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In Tunisia and Egypt, in times of unrest, walls become screens for transient political display of resistance. Ephemeral performances are often rapid responses to urgent concerns. This article examines the work of artists and spectators interpolated into a sense of urgency and temporality, which characterises graffiti performances. It looks at the significances of martyrdom made visible in graffiti representations of the body of the martyrs. By analysing the art of the martyrs in contemporary North Africa, this article argues that street art can be more fully understood through the graffiti performance in Tunisia and Egypt, and the way that the public reads such imagery with faithful and political eyes. [ABSTRACT FROM AUTHOR]

Torture is an important element in the state sanctioned violence of the Roman imperium. Although Romans enjoyed portraying various aspects of daily life with graffiti including gladiatorial combat, they were apparently reluctant to depict the tools used by the torturer. In Roman authors, however, one finds many hints about the nature of the objects that were employed to extract evidence. Although surveys of various implements used in Roman torture have appeared in the scholarly literature, it is worthwhile to gather into one investigation what is currently known and include images of objects that have survived antiquity that are from the panoply of the carnifex. To better envision the suffering of the victims of torture, a new analysis of those tools is warranted. [ABSTRACT FROM AUTHOR]

Automation in the construction has seen progress in using modern techniques, which has opened new perspectives for the verification of construction structures using point clouds. This paper discusses wall structure geometry verification, using point cloud data with geometry information extracted from building information modeling models as reference data. The research is focusing on automating the verification of wall structures using a software solution developed in Python. It involves processing and extracting geometric data from models in industry foundation classes' format, comparing the data and visualization of deviation. Results, conclusion, and future workplans are given for achieving better understanding. [ABSTRACT FROM AUTHOR]

This paper presents ten Greek inscriptions that were recently discovered in the Jordanian ḥarrah. The discoveries were made during the 2018 and 2023 seasons of the Badia Epigraphic Survey (BES). This paper adds to an ever-growing corpus of Greek inscriptions that attest to the use of and experimentation with Greek, seemingly by nomadic communities. A second set of inscriptions demonstrates the penetration of Christianity into the Syro-Arabian desert at a later date, with the use of Christian formulae, onomastics, and crosses. [ABSTRACT FROM AUTHOR]

This article examines the nature of graffiti semiotics in the public space of Kosovo's capital Pristina. By adopting a perspective on graffiti as a historically situated and semiotic practice, we identify distinct ethno-political voices, each relying on highly multimodal-linguistic resources to convey their respective political messages to a wider audience. The corpus was gathered during a specific period in Kosovo's history (2013-2014) and as such allows us to capture the idiosyncratic nature of the encountered graffiti as a phenomenon which emerges as a non-transgressively emplaced and dynamically constructed medium allowing conflicting views on the political future of Kosovo to enter in dialogue with one another for everyone to see in the public heart of the capital. Moreover, the dynamic nature of graffiti inscriptions in the Kosovo capital makes it a conversationally layered, inherently heteroglossic speech act with several dissenting authors at work. Our fieldwork and analysis contribute not only to insights in the nature of graffiti as a political medium but also to our understanding of the phenomenology of ethno-political graffiti in Kosovo, the complexities of which can only be appreciated against the history of both the country as a contested geographical entity, and the Balkan region at large. [ABSTRACT FROM AUTHOR]

References to Thoth in New Kingdom epigraphy in the Middle Kingdom precinct of Senwosret III at Dahshur include two case studies: a literary dipinto and a depiction of an ibis. The fragmentary text might have contained a hymn to the god of writing, or a text resembling eulogy of the scribal profession. Alongside Kemyt, it attests to an emphasis on literacy and specialist knowledge. An image of Thoth articulated the allegiance to the patron of scribes. The New Kingdom writing and visual practices contribute to an understanding of the New Kingdom community involved in the use and destruction of the Middle Kingdom pyramid complex. [ABSTRACT FROM AUTHOR]

For centuries, the remote site of Bāyir, far to the east in southeast Jordan, in an arid environment, was frequented by nomads watering their herds, thanks to its huge wells. Four Latin graffiti from Bāyir area are published or revised and republished here. They provide new evidence of the visits paid to the place by troops from the Roman army. [ABSTRACT FROM AUTHOR]

