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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.published_or_final_version
English Studies
Master
Master of Arts
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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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Bossenger, Wayne. "2D irregular strip packing at Kohler signs." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96129.
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Thesis (MCom)--Stellenbosch University, 2014.ENGLISH ABSTRACT: Kohler Signs (PTY) Ltd is a sign production company located in Cape Town, South Africa. They manufacture and install signs for the City of Cape Town and private companies as well as manufacture advertisement signs to be placed on vehicles. Road signs consist of steel sheets that are cut and bent to the appropriate size and frame, and an image design, which is cut from re ective vinyl, are applied to the bent steel sheet. The image design consists of various letters, numbers and symbols which are categorised as irregular items. When these irregular items are combined in a distinctive way, with the use of di erent coloured vinyl, they convey a message to the road user which may be to yield for pedestrians crossing the street, or indicate to the road user the various highway exits that exist on the interchange ahead. These irregular items are placed upon re ective vinyl for cutting which results in vinyl o cuts that are wasted. The focus of this thesis is to minimise the waste incurred by placing these irregular items upon the vinyl in an optimal and timely manner for industry use. The vinyl printer, which cuts the irregular items out of the vinyl, consists of a xed width and is only limited in height by the vinyl itself. Thus, this problem may be described as a Two Dimensional Irregular Strip Packing Problem. These irregular items have only a few possible heights for each type of irregular item packed, which allows these irregular items to be packed as a level packing problem. The items are packed within levels as though they are regular items with the assistance of a prede ned rule-set. In this thesis various packing algorithms and image processing methodologies from the literature are researched and used to develop a new packing algorithm for this speci c problem. The newly developed algorithm is put through various benchmarks to test its performance. Some of these benchmarks are procured from Kohler Signs themselves, whereas others are randomly generated under certain conditions. These benchmarks reveal that the newly developed algorithm performs better for both the minimisation of waste and the minimisation of algorithm running time than the tried and trusted techniques utilised in industry by Kohler Signs.
AFRIKAANSE OPSOMMING: Kohler Signs (EDMS) Bpk is 'n padteken produksie maatskappy gele e in Kaapstad, Suid-Afrika. Hulle vervaardig en installeer tekens vir die Stad van Kaapstad en privaat maatskappye, sowel as advertensietekens wat op voertuie geplaas word. Padtekens bestaan uit staalplate wat gesny en gebuig word tot die toepaslike grootte en vorm. 'n Beeldontwerp, wat gesny is uit re ektiewe viniel, word vasgesit op die gebuigde staalplaat. Die beeldontwerp bestaan uit verskeie letters, getalle en simbole wat geklassi seer word as onre elmatige items. Wanneer hierdie onre elmatige items gekombineer word op 'n eiesoortige manier, met die gebruik van verskillende kleure viniel, dra hulle 'n boodskap oor aan die padgebruiker, soos byvoorbeeld om toe te gee aan voetgangers by 'n voetoorgang of dit dui aan die padgebruiker die verskillende snelweguitgange wat bestaan op die wisselaar wat voorl^e. Hierdie onre elmatige items word op re ektiewe viniel geplaas en uitgesny wat lei tot die vermorsing van stukkies viniel. Die fokus van hierdie tesis is om die onre elmatige items op 'n optimale en tydige wyse vir gebruik in industrie, op die viniel te plaas sodat die afval stukkies viniel geminimeer word. Die vinieldrukker, wat die onre elmatige items sny uit die viniel, bestaan uit 'n vaste wydte en is slegs beperk in hoogte deur die viniel self. Dus kan hierdie probleem beskryf word as 'n Twee-Dimensionele Onre elmatige Strookverpakkingsprobleem. Hierdie onre elmatige items het slegs 'n paar moontlike hoogtes vir elke tipe van onre elmatige item wat verpak word, wat dit moontlik maak om hierdie onre elmatige items te verpak as 'n strook verpakkingsprobleem. Die items word met behulp van 'n gede nieerde stel re els binne vlakke verpak asof hulle re elmatige items is. In hierdie tesis is verskeie verpakkingsalgoritmes en beeldverwerkingsmetodes van die literatuur nagevors en gebruik om 'n nuwe verpakkingsalgoritme vir hierdie spesi eke probleem te ontwikkel. Die nuut ontwikkelde algoritme se prestasie is deur middel van verskeie normbepalingsvoorbeelde getoets. Sommige van hierdie normbepalingsvoorbeelde is verkry van Kohler Signs self, terwyl ander lukraak gegenereer is onder sekere voorwaardes. Hierdie normbepalingsvoorbeelde toon dat die nuut ontwikkelde algoritme beter vaar as die beproefde tegnieke gebruik in industrie deur Kohler Signs vir beide die minimering van vermorsde viniel sowel as die minimering van die algoritme se uitvoertyd.
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Lundkvist, Sven-Olof. "Evaluation of Road Equipment with Emphasis on Condition Assessment." Doctoral thesis, Stockholm : Division of Highway Engineering, Royal Institute of Technology, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4665.
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VELASCO, MATEU. "WHEN STREET ART BECOMES GRAPHIC DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24699@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORPROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O objetivo deste trabalho é fazer uma análise da influência e uso do design gráfico em alguns dos projetos desenvolvidos no movimento de arte urbana dos últimos dez anos. Este estudo possibilitou gerar material de pesquisa sobre a arte urbana para futuros trabalhos que conectem arte de rua e o design gráfico, assim como identificar como estes artistas incorporam conceitos do design em seus projetos. A partir deste levantamento foi possível observar ainda de que forma esta prática contribuiu para a propagação do movimento artístico e vice versa. Para que a proposta do estudo fosse alcançada foi feito um levantamento histórico das origens do movimento artístico urbano e uma pesquisa de campo para compreender o estágio atual da arte de rua. Foi ainda realizado um estudo de caso do cartaz criado por Shepard Fairey para a campanha presidencial dos Estados Unidos para exemplificar uma das formas em que o design gráfico dialoga estreitamente com a street art, confirmando assim a conexão entre ambas as práticas.
