Search

The majority of the ancient rock art sites of the American Southwest are located in rural locations which are difficult to monitor or police. These sites seem to exert a pull upon humans, an attraction which not only provokes curiosity and wonder, but also what can be classed as destructive responses or vandalism. Many crime control methods for reducing vandalism are based on such traditional theories as defensible space and broken window theory. However, in the case of rock art these methods do not yield expected results and in some cases are even detrimental. Rural crime, including rural vandalism, as a whole is marginalised in criminology, which has been dominated by urban-focused approaches and theories. In the case of rock art, considering how security is approached and maintained ultimately leads to questions about human/object relationships with regards to crime, and about object agency. By focusing on the policing challenges of one particular type of rural vandalism, we hope to contribute to the discussion of vandalism in rural spaces.

This paper is preliminary review of a small collection of graffiti from the latest excavations on the western outskirts of Olbia Pontica (the so-called «suburbs») in 2015—2020, and their introduction into scientific circulation. The excavations were conducted by the Olbia International Archaeological Expedition led by A. V. Bujskikh as the part of Ukrainian-German multidisciplinary project (co-directors A. V. Bujskikh and J. Fornasier). The researches on the suburbs were headed by A. G. Kuzmischev and J. Fornasier. Over six years of research in various cultural strata and in the fillings of half-dugouts, pits and other objects more than 50 graffiti have been found, inscribed mainly on the fragments of Attic black-lacquered tableware of the 5th—4th centuries BC. Emphasis is placed on determining the main types of inscriptions and their features. Regardless of the year and location of discovery they are divided into five groups: A. Abbreviated anthroponyms or individual words; B. Initials of proper names or one-letter marks; C. Graffiti on treated ostracons; D. Various digital signs and records; E. Graffiti of unclear meaning. The collection under study significantly supplemented the source base of the small epigraphy of the Olbia polis. However, no original, rare and to some extent important informative inscriptions which were recorded in temenos, residential neighborhoods, in some settlements and in Borisfen have been found yet here. In addition the damage of many graffiti makes impossible to interpret them reliably. In no one case we could identify reliably the inscriptions dedicated to any deities. Instead, the large number of abbreviated names and initials of the owners of dishes coincides with a significant import of Attic black-lacquered ceramics in the life of the inhabitants of the suburbs in the 5th—4th centuries BC. Despite the relatively limited number, processed ostracons have replenished this category of Olbia votive finds by the original graffiti of magical significance. At the same time, the fact that in general in the suburbs is a lot of graffiti with digital markings which are most often attributed to traders, deserves special attention. Of course, in the future, all the graffiti from the suburbs need a more detailed visual study both as the fragments of ceramics and their exact professional sketches, and comparative analysis of this type of inscriptions from many ancient Greek sites.

English: A small town named Chandvad is situated on the Agra-Mumbai highway between Nashik and Malegaon in the state of Maharashtra. The Holkar's palace at Chandvad was built between 1753 and 1797. Many paintings have been made on the walls of this palace, which are older than the paintings of Rajbara found in Indore, but from the point of view of study, these paintings could be known much later. In 1929 the eminent archaeologist Shri R.D. When the Chandwad palace was surveyed by Banerjee, no importance was given to the painted walls there. After 12 years, the then District Collector of Nashik district, Shri H. F. Knight saw these paintings in AD 1933 and asked Sir J.J. School of Art Bombay Director Mr. H.J. King was invited. Mr. King was very impressed by those pictures and he studied those pictures closely and sent his report to the Holkar state. The princely state of Holkar again sent Kalaguru Devlalikar ji from Indore to Chandvad for a classified study of those paintings. After about ten years of all these activities, these paintings were preserved in 1944 AD. The frescoes built here were probably built between 1753 and 1797 AD during the construction of the Rajwada. Hindi: महाराषटर राजय क नासिक तथा मालगाव क मधय आगरा ममबई राजमारग पर चादवढ़ नामक एक छोटा सा कसबा बसा ह। चादवढ़ सथित होलकरो का राजपरासाद 1753 स 1797 क मधय निरमित किया गया था । इस राजमहल की भिततियो पर अनक चितर बन ह जो कि इदौर म परापत राजबाड़ क चितरो की तलना म पराचीन ह लकिन अधययन की दषटि स इन चितरो का बहत बाद म जाना जा सका । 1929 म सपरसिदध पराततववतता शरी आर.डी. बनरजी दवारा चादवढ़ राजमहल का सरवकषण किया गया तब वहा की चितरित भिततियो को कोई महतव नही दिया गया। इसक 12 वरष बाद नासिक जिल क ततकालीन जिलाधीश शरी एच. एफ. नाइट न ई. 1933 म इन चितरो को दखा और उनक महतव का सही मलयाकन करन क लिय सर ज.ज. सकल ऑफ आरट बामब क सचालक शरी एच.ज. किग को आमतरित किया गया । शरी किग उन चितरो स अतयनत परभावित हए तथा उनहोन उन चितरो का बारीकी स अधययन किया तथा अपनी रिपोरट होलकर राजय को भजी । होलकर रियासत न पनः इदौर स कलागर दवलालीकर जी को उन चितरो का वरगीकत अधययन करन चादवढ़ भजा। इन सब गतिविधियो क लगभग दस वरषो बाद 1944 ई. म इन चितरो को सरकषित किया गया । यहा निरमित भिततिचितर सभवतः राजवाड़ क निरमाण क समय 1753 स 1797 ई. क मधय निरमित हए थ ।1