The Badia Epigraphic Survey (BES) Project was launched in 2015 by Ali Al‐Manaser and Michael C. A. Macdonald and, with two gaps, has been conducting annual surveys in the ḥarra of north‐eastern Jordan ever since. The 2023 survey, like that of 2018, set out to rediscover the cairns at the border between the ḥarra and the ḥamād at which, in the late 1950s, Professor Fred V. Winnett and Gerald Lankester Harding (WH) discovered over 4000 inscriptions. The purpose was to identify the WH cairns by the inscriptions on them, to give them exact locations using Global Positioning System and to photograph all the inscriptions, most of which WH had had to record in hand copies. In the process, numerous inscriptions at other cairns were also recorded, as well as large numbers of modern Arabic inscriptions carved in the 65 years since the WH expedition. This article describes some of the finds made, gives the exact locations of the WH cairns rediscovered and discusses some of the interesting ancient and modern inscriptions and drawings which were found. [ABSTRACT FROM AUTHOR]

Copyright of Djoussour El-maarefa is the property of Association of Arab Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2002, Israel started the construction of a 708-kilometer wall to control the Palestinian territories. The Wall offered a massive canvas, which the Palestinians used to develop graffiti and murals. The artwork and graffiti are location-specific, ephemeral, transitory, and unstable. This paper aims to document, archive, and analyze discourse and themes emerging from the artwork that developed on the Wall between 2018 and 2022. The analysis of these images has revealed that, while the purpose of building the Wall was to curb and stifle their resistance, Palestinians turned it into a platform where they were able to express their commitment to national resistance, freedom, justice, love, poetry, business, and even personalization of their own stories. The Wall has also attracted international solidarity and sparked a new protest movement called "struggle tourism", focusing on the Palestinian presence in the region's physical, moral, and political landscape. [ABSTRACT FROM AUTHOR]

The rock ‘n’ roll generation has retired, and this raises questions about whether their educational needs differ from the generations before them. This paper presents a study of a course called ‘Graffiti for Seniors.’ The course had nine participants, all women, which constituted two groups: (A) people who are artists or artisans and (B) people who are curious about graffiti as an expression and culture in general. The methods used was participant observation and interviews. When the data had been gathered, Howard McClusky’s theory of educational needs guided the analysis, as this theory offers a diversity of alternative needs compared to later theories. The material was reviewed to find expressions related to the theory’s five dimensions. We conclude that the most prominent needs are coping needs and expressive needs. Coping needs address dealing with society’s ideas about aging, but also about gender, and challenging these norms. Expressive needs demonstrate the importance of engaging in activities that are performed for their own sake and allowing individuals to express themselves. A limitation of this study is that it is performed in a single context, and therefore, future studies in other contexts using the same theory for analysis would contribute to a fuller understanding of how different courses meet various educational needs among older adult learners. A practical implication of the study is the insight that older adults can benefit from educational arenas where they enjoy the freedom of expression and where they can challenge and explore norms connected to gender and age. [ABSTRACT FROM AUTHOR]

Graffiti is widely used in social movements globally, yet media and communication research disproportionately focus on the role of social and new media technologies in protest movements. In this paper I ask why university students – a tech-savvy generation – resorted to graffiti and why campus graffiti were not widely circulated on social media during the Hong Kong anti-Extradition Law Amendment Bill (ELAB) protests. I argue that graffiti enables dispersed resistance and is one way to mobilize, voice dissent, and preserve memory in an increasingly surveilled and evolving repressive media environment. I pursue this argument by analyzing graffiti photographed on university campuses during the anti-ELAB protests. Situating graffiti within protest culture in Hong Kong, I conclude that graffiti are not always circulated on digital/social media to reach a broader audience. In times of crises, not reaching a wider audience is a manifestation of dispersed resistance in a hybrid media environment. [ABSTRACT FROM AUTHOR]

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The visual space of a modern city and any other populated area is very diverse and rich, both with useful elements: signs, road signs, posters, street names, etc., and with the elements which change the appearance of streets in a negative way, namely the graphic damage to urban space or unauthorized graffiti, which is in the focus of this paper. The relevance of the present study is determined by the significance of studying various types of everyday written and speech activities within the city space. The specificity of graffiti as an object of linguistic research is noteworthy. Being an ambiguous part of urban space, graphic damage is often not fully studied, but nevertheless has significant pragmatic potential that can influence the opinion of citizens. Thus, the purpose of the study is to describe graphic damage, considering the entire range of extralinguistic and linguistic components of the genre. The work is based on a descriptive research method, and the basis for the methodology for describing the genre is the model of a complex communicative-typological description of the natural written Russian speech, proposed by N. B. Lebedeva and adapted to the objectives of this study. Thus, the article presents a description of aspects of the genre under consideration through a number of characteristics: 1) author, 2) purpose, 3) addressee, 4) content, 5) communicative time, 6) linguistic embodiment, 7) social assessment 8) cognitive dominant of the genre.