The objective of this study is to analyze the influence and use of graphic design in some of the projects developed in the urban art movement of the last ten years.This study enabled us to generate research material on urban art for future studies that connect street art and graphic design, as well as identify how these artists incorporate design concepts in their designs. From this survey it was also possible to observe how this practice has contributed to the spread of the artistic movement and vice versa. For that the purpose of the study was achieved was made a historical survey of the origins of the urban art movement and field research to understand the current state of street art. It also conducted a case study of a poster created by Shepard Fairey for the U.S. presidential campaign to illustrate one of the ways in which graphic design dialogues closely with street art, thus confirming the connection between both practices.
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Conklin, Tiffany Renée. "Street Art, Ideology, and Public Space." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/761.
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The concept of the city has come to play a central role in the practices of a new generation of artists for whom the city is their canvas. Street art is a complex social issue. For decades, its presence has fueled intense debate among residents of modern cities. Street art is considered by some to be a natural expression that exercises a collective right to the city, and by others, it is seen as a destructive attack upon an otherwise clean and orderly society. This research focuses on various forms of street art from the perspective of the urban audience. The general aim is to further an understanding of how people interact with and respond to street art. Qualitative and quantitative data were gathered via direct participant observations of street art installations and 139 surveys conducted with residents in Portland, Oregon. Survey respondents distinguished between street art forms; generally preferring installations and masterpieces over tagging and stickers. More respondents considered graffiti to be a form of artistic expression, rather than an act of vandalism. Participant observations indicated that purposefully-designed street art can promote interaction between people, art, and public space. Random urban spectators became active collaborators; using art and performance to express themselves in public. These findings indicate there is a need to reconsider zero tolerance graffiti policies. Overall, these findings also contribute to a more informed discussion regarding the regulation, acceptability, and possibilities of unauthorized artistic expression in cities.
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Donkor, Kimathi. "Africana unmasked : fugitive signs of Africa in Tate's British Collection." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12019/.
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Through painting, drawing, photography and digital design, I have investigated the relationship between, on the one hand, my fine art practice—with its interest in postcolonial African and diaspora identities (or, ‘Africana’)—and on the other hand, works at The Tate Gallery—with its remit to hold the National Collection of British Art. By interrogating iconological ‘conditions of existence’ for works by Fehr, Sargent and Brock, I created new artworks that indicated hidden (or, ‘fugitive’) African connections with the intention of disrupting complacent assumptions and reimagining unacknowledged (or, ‘masked’) themes. I considered concepts of Africa: described by Mudimbe as ‘discursive formations’ (after Foucault) and embodying postcolonial, transracial identities; in addition, I addressed the problematics of Tate’s British Art collection as a post-imperial brand of ‘cultural capital’. Unmasking fugitive Africana was a practical methodology designed to produce artworks. So,while aware of many theoretical interlocutors, I pursued a convoluted, sometimes intuitive path through the creative process by making drawings, digital designs, photographs and paintings. Nonetheless, Stuart Hall’s framework of an ‘oppositional code’ was key and so I suggest that, as practiced by artists, ‘unmasking Africana’ might be an inherently counter-hegemonic,critical project. My investigation embodied technical and conceptual problematics of critical enquiry as a mode of studio practice. I explored unmasking methodologies through reading, observation,reflection and painterly, synthesised appropriations—also witnessing an evolution in my imagery, from iconographically layered compositions to works in which identities and motifs seemed to fuse. As well as the studio investigation and writing, my project had a pedagogic element. In a series of seminars, I taught MA students at C.C.W. Graduate School the preliminary findings of my research. My interviews with students produced evaluations about their learning, which I later disseminated as part of UAL’s programme to reduce disparities between white and B.A.M.E. British undergraduate students.
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Carr, Abigail R. "An Experiment with Art Library Users, Signs, and Wayfinding." Thesis, School of Information and Library Science, 2006. http://hdl.handle.net/1901/256.
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This paper discusses the effects of stack end signage on user wayfinding success in searches in academic libraries. Site visits to the Chapel Hill Public Library and the Cameron Village Branch Library provided models for test signage for the study, as did the available literature on wayfinding and effective library signage. A three week study was conducted to survey the effects of three different iterations of signage on the success of subjects performing test searches—the subjects used the UNC Chapel Hill online catalog and the posted signage to locate materials in the Sloane Art Library. The results of the study were evaluated qualitatively and suggestions were made for further study and suggestions for elements of effective academic library signage were made.
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Cumberland, S. "Sensible signs : pictures and not painting after conceptual art." Thesis, University of Westminster, 2019. https://westminsterresearch.westminster.ac.uk/item/qq49w/sensible-signs-pictures-and-not-painting-after-conceptual-art.