The aim of this paper is to present pictorial graffiti executed on the walls of the Northern Church of the Ghazali Monastery located in what is today the Northern Province of Sudan. The graffiti were recorded during research by the Polish-Sudanese mission at the monastic complex. This paper explores the symbolic meanings of the graffiti as well as possible rationales behind their locations. Some of the depictions have overt religious meanings and may be interpreted as “graphic” prayers. This category of graffiti includes representations of Christ, angels, saints, female figures and horse riders. Other depictions seem to refer to daily life in Nubia – the graffiti abound in motifs such as camels, horses, boats and human beings.

In the imaginary of nation-states, and in much (forced) migration and border studies, the wall is the metaphor par excellence of ‘hardened, securitised’ and, ultimately, ‘violent borders’ (Jones 20...

Graffiti has been conversing with the public for millions of years. In India, this art form is prominent in spaces like historical monuments, schools, colleges, classrooms, public bathrooms, benches, desks, and local transports. With the coming of the Covid 19 pandemic, this art from the streets has come alive in people’s smartphones. This paper explores and interprets the works of GuessWho, a prominent stencil graffiti artist working in the city of Bengaluru, Karnataka, and originally belonging to Kochi, Kerala. This study seeks to understand how the discourse around graffiti can help empower women in their struggle to claim the streets. By focusing on Instagram as a medium of social resistance, the paper explores the role of graffiti and social media in challenging the patriarchal status quo. Semiotics is used to understand the ways in which the production and consumption of forms of street art and graffiti are increasingly shaping the way Bengaluru city negotiates with gender. GuessWho’s graffiti symbolically targets and contests gender discrimination and particularly challenges some of the existing classist, racist, or sexist biases by subverting the use of sari, technology, and gender roles in the artwork.

La presente investigación, pertenece al área de las ciencias sociales con proyección cultural social, tiene como objetivo general valorar las manifestaciones simbólicas del Graffiti como expresión artística urbana y su significado trasversal con la cultura. con ese concepto se puede aplicar la teoría triádica que está constituida por el significado que es la imagen mental, el significante que es el soporte material y el referente que es el objeto ya sea imaginario o real. Por tanto, esta investigación explora de manera detallada el motivo por el cual se representa cierta situación social, el motivo que tiene el artista para construir esa simbología en sus obras y la trascendencia de un mensaje en las masas a través de distintos lenguajes que constituyen hechos culturales. Esta investigación mantiene un enfoque cualitativo con una metodología de diseño descriptivo en el que se describirá el valor semántico del graffiti como expresión cultural. Se concluye, que las manifestaciones artísticas contemplan los imaginarios culturales o sociales con una intención comunicativa, ideológica y reflexiva sobre una propia identidad.