Saqanefars are structures from the Qajar period that are derived from the indigenous and ritual architecture of Mazandaran. In contrast to comparable structures, Saqanfar Kijatekiyeh in Babol is characterized by a plethora of pictorial themes that are specifically focused on women. This research aims to explore the themes and significance of women's roles in these murals. The research questions are as follows: -What is the reason for the increased prevalence of women's motifs in Saqanfar Kijatekiyeh Babol in comparison to other Saqanefars? -What are the reasons for the prominence of women in these murals? - Which themes are illustrated in the murals of Saqanfar Kijatekiyeh, Babol? The research employs a descriptive-analytical method, which involves the non-random selection of specific images from epic, otherworldly, symbolic, and quotidian activity motifs and their description using an iconological approach. Significant developments and changes in women's status were reflected in the Qajar era, which saw a zenith in the redefining of women's roles in society, family, and art. The northern regions of Iran underwent a change in gender concepts as a result of their geographical and livelihood conditions. The development of women's roles is significantly influenced by historical, social, political, and cultural factors. The Tekiyeh building's simultaneity with the Qajar period, the fundamental changes in social relations, clothing styles, political positions, and aesthetic concepts of women, as well as the abundance of women's images, suggest a direct connection between these motifs and the political and social developments of the era. This is indicative of the impact of indigenous artists on the representation of political and social conditions within a particular historical context.

Among the men of the Middle Ages who have been reduced to anonymity due to an absence or lack of written and archaeological sources, as well as a failure of memory, are the majority of those sentenced to prison. The few archival documents that have come down to us reveal the faces of these unknown men, some of whom were judged by the ecclesiastical justice system, which was known as the officiality. The most that can be ascertained from the few surviving records are the names and dates of detention of the prisoners. In order to recover their identity, it is necessary to study the figurative graffiti, which provides invaluable information. Some prisoners left traces of their passage by “inserting their own images”, in the form of drawings or carvings, on their cell walls. This article will attempt to analyse the means of figurative expression in the late-medieval prison environment, to make them meaningful, to account for the sociocultural practices of those men and to grasp their unveiled identity. In order to gain insight into the concerns, beliefs, thoughts and very life of those men, the figurative graffiti of Selles Castle in Cambrai (France) will be used as an illustration. The Selles Castle served as a confined space in the late Middle Ages, particularly for the Cambrai officiality.

The article analyzes the phenomenon of street art in the context of its impact on the creation of local or global communities of both creators and audiences. It takes into consideration various forms of expression such as graffiti, community murals, or interventions by individual artists. It examines to what extent the communities formed around artistic activities are lasting and cohesive. Graffiti, as a form of art typical of the hip-hop subculture, represents expressions by groups that are closed and anonymous for the majority of society. Despite strong connections, these groups are usually temporary and may disband after the completion of specific projects. Other forms of street art are typically created by individual artists seeking to develop a unique style. Open, global networks of enthusiasts, activists, and organizations form around them, with the internet and social media serving as platforms used to maintain the connection between artists and their audience. Some street artists (e.g. JR or Swoon) are particularly sensitive to social issues and contribute to forming and sustaining local communities through their creations, even if they do not necessarily belong to them. A specific form of street art are community murals commissioned by a community to enhance its identity and cohesion. Street art and graffiti, therefore, have the ability to create communities on various levels, even despite their informal and ephemeral nature.

This report is dedicated to an ancient Georgian graffito from Nessana in the Negev, an important pilgrimage hub of the Byzantine and Early Islamic periods. The graffito was discovered and documented by the inspector of the British Mandatory Department of Antiquities, P.L.O. Guy and was later lost. The only documentation for this graffito was found in the archival materials of the Department and was never published. The inscription is palaeographically dated to a relatively late period, the ninth–tenth centuries CE, and together with other recently discovered epigraphic finds from the region, testifies to the continuation of the Christian pilgrimage to the Holy Land and Sinai well into the early Middle Ages. [ABSTRACT FROM AUTHOR]

