "The street signs of Macao." Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B31476880.

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Zhang, Queqiao. "The street signs of Macao." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31476880.

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Lee, Mei-yan Jacqueline, and 李美茵. "A folk art street in Pottinger Street." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31985890.

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Lee, Mei-yan Jacqueline. "A folk art street in Pottinger Street." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953229.

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Gardaphé, Fred L. "Italian signs, American streets : the evolution of Italian American narrative /." Durham [N.C.] : Duke university press, 1996. http://catalogue.bnf.fr/ark:/12148/cb37092376r.

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Hughes, Melissa L. "Street Art & Graffiti Art: Developing an Understanding." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/50.

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While graffiti is revered as an art form to some, it is often seen as an unwanted nuisance by others. While vibrantly rich in history, graffiti has a controversial past, present, and future that will likely continue to be the subject of debate, especially with the insurgence of street art, an art form that often overlaps graffiti art in subject matter, media, aesthetic appearance, and placement as a public form of art. Distinguishing between street art and graffiti art proves quite challenging to the undiscerning eye, yet through a series of interviews and thorough investigation, I questioned the contexts of street art and graffiti art. By introducing non-traditional forms of art that are engaging to adolescent students, street art and graffiti art can expand the secondary art curriculum by helping students become more cognizant of current social, visual and cultural aesthetics in their own visual world.
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Hughes, Melissa. "Street art & graffiti art developing an understanding /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/50/.

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Thesis (M.A. Ed.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 1, 2010) Melody Milbrandt, committee chair; Melanie Davenport, Teresa Bramlette Reeves, committee members. Includes bibliographical references (p. 49-50).
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Mantani, Andrea. "ArtMap geo-social street art." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016.

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Il progetto ArtMap! mette a disposizione un applicativo user, destinato agli utenti, che tramite una struttura a social network, propone una mappatura globale di street art. Viene messo a disposizione un archivio di informazioni, aggiornate direttamente dagli utenti, relative a opere ed artisti e la possibilità di creare itinerari personali. Inoltre, è stato sviluppato un applicativo di supporto per la convalidazione delle informazioni inserite dagli utenti, destinato ai gestori del database di informazioni.
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Geiger, Erik William. "Graffiti in Hong Kong : transgressive signs, inscriptions, art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/192983.

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The primary focus of this dissertation is to examine how graffiti is emplaced in Hong Kong. Artifactual and contextual photographs have been collected of examples of graffiti and will be considered according to their place in the semiotic aggregate, the facets and foci of thirteen styles of graffiti, and as they represent the inscription site. Geosemiotics, defined as ‘signs in place’, will be utilized to analyze the transgressive nature of graffiti. Gestural routines are also studied as they relate to the body of the graffiti writer acting in space, inscribing place. The subsets of graffiti as it relates to urban and street art is weighed as well as the tools and means at its disposal. An understanding of Hong Kong’s situated cultural experience in negotiating meaning and contesting perception through inhabiting public space made cultural space will be sought in this dissertation. The way in which previous cultural understandings of rock-carving and inscription, as well as a study of the terms as used in Hong Kong can help to illuminate the background of graffiti as it has occurred within Hong Kong and China. Finally, a purposeful look at the active sight of the individual in coming to terms with the language systems in urban spaces can give a nuanced perception of how the material placement of graffiti challenges planned space and provides a ‘street-wise’ aesthetic.
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English Studies
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Papoulakis, George. "A system for understanding the content of street signs using finger-tracking." Thesis, University of Salford, 2011. http://usir.salford.ac.uk/26853/.