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This PhD by published work contributes to debates regarding aesthetics versus art history and theory. It provides a contextual review of anti-aesthetic legacies of pop and conceptual art developing from an understanding of modern art as de-humanized. The research is concerned with why, how and what to paint after conceptual art and proceeds by making a distinction between postconceptual painting and a return to painting. These themes are tested in the first of two of the author's solo exhibitions titled 'Four Circle Paintings'. The show consisted of lo-fi mechanical mono-chrome copies of gestural painting and promotes a conclusion that the label postconceptual painting is applied to artworks that are representations of painting and as such are not real painting. The thesis argues that in its urgency to distinguish itself from (authentic) painting, postconceptual painting demonstrates a contradictory appeal to aesthetics, which prevents the artwork from becoming merely a sign. Therefore, at risk of the same return to painting, the postconceptual painter values sensibility with the intention that the "fake" painting--or sign--is vexed by a 'real' aesthetic. In an attempt to circumnavigate the requirement to validate medium, the second exhibition titled 'Handmade Colour Pictures' argues for a categorical shift from the making of 'paintings' to 'pictures'. The show consisted of eight mid-sized works, using painting conventions--oil paint on primed linen stretched over rectangular frames--to produce images, derived from a hunting theme, that brought attention to their own pictorial conditions. The author, having outlined visual attention as a premeditated motivation, concludes that the "there" and "not there" quality of the picture that must be consciously switched between to see it as either image or object, provides an "experience of meaning" that is significant for the artwork in its distinction from an anti-aesthetic dominance of rationality.
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Urban, Margaret Mary. "Flight Signs, Flight Symbols." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/956.
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I am investigating the significance of historic events of flight through image making; particularly incidents that captured the collective imagination and became part of our cultural memory. These events have surpassed mere entries in historical texts and become mythic. In the terms of Jungian psychology, they have become symbolic. In terms of Semiotics, they have become signs. Through photographs and installation, I seek to understand their presence in my, and our, unconscious mind.
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Chan, Ka-leung, and 陳家亮. "Witness of history: a case study of street signs at Pei Ho Street as an important urban heritage in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47093602.
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A street sign is a kind of traffic sign displayed along the street to show the street name so that both pedestrians and drivers can know where they are. It is believed to be originated from the massive pillar or milestone built by the Romans in the ancient time. In ancient China, sometimes at the entrance of the main path in a village or town would have a small gateway showing the path name, bearing the function of the street sign. Nowadays, street signs with different designs and materials can be seen everywhere.
Hong Kong was originally a small fishing village in South China for many years with paths connecting different areas. Since 1842, Hong Kong was officially become a British colony. The first formal street built on the colonial land was Hollywood Road and street signs of modern meaning appeared since the mid 19th century. Street signs of different designs for a long time are functioning as a mark of a place, but they are also the living witnesses of history. However, when we review the present heritage conservation policies and works done by the government, the focus of conservation falls mainly on large-scale artefacts and small relics have always been neglected. Street signs, although small in size and changing from time to time, can definitely be regarded as the important heritage of the past and present Hong Kong.
The key issue addressed by this dissertation is that street signs are not only a mark of a place, but also have significant heritage value which can be regarded as one of the important urban heritage in Hong Kong’s streetscape as different street signs can reflect the historical development and social-political transformation of Hong Kong in the past years in terms of designs, materials, locations, mounting methods and naming system.
This dissertation will focus on the street signs at Pei Ho Street in Sham Shui Po as a case study. There is a great variety of different kinds of street signs in the street which are worth for further research and analysis in both tangible and intangible manners. The purpose is to reveal the significance of my street sign study in the area of heritage conservation, and to show the distribution of different street signs in Pei Ho Street and their characteristics, so as to set up a template for analysing other street signs in Hong Kong and establish their significance in the local history for future study.published_or_final_version
Conservation
Master
Master of Science in Conservation
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Tsang, Pui-lai Pearly. "Memorial of Oil Street." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594731x.
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MENDES, LIANA D. URSO DE SOUZA. "ERGONOMIC ANALYSIS OF THE AGED PEOPLE S SITUATION IN CONNECTION WITH COPACABANA S STREET SIGNS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30277@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA pesquisa de doutorado em DESIGN realizada na PUC-Rio de julho 2005 a 2008, é uma análise ergonômica das situações que os idosos moradores de Copacabana, de 60 a 75 anos, enfrentam como pedestres quanto à sinalização de rua, nas calçadas movimentadas do bairro. Foram levantadas situações que apontam para o constrangimento físico e emocional dessas pessoas em relação às quedas, ao caos urbano no bairro e no trânsito, e à falta de sinalização adequada que direcione e identifique os locais utilizados pelos idosos de Copacabana. Como esses indivíduos sofrem com o declínio funcional e com o envelhecimento, necessitam de maior apoio do ambiente externo onde desenvolvem diariamente suas atividades. O objetivo da pesquisa foi levantar dados sobre o assunto, que possam ser úteis às entidades públicas e privadas voltadas para o bem estar, a segurança, o respeito, e a autonomia das pessoas nessa faixa de idade, favorecendo, entre outras coisas, a aplicação de leis como o Estatuto do Idoso. As técnicas ergonômicas foram pesquisas de campo com fotos, entrevistas com idosos e especialistas, 3 aplicações da técnica do Passeio Acompanhado, e um questionário com 60 idosos.
The doctorate study in Design conducted at PUC-Rio University from July 2005 to 2008 is an ergonomic analysis of the difficulties that aged people from 60 to 75 years, living in the Copacabana district, face as pedestrian in connection with street signs and intense movement on the sidewalks of that district. Situations were assessed that indicate the physical and emotional embarrassment of these people when stumbling down, facing the urban chaos in the district and the heavy transit, in addition to the lack of an appropriate signalization capable to direct and identify the places used by the elders in that district. Considering that these individuals suffer with functional decline and aging, they need a better support from the external environment where they perform their daily activities. The purpose of the research was to raise data on the subject which could be useful to the public and private entities involved with the well-being, safety, respect and the autonomy of people in this age group, favoring, a.o., the application of the law and the Elder s Statute. The ergonomic techniques applied were field researches with photos, interviews with elders and specialists, the application of the Accompanied Walk technique 3 times, and a questionnaire to 60 elders.