Various factors such as natural disasters, vandalism, weather, and environmental conditions can affect the physical state of traffic signs. The proposed model aims to improve detection of traffic signs affected by partial occlusion as a result of overgrown vegetation, displaced signs (those knocked down, bent), perforated signs (those damaged with holes), faded signs (color degradation), rusted signs (corroded surface), and de-faced signs (placing graffiti, etc., by vandals). This research aims to improve the detection of bad traffic signs using three approaches. In the first approach, Spiral Pooling Pyramid-Fast (SPPF) and C3TR modules are introduced to the architecture of Yolov5 models. SPPF helps provide a multi-scale representation of the input feature map by pooling at different scales, which is useful in improving the quality of feature maps and detecting bad traffic signs of various sizes and perspectives. The C3TR module uses convolutional layers to enhance local feature extraction and transformers to boost understanding of the global context. Secondly, we use predictions of Yolov5 as base models to implement a mean ensemble to improve performance. Thirdly, test time augmentation (TTA) is applied at test time by using scaling and flipping to improve accuracy. Some signs are generated using stable diffusion techniques to augment certain classes. We test the proposed models on the CCTSDB2021, TT100K, GTSDB, and GTSRD datasets to ensure generalization and use k-fold cross-validation to further evaluate the performance of the models. The proposed models outperform other state-of-the-art models in comparison. [ABSTRACT FROM AUTHOR]

Graffiti, by their very nature, are ephemeral, sometimes even vanishing before creators finish them. This transience is part of graffiti's allure yet signifies the continuous loss of this often disputed form of cultural heritage. To counteract this, graffiti documentation efforts have steadily increased over the past decade. One of the primary challenges in any documentation endeavour is identifying and recording new creations. Image‐based change detection can greatly help in this process, effectuating more comprehensive documentation, less biased digital safeguarding and improved understanding of graffiti. This paper introduces a novel and largely automated image‐based graffiti change detection method. The methodology uses an incremental structure‐from‐motion approach and synthetic cameras to generate co‐registered graffiti images from different areas. These synthetic images are fed into a hybrid change detection pipeline combining a new pixel‐based change detection method with a feature‐based one. The approach was tested on a large and publicly available reference dataset captured along the Donaukanal (Eng. Danube Canal), one of Vienna's graffiti hotspots. With a precision of 87% and a recall of 77%, the results reveal that the proposed change detection workflow can indicate newly added graffiti in a monitored graffiti‐scape, thus supporting a more comprehensive graffiti documentation. [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic triggered a series of social isolation measures that reduced the movement of people in public spaces. This condition created a natural experiment to test the theory of routine activities and its applicability in the study of graffiti. Continuing the monitoring carried out in the hypercenter of Belo Horizonte since 2011, this study assesses the impacts of restrictions on the movement of people on the amount of graffiti found in that location. It starts from the hypothesis that the social restriction measures reduced the number of capable guardians (surveillance), expanding the opportunities for the practice of graffiti tagging and, consequently, favoring its expansion. A survey of existing graffiti in the hypercenter was carried out in 2022, and its results were compared with previous surveys conducted in the study area in 2011, 2015, 2017, and 2019, allowing the hypothesis to be tested. [ABSTRACT FROM AUTHOR]

The article discusses the rich cosmopolitan history of Dakar, Senegal, highlighting its role in the Black Atlantic and ongoing cultural exchanges through mediums like media, music, and sports. It also discusses the visual portrayal of Sufi saints, especially Amadu Bamba, the significance of Pape Diop's graffiti in Dakar's urban landscape, and the role of baraka in shaping the city's social and spiritual life.

The article explores the history and evolution of street art including graffiti and murals in Ukraine from the Soviet era to the present day. It traces the transformation of street art from its use as a form of protest to the launch of the international street art festival Muralissimo. It analyzes the progression of historical and patriotic themes in murals and graffiti such as corruption and abuses of law enforcement, language and culture, and Russian invasion.

Graffiti relies on social instrumentation for its creation on spatial structures. It is questioned whether different mechanisms exist to transfer social and spatial hierarchies under a new model for better engagement, management, and governance. This research aims to replace physical graffiti using augmented reality (AR) in smartphones. Contact-free AR graffiti starts with the creation of 3D graffiti; this is followed by an AR cloud platform upload, quick response (QR) code access, and site deployment, leading to the secondary reconstruction of a field scene using smartphone screenshots. The working structure was created based on the first 3D reconstruction of graffiti details as AR models and second 3D reconstruction of field graffiti on different backgrounds using a photogrammetry method. The 3D graffiti can be geotagged as a personal map and 3D printed for collections. This culture-engaged AR creates a two-way method of interacting with spatial structures where the result is collected as a self-governed form of social media. The reinterpreted context is represented by a virtual 3D sticker or symbolized name card shared on the cloud. The hidden or social hierarchy was reinterpreted by a sense of ritual without altering any space. The application of digital stickers in AR redefines the spatial order, typology, and governance of graffiti. [ABSTRACT FROM AUTHOR]