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The work describes the development of a computer vision system which detects and interprets the text on signs in a scene. A key component in this system is the use of finger detection to select a particular sign in the scene, or text on a sign. The system is comprised of a Head-Mounted Display equipped with a light-weight camera which are connected to a wearable computer or a laptop. A set of Image Processing, Pattern Recognition and Optical Character Recognition methods are aggregated to process the sign's writing in real time. The system employs symbol recognition to detect graphics on a sign and OCR to process text. These merge to annotate the sign on the HMD for the user to read. Implementation details of the system are presented along with results gathered through experimental usability tests with prototype applications. A method to detect a finger-pointing hand gesture is used which together with a finger-tracking method serve as means of making a selection of the content on a sign. The gesture is used in two ways, one being to simply point at a sign's content with the finger, while the other method involves flexing the finger to perform an action resembling a mouse click. The two selection methods are compared through a series of indoor usability experiments where small teams of 5-10 users try both methods with single and multiple attempts on mock information signs. Statistical comparisons of subjective and objective data indicate the conditions that affect the time performance, comfort and preference of each method when selecting the entire writing of a sign or part of it. The method of pointing to select the entire writing on a sign showed constant preference and achieved higher performance. This was tested outdoors with real information signs on the campus of the University of Salford to confirm the comparison's results.
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Books on the topic "Street signs in art"

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Sign language: Street signs as folk art. New York: H.N. Abrams, 1996.

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Andrew, Morley, ed. The art of street jewellery. London: New Cavendish Books, 2006.

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Stage, Wm. Ghost signs: Brick wall signs in America. Cincinnati, Ohio: ST Publications, 1989.

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Dawson, Barry. Street graphics India. New York, N.Y: Thames and Hudson, 1999.

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Street graphics Egypt. New York, N.Y: Thames & Hudson, 2003.

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Haas, Cynthia Lea. Ghost signs of Arkansas. Fayetteville, Ar: University of Arkansas Press, 1997.

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Street logos. [New York, N.Y: Thames & Hudson, 2004.

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Collet, Emmanuel. De la pub plein les murs: Peintures murales et enseignes commerciales. Bruxelles: Racine, 2010.

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Dunston, Mark S. Street signs: An identification guide of symbols of crime and violence. Powers Lake, WI: Performance Dimensions Pub., 1992.

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Fading ads of New York City. Charleston, SC: History Press, 2011.

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Book chapters on the topic "Street signs in art"

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Bajaj, Monisha. "Lanterns and Street Signs." In The Truly Diverse Faculty, 235–63. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137456069_8.

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Bacharach, Sondra. "Street Art." In Aesthetics, 456–58. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-91.

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Awad, Sarah H. "Street Art." In The Palgrave Encyclopedia of the Possible, 1–8. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-98390-5_154-1.

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de Miles, Adetty Pérez. "Street Art Interventions." In Bridging Communities through Socially Engaged Art, 204–10. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies: Routledge, 2019. http://dx.doi.org/10.4324/9781351175586-25.

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Brown, Brian A. "Digitized Street Art." In Future City, 267–84. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-15153-3_13.

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Millington, Gareth. "Introduction: The Signs in the Street." In 'Race', Culture and the Right to the City, 1–20. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230353862_1.

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McGrath, William T. "Protection of Street Art." In The Routledge Companion to Copyright and Creativity in the 21st Century, 135–44. New York, NY; Milton Park, Abingdon, Oxon: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781315658445-18.

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Trapp, Liz. "Art of the Street." In Social Practice Art in Turbulent Times, 107–18. New York : Routledge, 2019. | Series: Routledge research in art and politics: Routledge, 2019. http://dx.doi.org/10.4324/9780429450167-9.

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Tellidis, Ioannis. "Street Art and Peace." In The Palgrave Encyclopedia of Peace and Conflict Studies, 1–6. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-11795-5_9-1.

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Garoian, Charles R. "Learning by Swimming in Signs." In What Is Art Education?, 65–81. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-48127-6_2.

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Conference papers on the topic "Street signs in art"

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Alavesa, Paula, and Timo Ojala. "Street art gangs." In MUM '15: 14th International Conference on Mobile and Ubiquitous Multimedia. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2836041.2836047.