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Segal, Marcelle. "Street art commentary as inspiration for jewellery design." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1442.
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Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010The purpose of this research is to investigate whether street artists make statements about current socia-political affairs as a form of popular protest and whether those statements can be reflected in another design discipline. such as jewellery design. while reflecting upon the work of Faith47. a South African social commentator. Cultural studies has been referenced as a theoretical framework in relation to cultural sup-groups and. a historic context is provided in order to better understand the significance of social commentary in graffiti, a form of street art produced by social sub-qroup, and made during a period known as Apartheid and currently. in Post-Apartheid South Africa. A range of jewellery then emerged from the research. dealing with the aspects of social-political commentary. as an interpretation of a form of protest art and applied to wearable jewellery. The products incorporate word and images that are provocative and invite the viewer to question and reflect upon what in my view was a contentions and significant period in the history of South Africa.
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Brink, Deborah. "The woman of the street." ScholarWorks@UNO, 2004. http://louisdl.louislibraries.org/u?/NOD,135.
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Thesis (M.F.A.)--University of New Orleans, 2004.Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the department of English."--Thesis t.p. Vita. Includes bibliographical references.
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Csinos, David M. "Light Art, Street Art, and the Art of Preaching: Sound-and-Light Shows as Public Proclamation." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72283.
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This article examines how the phenomenon of sound-and-light shows fulfills the purposes of preaching and, as such, can be perceived as a form of public proclamation. Originating in France but now offered all over the world, these shows use large-scale video projection to display images on the facades of historic buildings, many of which are religious in nature, set to sound effects and music. The author begins by addressing three purposes of preaching that arise within homiletical discourse: testimony of God’s story, empowering transformation, and engendering encounters with God. Drawing from recent qualitative research into spectators’ experiences at sound-and-light shows, the author then examines how three specific shows serve as case studies that demonstrate that, while not sermons, they can indeed fulfill each of the purposes of preaching. As such, these spectacles can be seen as a vibrant form of proclamation amidst contemporary public settings.
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Ulfsdotter, Helena. "Street art : Konst eller kriminalitet i bild- och slöjdundervisning." Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-68013.
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Syftet med arbetet är att belysa möjligheter och metoder för ett ämnesövergripande arbetssätt mellan bild och slöjd genom nutida konst-och hantverksfenomen såsom gatukonst och graffitiarterna, samt att undersöka pedagogernas uppfattningar om de sätt genom vilka de arbetar med dessa konst- och hantverksfenomen i undervisning och i sina kurser. Utgångspunkten är att studien ska besvara hur lärarna arbetar ämnesintegrerat mellan Bild och Slöjd och hur pedagogerna förhåller sig till gatukonst och graffitiarterna i sin undervisning och i sin verksamhet. Frågan om hur dessa konstformer kan motiveras som undervisningsinnehåll ska också få svar. Kvalitativa intervjuer har gjorts med informanter med skilda erfarenheter av området, men de är alla lärare, lärarutbildare eller workshopsledare. Resultatet är belyst ur ett sociokulturellt perspektiv och med Foucaults teorier om makt och diskurs. Skillnader och likheter i pedagogers förhållningssätt har synliggjorts och vilken plats gatukonst kan ha i ett skolsammanhang. Synen på Bild och textilslöjd, som i samhället kan motsvaras av konst och hantverk, står inför en förändring och får en ny plats i en samtida kulturkontext.
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Lacelle-Lavallée, Johanne. "Street-kids, a pedagogical journey into alternative art education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ39492.pdf.
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Brockett, Virginia. "Grace Street Senior Center." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1139.
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Societal structure has changed through the decades to reflect a contemporary interest in youth culture. The nuclear family, where generations lived under one roof no longer exists, leaving the elderly on the periphery of the family structure. Where once grandparents, parents and children all cohabitated, now the oldest family members are relegated to solitary retirement and aging alone. Studies have shown that "depression in the elderly is more likely to lead to suicide. Elderlywhite men are at greatest risk, with suicide rates in people ages 80 to 84 more than twice that of the general population. The National Institute of Mental Health considers depression in people age 65 and older to be a major public health problem." (http://www.healthyplace.com/communities/depression/elderly.asp)Providing social activity for seniors can increase their well being and by extension their physicalhealth. The Grace Street Senior Center was designed to accommodate a variety of social activities for the center's members as well as house the center's administration. The member areas range in function from the public, for example, a multi-function area for dance and aerobic classes to the private such as the reading area and music room. All the spaces within the scope of this project are designed with the comfort and well being of the users paramount.
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Alves, Lara Bacelar. "The movements of signs : post-glacial rock art in north-western Iberia." Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426255.
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Alves, Lara Bacelar. "The movement of signs : post-glacial rock art in north-western Iberia." Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428320.
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曾培麗 and Pui-lai Pearly Tsang. "Memorial of Oil Street." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31986080.
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Jacobson, Malcolm. "The passionate economy of graffiti and street art : Building social cohesion through art collecting." Thesis, Stockholms universitet, Sociologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-152412.