This _Article explores the intersection of urban beautification and caste in contemporary Indian cities, with specific focus on commissioned works of street art which are part of urban cleanliness campaigns. Over the past three decades, statesponsored urban improvement schemes have aimed at eradicating perceived 'dirt' from cities, often employing street artists to promote urban beautification and cleanliness. Within the apparently inherent connection between beauty, sanitation and citizenship in Indian cities, an attempt at establishing an urban aesthetics of clean(s)ing is discernible, specifically in New Delhi. This _Article argues that the utilization of urban aesthetic practices like street art, particularly as a means to combat 'dirt,' emerges from caste-based and revanchist visions of the Indian public sphere. Through case studies, it shows how murals are employed to promote ideals of cleanliness that reflect upper-caste values that serve to transform urban spaces while policing oppressed-caste and working-class residents. Building on analyses of spatial transgression, such as Mary Douglas' idea of dirt as "matter out of place," Tim Cresswell's notion of graffiti as "words out of place," and D. Asher Ghertner's concept of "aesthetic governmentality," it explores the discursive procedures through which certain types of bodies and symbols are declared as illegal/illegible or dirty/disgusting in the Indian city. The _Article will show how street and other forms of art may embody and/or critique these prevalent notions of socio-spatial order. [ABSTRACT FROM AUTHOR]

In this paper, we study a gang territorial model consisting of two parabolic and two ordinary differential equations, where a taxis-type mechanism models that the two rivaling gangs are repelled by each other's graffiti. Our main analytical finding shows the existence of global, bounded classical solutions. By making use of quantitative global estimates, we prove that these solutions converge to homogeneous steady states if the initial data are sufficiently small. Moreover, we perform numerical experiments which show that for different choices of parameters, the system may become diffusion- or convection-dominated, where in the former case the solutions converge toward constant steady states while in the latter case nontrivial asymptotic behavior such as segregation is observed. In order to perform these experiments, we apply a nonlinear finite element flux-corrected transport method (FEM-FCT) which is positivity-preserving. Then we treat the nonlinearities in both the system and the proposed nonlinear scheme simultaneously using fixed-point iteration. [ABSTRACT FROM AUTHOR]

The close conceptual links between symbolic death, rebirth, and pilgrimage are widely known to modern sociologists and anthropologists and can be observed in several modern pilgrimage traditions. This study argues that the same connections can already be detected in Aristides' Hieroi Logoi, "the earliest detailed first-person account of pilgrimage that survives from antiquity". In terms of methodology, this article follows recent scholarly work on ancient lived religion perspectives and religiously motivated mobility that favours a broader understanding of the notion of pilgrimage in the Greek-speaking world. Rutherford, in particular, has produced a plethora of pioneering studies on all aspects of 'sacred tourism' experience in various media including documentary papyri, inscriptions, and graffiti. This chapter builds further on Rutherford's work and focuses on Aristides' accounts of his visits to smaller, less-well known healing centres. The main aim is to demonstrate how Aristides' pilgrimage experience to the healing temple of Asclepius at Poimanenos or Poimanenon (a town of ancient Mysia near Cyzicus) is wholly recast and presented in terms of travelling to the sacred site of Eleusis, one of the most important cultural and religious centres of the Roman Empire in the Antonine Era. Thus, Aristides' pilgrimage experience to Poimanenos is successfully reframed as a mystic initiation that marks the death of the previous ill self and the birth of the new, enlightened, and healthy self. [ABSTRACT FROM AUTHOR]

Graffiti represents a multi-disciplinary social behavior. It is used to annotate urban landscapes under the assumption that building façades will constantly evolve and acquire modified skins. This study aimed to simulate the interaction between building façades and generative AI-based graffiti using Stable Diffusion® (SD v 1.7.0). The context used for graffiti generation considered the graffiti as the third skin, the remodeled façade as the second skin, and the original façade as the first skin. Graffiti was created based on plain-text descriptions, representative images, renderings of scaled 3D prototype models, and characteristic façades obtained from various seed elaborations. It was then generated from either existing graffiti or the abovementioned context; overlaid upon a campus or city; and judged based on various criteria: style, area, altitude, orientation, distribution, and development. I found that rescaling and reinterpreting the context presented the most creative results: it allowed unexpected interactions between the urban fabric and the dynamics created to be foreseen by elaborating on the context and due to the divergent instrumentation used for the first, second, and third skins. With context awareness or homogeneous aggregation, graphic partitions can thus be merged into new topologically re-arranged polygons that enable a cross-gap creative layout. Almost all façades were found to be applicable. AI generation enhances awareness of the urban fabric and facilitates a review of both the human scale and buildings. AI-based virtual governance can use generative graffiti to facilitate the implementation of preventive measures in an urban context. [ABSTRACT FROM AUTHOR]