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Stochino, Emanuele. "STREET ART: IN SITU OR INSIDE." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s15.48.

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Bancroft, Christopher. "Street stories - episode 14." In the ACM SIGGRAPH 05 electronic art and animation catalog. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1086057.1086204.

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Hussein, H. A. "The role of street traffic signs in reducing road accidents." In First International Symposium on Urban Development. Southampton, UK: WIT Press, 2013. http://dx.doi.org/10.2495/isud130391.

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Silva, Cláudia, Catia Prandi, Nuno J. Nunes, and Valentina Nisi. "Blue whale street art as a landmark." In IDC '20: Interaction Design and Children. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3392063.3394399.

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Mirsharif, Qazaleh, Théophile Dalens, Mehdi Sqalli, and Vahid Balali. "Automated Recognition and Localization of Parking Signs Using Street-Level Imagery." In ASCE International Workshop on Computing in Civil Engineering 2017. Reston, VA: American Society of Civil Engineers, 2017. http://dx.doi.org/10.1061/9780784480823.037.

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Xyntarianos-Tsiropinas, Paris, and Thomas Spyrou. "DDArtS: Towards designing digitally enhanced street art tools." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.19.

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Hazelhoff, Lykele, Ivo Creusen, and Peter H. N. De With. "Mutation detection for inventories of traffic signs from street-level panoramic images." In IS&T/SPIE Electronic Imaging, edited by Robert P. Loce and Eli Saber. SPIE, 2014. http://dx.doi.org/10.1117/12.2036732.

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Uittenbogaard, Ries, Clint Sebastian, Julien Viiverberg, Bas Boom, and Peter H. N. de With. "Conditional Transfer with Dense Residual Attention: Synthesizing traffic signs from street-view imagery." In 2018 24th International Conference on Pattern Recognition (ICPR). IEEE, 2018. http://dx.doi.org/10.1109/icpr.2018.8545149.

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"READING STREET SIGNS USING A GENERIC STRUCTURED OBJECT DETECTION AND SIGNATURE RECOGNITION APPROACH." In International Conference on Computer Vision Theory and Applications. SciTePress - Science and and Technology Publications, 2009. http://dx.doi.org/10.5220/0001797703460355.

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Reports on the topic "Street signs in art"

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Conklin, Tiffany. Street Art, Ideology, and Public Space. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.761.

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Costa, Pedro, and Ricardo Lopes. Is street art institutionalizable? Challenges to an alternative urban policy in Lisbon. DINÂMIA'CET-IUL, 2014. http://dx.doi.org/10.7749/dinamiacet-iul.wp.2014.08.

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Tarko, Andrew P., Thomas Hall, Cristhian Lizarazo, and Fernando España-Monedero. Speed Management in Small Cities and Towns—Guidelines for Indiana. Purdue University, 2020. http://dx.doi.org/10.5703/1288284317122.

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Abstract:
Many small cities and towns in rural states such as Indiana are crossed by arterial highways. The local traffic on these roads, particularly vulnerable road users, face the excessive risk of injury and death. This danger is amplified with local land development, driveways, and on-street parking in town centers. This report presents an Indiana study of the speeding problem on arterial roads passing through small communities. Past research on various countermeasures suitable for the studied conditions were identified and the connection between speed reduction and safety improvements was investigated in a sample of Indiana small towns. Promising speed-reduction measures include speed feedback signs and converging chevrons with speed limit legends marked on the pavement. Point-to-point enforcement is a modern and highly effective alternative that may be applicable on highways passing small towns if the through traffic prevails with limited interruptions. This report provides a method of evaluating the benefits of speed reduction in the studied conditions where the risk of severe injury and fatality is excessive to road users while the frequency of crashes is low. The method includes the proactive estimation of the economic benefit. The results indicate that both the local and through traffic on highways passing a small town benefit considerably from speed reduction even after accounting for the loss of time. An Excel spreadsheet developed in the study facilitates the calculations.
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