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This study examines how social cohesion is built through exchange of urban art. Graffiti and street art are treated like dirt and washed away. Unsanctioned art is often perceived as alien to museums and private homes. Despite this, many graffiti and street artists produce art in studios that are sold in galleries as urban art. Through ethnographic tools and site visits to homes of collectors in the United States and Sweden this study explores what it means to exchange and own urban art. Guided by Émile Durkheim’s theories on social cohesion and Georg Simmel’s writings on social boundaries, sociological implications of material things are investigated. The analysis shows that exchange of urban art produces and affirms social bonds and passionate feelings about belonging to a specific art world. Artworks in private homes symbolically represent unsanctioned art; which makes collectors feel joy, purpose, and confidence. Urban art collectors dodge discursive definitions of art in favor of nondiscursive and pragmatic boundary work. In contrast to a Bourdieusian perspective this study found that art is not as much about reproduction of social hierarchies as about making social life meaningful and connected. The results suggest further research on materiality in times of digital media.
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Stejskalová, Natálie. "Street dance - battly, eventy, životní styl." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-363558.
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In my diploma thesis I would like to focus on dance battles events and on the street dance life style as it's the topic of my diploma thesis. I have been very close of the street dance world, as a dancer and an observer, since I witnessed countless dance battles, concerts, camps, workshops and so on - which gave me the knowledge to express myself on this topic and gave my perspective in both ways: from up to the stage and audience.
I was always very curios and wanted to share with, such as: how does the street dance events looks like, what's happening there, what kind people attending it, what is the motivation for dancers, djs, choreographers, producers etc…? Where those events are happening and how often is them happening? My curiosity crossed the Czech Republic border, I wanted to know more from outside of my country. I believe that having the knowledge of what's going on abroad gives you power of discuss and compare things with confidence and comfortability.
Mainly my research methods were observing and interviewing, then field diaries, video documentation, collecting as much information as possible from people that lives in this world nonstop, which gave me so much knowledge from inside, how they behave, how they communicate, their attitude etc. This scenario always fascinated me and after attending to many events, battles, meetings and jam sessions (as a dancer and observer), I was able to collect different point of views from another dancers, choreographers and guests and compare it with my own thoughts regarding to it, using my countless notes and hours of recording interviews, those tools combined gave me so much information.
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Hupfauf, Peter R. "Signs and symbols represented in Germanic, particularly early Scandinavian, iconography between the migration period and the end of the Viking age." Connect to full text, 2003. http://hdl.handle.net/2123/662.
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Thesis (Ph. D.)--University of Sydney, 2004.Title from title screen (viewed 7 May 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Centre for Medieval Studies, Faculty of Arts. Degree awarded 2004; thesis submitted 2003. Includes bibliographical references. Also available in print form.
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TOMASSINI, MARCO. "BEAUTIFUL WINNERS: LA STREET ART TRA UNDERGROUND, ARTE E MERCATO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/789.
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La tesi ha come oggetto la street art italiana. Questa, sebbene comunemente associata a realtà contro o subculturali, specie nell’ultimo decennio ha visto diversi suoi esponenti percorrere una parabola che da un underground riservato a una nicchia di appassionati, li ha portati a confrontarsi tanto con il mondo dell'arte quanto con il mercato. Una parabola che, in senso diacronico, questa tesi ha cercato di ripercorrere, servendosi degli strumenti propri delle teorie della produzione culturale, analizzando quindi la molteplicità di trasformazioni sociali e culturali che l'hanno accompagnata e resa possibile. Allo stesso tempo, attraverso una metodologia “grounded”, si è tentato di dare conto, su un piano sincronico, dello scenario attuale della street art nazionale, attraversato da tensioni che, di fatto, hanno portato il ricercatore a misurarsi con il processo di crescente “individualizzazione” e “de-standardizzazione” del mercato del lavoro. La tesi si suddivide quindi in quattro macro-sezioni: la prima finalizzata alla descrizione del processo di ricerca; la seconda tesa a ricostruire l’“emersione” dei fenomeni subculturali da cui gli street artists provengono; la terza, volta alla descrizione del panorama contemporaneo della street art italiana, attraverso l'individuazione di “profili” nelle cui caratteristiche si è cercato di far luce su quello che, a tutti gli effetti, può considerarsi un modello di “socialità reticolare”; la quarta, in cui si sono messi a confronto l'attuale fisionomia agerarchica della street art, caratterizzata da una differente distribuzione di opportunità a seconda del diverso capitale sociale posseduto dai suoi protagonisti, e alcune ipotetiche “soluzioni” a tali squilibri.Street art has always been associated with underground phenomena like sub or counter-cultures. But, especially during the last ten years, many street artists got more and more involved in the institutional field of cultural production, also working for marketing, advertising and graphic design agencies. Starting from a perspective close to the theories of cultural production, the dissertation focused on the social, cultural and economic transformations that have contributed to such an “explosion” of the street art movement. At the same time, using a “grounded” approach, it studied the contemporary world of the Italian street art, as a field crossed by my many tensions, generated by a different distribution of what Pierre Bourdieu defined “social capital”.
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Rodríguez, Rodríguez Ramón de Jesús. "Street Art, Rechazo y Consolidación. La persistencia de la imagen y el pseudo objeto: génesis de la consolidación del Street Art en el panorama contemporáneo." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/145831.
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El Street Art será la espina dorsal sobre la que se articulará esta tesis doctoral, podremos extrapolar ciertas conclusiones y teorías desarrolladas en la presente tesis hacia aquellas opciones plásticas que surjan de la aceptación por parte de la sociedad de nuevas formas y códigos de expresión.
La aceptación de los códigos no siempre está de acuerdo con las directrices de lo políticamente correcto, sucede un fenómeno de adecuación y adaptación mutua tanto por parte del Street Art hacia la sociedad y viceversa. Los códigos dentro del Street Art adquieren un carácter orgánico y se transforman junto con la sociedad que los requiere, al mismo tiempo esta corriente visual e ideológica se incorpora en la sociedad ejerciendo con su presencia transformaciones en la conducta hacia la aceptación de nuevas tendencias.