Saqanefars are structures from the Qajar period that are derived from the indigenous and ritual architecture of Mazandaran. In contrast to comparable structures, Saqanfar Kijatekiyeh in Babol is characterized by a plethora of pictorial themes that are specifically focused on women. This research aims to explore the themes and significance of women's roles in these murals. The research questions are as follows: -What is the reason for the increased prevalence of women's motifs in Saqanfar Kijatekiyeh Babol in comparison to other Saqanefars? -What are the reasons for the prominence of women in these murals? - Which themes are illustrated in the murals of Saqanfar Kijatekiyeh, Babol? The research employs a descriptive-analytical method, which involves the non-random selection of specific images from epic, otherworldly, symbolic, and quotidian activity motifs and their description using an iconological approach. Significant developments and changes in women's status were reflected in the Qajar era, which saw a zenith in the redefining of women's roles in society, family, and art. The northern regions of Iran underwent a change in gender concepts as a result of their geographical and livelihood conditions. The development of women's roles is significantly influenced by historical, social, political, and cultural factors. The Tekiyeh building's simultaneity with the Qajar period, the fundamental changes in social relations, clothing styles, political positions, and aesthetic concepts of women, as well as the abundance of women's images, suggest a direct connection between these motifs and the political and social developments of the era. This is indicative of the impact of indigenous artists on the representation of political and social conditions within a particular historical context. [ABSTRACT FROM AUTHOR]

In February 2022, the Russian army attacked Ukraine, which aroused resistance across Europe. The aim of the paper is to analyse spatial concentration and the meaning of associated political graffiti in Prague, Czechia, reflecting reactions to this geopolitical shift. Our approach focuses on the spatial aspect of the socio-semiotic analysis, revealing how urban symbolism shapes graffiti placement, modes, and interpretation. We have mapped it in the areas where we previously had noted a concentration of political graffiti in 2019 and 2020. Thanks to these timelines, we follow the development of political graffiti before and after the invasion and verify if the political symbolic space based on political relations between inhabitants and objects in the urban space influence variations in political graffiti prevalence. We have discovered what opinions resonated in the Czech society and how the meaning of graffiti signs was changing over time, in the space, and among objects of reference. [ABSTRACT FROM AUTHOR]

This study documents a set of historical graffiti in the church of the Recoletas convent in Tafalla (Navarra, Spain), dated in the 19th century. A significant portion of these exhibit military themes, linking them directly to the Third Carlist War. It includes depictions of soldiers and weapons, but notably an inscription attributed to a musician from the first battalion of the third Marine Infantry Regiment, who on August 15, 1874, had just returned from the Battle of Oteiza. This discovery provides additional detail in understanding the participation of this regiment in the battle. [ABSTRACT FROM AUTHOR]

The article reports on right-wing extremist incidents at the district central library in Tempelhof, Berlin. Books critical of right-wing social tendencies or biographies from the history of socialism were cut up. There were also graffiti and flyers with right-wing extremist content. The library has taken measures such as cooperating with the police and various organizations. It is emphasized how important it is to report such incidents and to prepare for possible shitstorms. The library has developed an event concept called "Strong Pages" to respond to the destruction of books and to encourage the public to critically engage with topics such as right-wing extremism and National Socialism. Other projects implemented in the library to strengthen people's media literacy are also described. The article discusses how libraries should deal with controversial titles and emphasizes the importance of freedom of speech. The question of censorship and the influence of homophobic parent groups on book selection for children and teenagers is also discussed. It is emphasized that libraries need legally secured independence to fulfill their mission and that they should take a political stance, especially in times when anti-democratic parties are gaining influence. The role of libraries as knowledge and cultural institutions in the structural transformation of the public is also addressed. It is emphasized that libraries should enable an egalitarian exchange of arguments and perspectives and that their strength lies in strengthening judgment and media literacy. It is recommended that libraries take measures to prepare for possible attacks and protect democracy. [Extracted from the article]

While anti-graffiti policies have been examined in various places, the concrete conditions of graffiti removal remain largely unexplored. Based on ethnographic fieldwork, this article considers a generative dimension of graffiti removal techniques and highlights their contribution to the visual ordering of urban reality through two main actions: making differences and making similarities. Anything but automatic and simple, graffiti removal is a complex operation consisting of technical gestures and ontological re-specifications, which are accomplished within the material entanglements of the city's surfaces. A matter of continuous transformations, graffiti removal participates, like graffiti writing, in the visual becoming of urban ecologies. [ABSTRACT FROM AUTHOR]

