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What is street art, exactly? In this paper, I address a fundamental concern about street art: its definition. The subject has been widely debated, but I approach it from a novel perspective: metatheoretical. I'm particularly interested in deconstructing the potential functions of a definition of street art, as well as the goal of definitions of street art. I then survey the literature from this vantage point, providing a well-reasoned summary of some current alternatives. I conclude by wondering if any of these definitions could be turned into an algorithm. I believe in a moderate level of optimism. Though algorithms can identify street art under certain conditions, they appear nonetheless incapable of capturing types of definitions such as evaluative definitions that include predicates whose application conditions are highly discretionary and contextually sensitive. [ABSTRACT FROM AUTHOR]

The article discusses the use of graffiti writing as a creative activism strategy in response to spatial injustice. Topics explored include the spread of traditional graffiti styles and the reputation of street artists such as Banksy, the need for art forms like Suzanne Lacy's public art "Full Circle" to demonstrate political relevance to bring social change, the politically active artworks of graffiti artists such as Utah and Ether and artist collective Moses and Taps, and the spatial injustices commonly encountered by city dwellers when utilizing public spaces.

It examines the relationship between street art and the law and argues that street art has a constitutive relationship with the law. Street Art - Google Arts https://artsandculture.google.com/project/street-art/ This project is an impressive street art archive, combining essays and visual documentation. Much of this work has gone into defining street art and its relationship to other types of art (specifically graffiti and official public art). Street art is the hottest genre right now. [Extracted from the article]

Graffiti artists are frequently regarded as "liminal" figures, or people who exist on the outskirts of society. This paper looks at one aspect of their marginal status: legal liminality. I argue, using the work of the Italian philosopher Giorgio Agamben, that writers, like the homines sacri, live in a state of legal exception. As a result, they face uncontrollable violence and are denied fundamental rights. Though writers are subjected to abuse and intimidation, their particular circumstances also position them to challenge sovereign power in neoliberal cities. They can join a community without establishing an identity because of their ambiguous situation. As a result, they undermine the inclusion/exclusion dichotomy at the heart of biopolitics. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the author discusses articles within the issue on topics including culinary heritage controversies, appraisal of culinary heritage value and its conditions of appropriateness, and collective behaviors that operate in culinary practices.