El concepto de persistencia de la imagen será una constante en los procesos de adaptación de los nuevos códigos plásticos así como la idea que ello genera a través del objeto original, convertido en lo que llamaremos pseudo objeto. Mediante la insistencia repetitiva de la imagen, que llamaremos persistencia de la imagen, la belleza se reinterpreta en cada momento, sus parámetros son elásticos y adaptables ante quienes ven en ello un objeto de deseo.
Por otro lado como elemento indispensable de la llamada persistencia de la imagen, encontramos un importante fenómeno que ayuda de manera inequívoca a la difusión de esa idea de imagen, hablamos del pseudo objeto. Un elemento que se separa de su imagen matriz y que adquiere las características de objeto por sí mismo; el pseudo objeto llega al público de una manera aséptica tras el filtro que supone el registro de la imagen, su manipulación y su puesta en escena. A través de las redes sociales, el pseudo objeto se convierte en persistente. Aquello que se ve, la imagen, es una dimensión alterada y extrapolada de la realidad. Convierte en bello lo cotidiano y urbano e influye en posteriores intervenciones de artistas en la propia calle.
El concepto de lo bello varía según las necesidades de quienes lo requieren y con el Street Art se aprecia toda esta transformación de lo odiado a lo deseado. Desde los primeros momentos del Street Art, éste sobrevivió dentro de una cierta marginalidad en un tiempo muy corto con los nuevos medios de comunicación. El stencil, como reproductividad técnica seriada del Street Art, implica una plataforma de difusión de nuevos registros gráficos. Conceptos académicos intervienen en el stencil, y las nuevas corrientes adquieren una nueva vía hacia un cierto virtuosismo en la depuración de las formas, algo que permite al público general un acceso a los códigos anteriormente vetados gracias a la intervención de la publicidad. La difusión de sus códigos es inmediata en todo el mundo, se globalizan estilos, ideas y formas de interpretación. El concepto de belleza se globaliza nuevamente y se adapta a esos parámetros derivados del Street Art.
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Hammond, Katherine E. "Historiography, the Global Contemporary, and Street Arts of the Egyptian Revolution." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1534170611388269.
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Gyekis, Elody Eberly Rosa A. "Community murals as processes of collaborative engagement case studies in urban and rural Pennsylvania /." [University Park, Pa.] : Pennsylvania State University, 2009. http://honors.libraries.psu.edu/theses/approved/WorldWideIndex/EHT-15/index.html.
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Stephens, Sarah. ""Fun with vandalism the illegal street art of Shepard Fairey and Banksy" /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1148076772.
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Farrell, Evann Anne. "Killer Style: An Investigation of Rodney Alcala’s Street Style Photography." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou159792067991252.
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Perrot, Maxence. "Quand le Street art met le droit au pied du mur." Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/67970.
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Si le « Street art » constitue aujourd’hui un élément indissociable du paysage urbain, et si sa reconnaissance du point de vue artistique ne fait aucun doute, son appréhension et son traitement par le droit demeure problématique et soulève de nombreux questionnements. Dès lors que cette forme d’expression répond aux critères du droit d’auteur, l’œuvre est protégée et bénéficie des mêmes droits et prérogatives que d’autres œuvres plus classiques dirons-nous, telles que des peintures de Maîtres, des œuvres littéraires des plus belles plumes de ce monde… Toutefois, lorsque leur créateur décide de mettre en scène son art sans considération pour le propriétaire du support sur lequel il s’inscrit, cette protection même si légitime est remise en cause. Le droit pénal ou encore le droit des biens par exemple se hissent face au droit d’auteur, et des compromis doivent être trouvés pour apaiser les tensions découlant d’une telle pratique. Propriétaire ou auteur, doit-on forcément n’en favoriser qu’un ?Although « Street art » is today an inseparable part of the urban landscape, and its artistic recognition is beyond doubt, its apprehension and treatment by law remains problematic and raises many questions. As long as this form of expression meets the criteria of copyright, the work is protected and enjoys the same rights and prerogatives as other more classical works, we shall say, such as paintings of Masters, literary works of the most beautiful feathers of this world... However, when their creator decides to stage his art without consideration for the owner of the medium on which he fits, this protection even if legitimate is called into question. Criminal law and property law, for example, rise up to copyright, and compromises must be found to ease tensions arising from such a practice. Owner or author, do we necessarily have to favour only one?
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Shirsalkar, Rucha. "An Exploration of Art Therapy with Street Children in Mumbai, India." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/104.
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This research project explores the work done by professionals who work with street children in Mumbai, India, and their perceptions of how art therapy could benefit this population. Ten organizations that serve street children in Mumbai, India participated in a qualitative interview and survey that aimed to gather information and explore the specific needs, psychological issues, and services provided to street children in Mumbai, India. The link between the surveys and the interviews strongly suggest an interest and desire from professionals to learn more about art therapy, and in corporate this modality into the services they provide for this population. The research found that the basic needs of food, shelter, and medical health are a foremost priority for organizations that serve street children, before psychological issues can be addressed. The literature, interviews, and the surveys also make it manifest that the development and incorporation of art therapy should be culturally specific, and sensitive to the needs of that population. Further research and study with these organizations is needed to garner a deeper understanding of how art therapy assessment and treatment modalities can be adapted to best serve street children in Mumbai, India.
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Paek, Seung Han. "Urbanism, Signs, and the Everyday in Contemporary South Korean Cities." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404664900.