This article explores the senses of touch, sound and smell through the craft work of subcultural graffiti to develop a new understanding of place. It draws from ethnographic data collected from 18 months of research edgework involving active participation in the field. Firstly, it positions graffiti as craft work involving practice, skilled use of tools, insightful judgments and use of the body. Secondly, because graffiti can provoke strong practitioner feelings it explores sensory engagements. In forming this somatic link between the senses and craft work this article reveals how a particular personal consciousness regarding place is produced by an individual practitioner. It then discusses how sensory engagements through graffiti craft practice produce a conceptual reconfiguration of space and this is posited as a senseplace. [ABSTRACT FROM AUTHOR]

Among the more than 2,000 ancient engravings on marble outcrops in hills north and east of Vari, Attica, there appears a remarkable drawing of a building. The structure, which seems to be a temple, is identified by its inscription as "the Hekatompedon" and was produced by an individual named Mikon. This note presents the drawing and the inscription. Following a discussion of the peculiarities of the graffito and its relevance for our understanding of the term ἑκατόµπεδος, it argues that the graffito depicts an Archaic temple on the Acropolis of Athens. 1 [ABSTRACT FROM AUTHOR]

Aeolianites and cemented beach deposits on South Africa's Cape coast preserve evidence of events that transpired on them when they were composed of unconsolidated sand. Over the past decades, numerous Pleistocene vertebrate tracksites have been identified on aeolianite palaeosurfaces in the Garden Route National Park, West Coast National Park, and Addo Elephant National Park. In the Garden Route National Park alone, 57 Pleistocene vertebrate tracksites have been discovered. An equilibrium exists, whereby new sites become exposed through cliff-collapse events, while known sites slump into the ocean, are eroded through the action of wind and water, or are destroyed through wave action. Engraved graffiti poses a further threat. These sites complement the traditional body fossil record, and have significant palaeoenvironmental and palaeoanthropological implications. Hominin sites are of global importance: one contains the oldest tracks attributed to Homo sapiens, others contain patterns made in sand by ancestral humans and constitutes a form of early palaeoart. Collectively, these sites have substantial geoheritage value. The discoveries create management questions: which sites require active management, and how should they be ranked in importance? Factors which need to be considered in developing a management strategy include the scientific and heritage value of the sites, whether recovery or replication is preferable, the presence or absence of suitable repositories, the level of the threat to site integrity, the accessibility of the site, and the feasibility of recovery. Checklists containing appropriate criteria and questions can form tools in assessing the importance of these ichnosites. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Social Sciences (IJSS) / Uluslararasi Sosyal Bilimler Dergisi is the property of International Journal of Social Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tasarim+Kuram is the property of KARE Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article deals with Jean-Luc Godard's interventions in the multimedia arts, known as « fraternal arts », and « ut pictura poesis » to reconsider the audiovisual juxtaposition of fiction and documentary in the film-collage of the modern period of end of the sixties and « cinema effects » in contemporary arts. It retraces some of the main elements of the film One plus One directed by Jean-Luc Godard and addresses its role and importance in the clandestine nature of artistic creation by revealing the interconnections between « musical history in the making » and the aesthetics of graffiti, Brechtian quote, and distancing (Verfremdungseffekt). In the second part, the essay draws on Burgin and Dubois to examine how the « cinema effect » (l'effet-cinéma) of the so-called « Godardesques » emerges in the context of contemporary museum installations. By approaching artistic works, our wish is to reveal the forms of reconstitution of the Godardian One plus One. These works loosely linked to classical cinema can be considered, following Burgin, as cinematic heterotopias. [ABSTRACT FROM AUTHOR]

Copyright of Aposta is the property of Aposta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recent years have witnessed a spurt of progress in China’s tourism industry, contributing greatly to the economy, culture, and ecology. Cultural relics and historic sites boast significant value in terms of tourism, economic, ecological service, cultural, and scientific research value, yet the intentional destruction makes it a serious problem threatening human natural and cultural heritage. So far, there is no scientific and standardized method to assess the value of the damaged cultural relics and historic sites and the corresponding ecological compensation. This study fills up a critical gap in developing a new ecological damage assessment method for the intentional destruction of cultural relics and monuments by taking the graffiti of Taishan Mountain, a World Heritage Site in China, as an example. The method consists of four steps: (1) selecting the assessment indicators based on the characteristics of cultural relics and historic sites, (2) obtaining the evaluation weights of the indicators by conducting a questionnaire survey among experts and the public, (3) determining the spatial distribution of the protected areas and the damage grade of the cultural relics and historic sites by using GIS and remote sensing techniques, and (4) calculating the economic value of the damaged cultural relics and historic sites by using the market price method, the travel cost method, and the contingent valuation method. The results show that the total value of ecological damage in the case was 70,588.07 yuan ($9958.11), which was successfully accepted by both parties involved in the case.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