Este trabajo analiza nueve grafitis lingüísticos cuyas imágenes fueron fotografiadas en las Avenidas Irarrázaval y Vicuña Mackenna comuna de Ñuñoa, Santiago de Chile, entre diciembre de 2019 y julio de 2020 con el objeto de determinar de qué manera expresan los grafitis seleccionados el discurso opuesto a la dominancia social en el marco del estallido social del 18 de octubre de 2019. Aplicamos un modelo dinámico de tres dimensiones de análisis compuesto por: a) el discurso contrario a la dominancia social, b) el paisaje sociosemiótico urbano de Ñuñoa y, c) el debate sobre el Estado y la Constitución chilena. El análisis considera tres niveles de construcción de significados, a saber: textual, co-textual y contextual, con énfasis en las funciones cognitiva y poética del grafiti, abordados desde el Análisis Crítico del Discurso Multimodal. Los resultados indican que el discurso opuesto a la teoría de la dominancia social analizado se manifiesta por medio de críticas hacia el sistema económico y político imperante, desafío hacia la autoridad y cuestionamiento a la naturalización de la jerarquía social plasmados en el paisaje de una comuna de clase media-alta en el marco de las protestas nucleadas alrededor de diversos movimientos sociales a favor de una reforma constitucional.

The cultural commons which foregrounded an aesthetically pleasing and affective commitment to Hong Kong’s pro-democracy movement’s comprised, in addition to urban graffiti juxtaposed with posters a...

The article touches upon graffiti discourse as a form of rhetorical speech and tries to analyse it according to the three strategies of persuasion suggested by Aristotle: ethos, pathos and logos. The article reveals how specific the graffiti discourse is in terms of using these strategies and how the latter make the speech more powerful and persuasive. Also, an attempt is made to reveal the role of metaphor in the performance of the strategy of pathos in graffiti discourse.

Graffiti art and street art have been increasingly described as an artistic movement, with a constant presence in the streets, but also in galleries and museums. In this article we use the term urban art to define this institutionalized category, originating from informal street expressions. In the specific context of the city of São Paulo (Brazil), most of the social actors that make up this art world have backgrounds linked to graffiti and pixação. These two urban subcultures are linked to informal forms of appropriation of the urban space through illicit inscriptions. In this article, we aim, on the one hand, to describe the features and singularities of urban art as an emerging art world and, on the other, to understand how careers are developed in this universe. The empirical data derives from a qualitative research (in-depth interviews and ethnographic observation) developed during the past three years.

This article is a study of a sample of eighteen animal rights graffiti slogans that were chalked on the walls of a tunnel known as Potterow Port near the main University of Edinburgh campus, in Scotland, in February 2020. The purpose of the article is to interrogate the implicit ideological commitments underpinning the graffiti slogans, the rhetorical aims of their authors and the linguistic devices and structures they used to achieve their goals. These three dimensions of the slogans are analysed using an inter-disciplinary framework inspired by work on discourse and ideology, recent studies of graffiti slogans in protest contexts and important contributions to the animal rights canon. Regarding the ideological underpinnings of the slogans, the study reveals four core concepts that it argues are central to contemporary vegan thought: the speciesist relationship between human and non-human animals; species egalitarianism; the vegan imperative; and a commitment to non-violent direct action. In addition to these core beliefs, it detects the presence in the slogans of adherence to adjacent values and ideals such as love, compassion and respect for life, attempts to thicken vegan ideology by reaching out to environmentalism and the peace movement and tension around the moral basis for adopting vegan practices. The interconnected conceptual map that lies at the heart of contemporary veganism has emerged, it argues, in response to ‘dislocations’ in human/animal relations and within the animal advocacy movement, between advocates of a welfarist response to animal exploitation and those such as the authors of the graffiti slogans committed to a more radical, vegan inspired solution to animal oppression.

Este artigo tem como objetivo contrapor-se às imagens de cartão postal de Florianópolis produzindo outra leitura da cidade através das histórias que podem ser recontadas por debaixo das pontes, em cima dos morros e nos muros das ruas, a partir dos signos que são deixados pelos grafites em alguns lugares à margem. Caminhando sobre a passarela e debaixo das pontes que ligam o continente à parte insular, subindo a pé o maciço do Morro da Cruz, até chegar à comunidade carente de Monte Serrat, no Morro do Antão, e percorrendo as áreas históricas do centro expandido, é possível desvelar cidades dentro da cidade, as quais foram sendo apagadas através dos tempos e que, agora, saltam aos olhos quando sofrem as interferências das linguagens da rua. É produto de um projeto de pesquisa que reforça o viés da percepção ambiental utilizando um instrumental que conduz para uma leitura dinâmica das narrativas urbanas. Tem como estratégia o caminhar como prática estética, de maneira a produzir novos olhares que se valem da fenomenologia e da semiótica apresentando, assim, como resultados das andanças, relatos de vivências e fotografias de contextos singulares que podem fazer-ver processos de renovação urbana em curso e as marcas esquecidas do passado, além de instigar outros modos de ver a cidade e os seus lugares.