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Thompson, Annie. "2314 West Main Street: a place for engagement." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3078.
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The design intent of this thesis is to deconstruct the elements of the beer brewing process to allow the public to engage, enjoy, and appreciate the process while dining. It is to create a site for a craft brewery that is local to the neighborhood of The Fan. Allowing the public to engage, cultivate and create enthusiasm for the brewing process. To deconstruct the industrial process of brewing beer to allow accessibility for the public to enjoy the process while eating, drinking, and learning.
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Gunnell, Katherine. "Street Art: Its Display in Public Space and Issues within a Municipality." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1284.
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Hip Hop graffiti has been marking our urban landscapes for decades. However street art, a much less researched topic, has claimed notoriety in recent years. Much of the existing research groups hip-hop graffiti, gang graffiti and street art together and calls for a uniform response from communities, city officials and law enforcement. While street artists have made their mark in the urban landscapes of the United States as well as internationally, it is important to define the terms "street art"and "graffiti" and where they deviate from one another in order for cities to begin to address these expressions with any level of success. As municipalities grapple with visual public expression--street art and graffiti--a framework must be established taking into consideration legal parameters for both cities and artists.
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Neto, Bruno Pedro Giovannetti. "Graffiti: do subversivo ao consagrado." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-11012012-152024/.
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Nas duas últimas décadas, o graffiti se impôs como um elemento visual das metrópoles brasileiras. Passou a povoar a rotina urbana e, num embate por espaços, vem disputando a visibilidade pública com as cores dos edifícios, as placas de sinalização e outros elementos da comunicabilidade urbana. E o faz mudando a sua proposta e original essência. Este trabalho procura documentar a trajetória do graffitti de meados da década de 1960 até às vésperas da conclusão da pesquisa, em 2011, acompanhando a sua transformação \"do subversivo ao consagrado\". Através da narrativa visual pontuada por uma seleção de 400 fotografias de autoria do pesquisador, destaca-se, em especial, a cidade de São Paulo, onde o trabalho dos grafiteiros vem despertando interesse mundial e não apenas entre adeptos, simpatizantes e editoras especializadas. O graffiti tem sido um interessante campo de estudo para críticos de arte, antropólogos, semiólogos, etc., porém, é na visualidade urbana que tem o maior impacto.In the last two decades, graffiti has established itself as a visual element of the metropolis in Brazil. It became part of the urban routine, and in a dispute for space has been struggling for public visibility with building colors, traffic signs and other elements of urban communicability. And it does so by changing its intent and original essence. This paper seeks to document the trajectory of graffiti from the mid 1960s to the conclusion of the research, in 2011, following its transformation \"from subversive to acclaimed\". By means of a visual narrative marked by a selection of 400 photographs taken by the researcher, the city of São Paulo is emphasized, where graffiti is attracting worldwide attention and not only among supporters, sympathizers and specialized publishers. Graffiti has been an interesting field of study for art critics, anthropologists, semiologists, and scholars in general, but the greatest impact of this street art is on the urban scene.
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Yang, Chorong. "Graffiti et Street art : étude des discours historiographiques et de la critique esthétique d'une forme sociale de modernité visuelle." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH016/document.
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De nombreuses œuvres plastiques sont nées d'une réflexion théorique et pratique influencée par les questions politiques et sociales. Hormis des différences dans les procédés utilisés, elles sont fédérées par un esprit de rébellion et de contestation. A travers l'examen des rapports entre l'art et la culture populaire, le street art et les phénomènes socio-critiques dans la société de consommation, notre sujet est organisé sur trois axes en quatre parties. Notre intention première va montrer que les artistes modernes ont découvert la valeur artistique des graffitis et de certaines expressions anonymes inscrites sur les murs avec un caractère intellectuel. Ensuite, nous explorerons le sujet dans la perspective de la culture populaire, du regard critique sur l'époque, et de certains critères plastiques qui ont eu de l'influence sur les street artistes en France. Enfin, dans les troisième et quatrième parties, nous étudierons les querelles posées quant à la fonction sociale de l'œuvre d'art, le rôle de l'artiste, le problème éthique de l'artiste, et la valeur artistique véritable dans la culture industrielle et l'art commercial, en déroulant le panorama des activités des street artistes. C'est sur le fondement de cette hypothèse que nous nous sommes posé la question des contenus sociaux/critiques de ce street art et de ses rapports avec la sphère socio-critique qui, lui, est une représentation de l'ère contemporaine. Quant aux deux axes de « la valeur artistique » et de « l'acte rebelle », traitant de la modernité propre à l'art contemporain et des rapports qu'elle entretient avec la vision critique, ceux-ci fondent le mouvement street art, le caractère rebelle ou activiste de cet art et son approche critique du monde de l'art ou de notre société étant indispensables à sa survie en tant que tel. Les méthodologies visent à analyser et à critiquer l'influence politique et sociale de l'image de telle sorte qu'elles permettent de réfléchir sur le champ pratique et théorique de notre étudeMany plastic works were born from a theory and practice influenced by political and social issues. Apart from differences in the methods used, they are united by a spirit of rebellion and contestation. We examined the relationship between art and popular culture, street art and socio-critical phenomenon of this period. Our hypothesis is that this relationship can be defined by the concept of street art, understood as an artistic practice whose connotations are both aesthetic and social a critique and order. It is on the basis of this hypothesis that we questioned the social content / critique of street art and its relationship with the socio-critical sphere which is a representation of the contemporary era. Our first intention was to show, through the graffiti testimony that the modern artists discovered the artistic value of graffiti and some anonymous registrant walls with intellectual expression. Then, this part concerns the prospect of popular culture, critical look at the age and plastics criteria that have had an influence on the street artists in France. Finally, the third and fourth parts deepen the street art movement that became the graffiti art in the history of contemporary art. We study the quarrels offered by the social function of works of art, the ethical problem of the artist's work social function, role, and real artistic value in the industrial culture and commercial art, unrolling a panorama of street artists activities. The two axes of “the artistic value” and “rebellious act”, dealing with contemporary art and its relationship with its critical vision of modernity, those are the foundation of the street art movement, which activist and rebel practice, as an art, and a critical approach towards the art world or our society are essential to its survival as it is. This subject will therefore give us the opportunity to question the true art in our society, a consumer society. Any image that is concerned with the meaning of the pictorial discourse is contentious and feeds on cultural and political antagonisms
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Johnson, Shannon Art College of Fine Arts UNSW. "Omen wallpaper." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43296.