O presente artigo busca compreender as táticas e campos de possibilidades de um artista local chamado Edney Areia, na cidade Imperatriz-MA, conhecida como “portal da Amazônia”. Para compreender como ele segue sobrevivendo naquele local, onde não há valorização da arte de rua e cuja política é focada nos grandes projetos de espoliação da natureza, acompanhamos percurso biográfico com especial atenção nos processos culturais, experiências cotidianas e saberes que apontam para as formas como ele se integra em uma rede de relações mais vastas. Nesse sentido, foram realizados registros fotográficos, observações diretas nas ruas e no ambiente virtual. Como conclusão, verificou-se a relação direta entre sociabilidades juvenis e a atualização do conhecimento técnico lhe possibilitou a obtenção de novas habilidades e capacidade de sobrevivência material.

The article "The 'Writing on the Wall Maneuver' Reveals the Dystonic Nature of Primary Writing Tremor" discusses the concept of primary writing tremor (PWT) and its classification as either task-induced or positionally sensitive tremor. The authors observed that performing the "writing on the wall maneuver" improved tremor in PWT patients, suggesting a dystonic nature to the condition. The study highlights the need for further research to understand the relationship between PWT, dystonia, and essential tremor. [Extracted from the article]

Introduction. In a modern urban environment, graffiti also plays a role in shaping the younger generation. Certain creolised texts have a significant educational potential as they reach a wide audience of casual observers. These texts can propagate, emphasise, appeal to, or influence the emotional state of the reader. However, the peculiarities of perception and assessment of the educational potential of urban graffiti are practically unstudied in the scientific community. Aim. The aim of the study was to investigate the mechanism of the impact of urban graffiti with pronounced educational potential on individuals by assessing the features of their perception, memorisation, emotional response, and interpretation of the content. Methodology and research methods. The present study is part of an exploratory laboratory experiment using high-precision research equipment, known as an “eye-tracker”. During the laboratory experiment, the perception features of 21 texts were evaluated. These texts were selected from a pool of 2,000 photographs, which were taken of texts vandalised in the megacities of the Russian Federation. The results were processed mathematically and statistically using descriptive statistics, MANOVA, comparative analysis, and contingency tables. Results. The results of the study demonstrate that urban graffiti with educational potential is memorised and reproduced by 10 to 43% of the study participants. The study describes the unique eye-movement patterns observed during the perception of creolised texts, which lead to a reduced comprehension of the educational content and impact embedded in them. Generalised principles for creating urban graffiti that effectively realise positive educational potential include the presence of a prosocial message, brevity of the text, literal and unambiguous communication, complementation of the text with a consistent graphic image, and the use of creolised text. Scientific novelty. The scientific novelty lies in identifying the mechanism through which urban graffiti, with significant educational potential, impacts students. This is achieved by characterising their perception, emotional evaluation, and interpretation. Practical significance lies in the potential use of the collected data to achieve educational goals through the utilisation of street art and graffiti in urban spaces. This includes considering the specific characteristics and limitations in how young people perceive the educational value of these art forms.

Tematem artykułu jest nowe zjawisko sztuki miejskiej określane jako „dzikie typo”. Jest ono specyficznie lokalne, łódzkie, ale jednocześnie pozwala uchwycić złożoną problematykę doświadczenia postindustrialnego miasta — i w tym sensie jest uniwersalne. Sam termin jest zastanawiający, ponieważ wydaje się wewnętrznie sprzeczny. Mimo iż pojęcie dzikości ma pewną tradycję we współczesnej teorii sztuki, to nie przystaje do zagadnienia typografii. Różne przejawy „dzikiego typo” w przestrzeni miasta uwikłane są w szereg zależności podważających status autorstwa, narażających twórców na naśladowanie i instrumentalne wykorzystanie ich prac. Jeśli chodzi o fizyczną przestrzeń miasta i jej walory dzikości i autentyczności — to „dzikie typo” użycza tej przestrzeni wieloznaczności i także przejmuje jej wieloznaczność, co wraz z ingerującą przyrodą oraz zaniedbaniem sprawia, że użytkownik miasta nie ma jasności, z czym ma do czynienia. Interesujące jest, dlaczego i z jakimi intencjami lub nadziejami artyści wikłają się w ten splot sztuki, wandalizmu i degradacji krajobrazu. Potraktowanie tych przestrzeni i praktyk jako heterotopijnych pozwala wyjść poza schematyczne wartościowanie legalne/nielegalne, estetyczne/antyestetyczne, kulturalne/zdziczałe.