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This paper brings together past and contempary elements that play a role in the body of work, I prepared in the Master's project and which I call, 'Omen Wallpaper'. The title draws on the idea that 'omens' as signs and 'wallpaper', as a decoration somewhat on the periphery, surround us in the urban environment. The paper begins by describing the influences and historical movements from which I have drawn. These range, for example, from. Duchamp, Schwitters to Rauschenberg, Warhol and Basquiat. Many of these traditions share the idea of 'anti-art', particularly 'anti painting', manifested in the use of found materials, text and 'unpainterly' techniques like printing and collage. The paper then moves in to ideas more local to me and this body of work, as for example, graffiti. I explore styles of graffiti and some of the most significant artists of this movement. Artists such as 'Misstic' from Paris and 'Banksy' I also investigate some of the problematics associated with that territory, by describing the conflicts I encounter in my research. I also consider another type of' street aesthetic' that operates in a different way, exploiting the general decay and wear and tear of posters. I focus this part of my enquiry, on the French Nouveaux Realist, Jacques de la Villegle who has worked with this medium since the 1950's. Villegles work began central to my research in Paris as well as becoming a inspiration for adopting the technique of 'affiches laceries' or 'tom posters'. This technique allows one to capture a moment culturally, stylistically and randomly amoung many other things with minimal mediation which became a significant turning point in the development of my own style.
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Mak, Wai-man Stephanie. "Chinese arts and craft complex in Ladder Street, Sheung Wan." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25945178.
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Puech, Anne. "Street art contestataire et revendicatif en Espagne : formes et pouvoir d’un engagement esthétique, social et politique." Thesis, Angers, 2014. http://www.theses.fr/2014ANGE0025/document.
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Depuis les années 2000 et particulièrement avec l’engagement contesté des troupes militaires dans la guerre en Irak et en Afghanistan, de nouvelles modalités d'expression de la société civile se sont développées en Espagne, en marge des outils institutionnels classiques. À partir de 2008, la crise économique semble consolider ces nouvelles pratiques contestataires. L'occupation d’immeubles vides, l'organisation d'ateliers dans des espaces en autogestion, la transformation en jardins potagers des friches laissées par des bâtiments démolis, tout comme les rassemblements des Indignés et le collectif Democracia Real Ya -qui ont permis de faire converger ces différentes initiatives en un mouvement plus unifié- pourraient traduire une lassitude des citoyens espagnols à l'égard des formes classiques d'engagement. L'occupation graphique de l'espace public et la présence accrue d'œuvres de street art contestataires ou revendicatives pourraient-elles constituer une autre modalité de militantisme ? Ce travail souhaite interroger la validité de l'art public engagé comme alternative à l'exercice de la citoyenneté. Pourquoi ces artistes en viennent-ils à occuper illégalement l'espace public ? Comment ces interventions sont-elles perçues par les passants ? Jusqu’à quel point ces formes ont-elles une incidence sur l’espace et la conscience publics ? Une première partie tente de définir les contours de cette pratique hybride, inspirée par différentes formes d’occupation graphique sur les murs. Dans une deuxième partie, un panorama des interventions d'art public est proposé et classé selon trois grandes catégories : le militantisme culturel, les revendications sociales et la contestation politique. Enfin, la dernière partie de ce travail présente les résultats des différentes enquêtes réalisées à Madrid entre 2009 et 2014 afin de mesurer les intentions et la portée de ces interventions d’art publicSince the 2000s and especially with the contested military dispatch in the war in Iraq, new modes of expression of civil society have been developed in Spain alongside the traditional institutional tools. As of 2008, the economic crisis seems to consolidate these new protesters practices. Ocupation of empty buildings, workshops in self-managed spaces, transformation of wasteland left by demolished buildings into vegetable gardens, or even Indignados and Democracia Real Ya collective’s demonstrations, which have helped bringing these different initiatives in a more unified movement, could reflect a weariness of Spanish citizens against traditional forms of commitment.Could the graphical occupation of public space and the increased presence of anti-establishment and protest street art work prove to form another method of activism ? This work wishes to question the validity of engaged public art as an alternative to exercising one's civil rights. Why are these artists illegally occupying public space ? How are these interventions being seen by passersby ? To what extent do these images affect both space and public consciousness ? The first part attempts to define the outline of this hybrid custom based on different forms of graphical occupation on the walls. In the second part, an overview of public art interventions is proposed and is classified into three main categories : cultural activism, social demands and political protest. The last part of this work presents the results of various surveys conducted in Madrid between 2009 and 2014 to measure the intentions and the scope of these public art interventions
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Westendorf, Elizabeth J. "Banksy as Trickster: The Rhetoric of Street Art, Public Identity, and Celebrity Brands." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275671316.
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