Urban art has emerged as a new feature of cities in recent decades. Its wide success as a fresh, youthful, and cosmopolitan artistic movement has elicited the attention of urban planners, who increasingly use it in their strategies for urban development. This artistic expression has been understood as a resource to be used in urban and cultural policymaking, especially when it comes to urban reassessment and marketing. This dynamic is embedded in a paradigm where the arts and culture are increasingly understood as resources for urban development and city marketing. In this article, we draw on qualitative empirical material (interviews, official documents, press releases, websites) from an ongoing research project in the context of the Lisbon Metropolitan Area. One of the aims of this project is to analyze the link between local authorities and urban art aiming at understanding existing representations and the kinds of strategies that were put in place for its management. We conclude that largely local authorities use urban art to achieve three main strategic goals: the strategy of “landscape construction and urban reassessment,” the strategy of “refashioning the city image/city branding,” and the strategy of “social promotion of stigmatized territories and communities.”

The issue of Polish epigraphy in the Caucasus is still very poorly understood and until now no one of the scientists has attempted to analyze this phenomenon. This is probably due to the very scant research material that can be relied on in the 21st century. Despite the passage of time, there are, however, sources that allow us to study Polish epigraphy in the Caucasus. It can be divided into four main groups: a) inscriptions on temples; b) epitaph; c) advertising epigraphs; d) graffiti, especially the kind called Style-Writing.Most of the Polish epigraphy in the Caucasus is associated with the presence of Poles in this area at a time when part of the lands of the Commonwealth was part of the Russian Empire. How many Poles ended up in the Caucasus and when is difficult to calculate, at least due to the lack of statistical data taking into account nationality. Presumably, although accurate calculations on this issue were not published, recruits from the territory of the former Rzeczpospolita to the Caucasus began to be expelled after 1773, i.e. after the I partition of Poland. The sending of exiles to serve in the Caucasus as a punishment took place, in turn, during the war, as, for example, after Napoleon's campaign in Moscow. Ludwik Wiedershal gave information that in 1812, apparently (it should be emphasized that the author used a conditional mood) 10 thousand Poles were sent to the Caucasus, although in 1815 almost all of them returned to the country. Other Polish groups exiled to the Caucasus included participants in uprisings for independence, as well as those who were repressed for participating in various organizations that, in the opinion of the tsarist government, posed a threat to the then existing system, for example, filarets, persons associated with the so-called Konarski case, and others.

The human rights conditions of Northern Ireland and Palestine have been analyzed up, down, and sideways by a robust scholarly literature, this article provides a fresh approach to the analysis of media with respect to cultural aspects of human rights conundrums through images of localized as well as globalized “graffiti.” From the near universal influence of the painting of George Washington and company crossing the Delaware River, to brave but dangerous anti-regime graffiti in North Korea, the political nature of private artists operating in the public realm for human rights is recognized as a potentially destabilizing and regime-busting act. With a lens pointed on Palestine and Northern Ireland, we examine this cultural artifact’s power to get attention, obstruct persecution, and ultimately to mitigate some human rights abuses. How does such graffiti work? What are the similarities and differences in their power for enhancing human dignity through different times and places? We also look at the relationship of human rights graffiti to current political trends internationally. Images are used here as method of analysis that may help explain the broader implications of political graffiti for the study of a particular medium of transmission for the study of cultural and societal norms.

En este artículo se lleva a cabo la revisión de un grafito ibérico sobre un vaso de plata procedente de la Bética, al que no se había prestado demasiada atención en la bibliografía previa. Idéntica secuencia se encuentra en otro grafito sobre otro vaso de plata, igualmente de la Bética, y en algún grafito del sitio de Azaila (Teruel). En la misma base del vaso donde se grabó el grafito hay también dos letras latinas acompañadas de indicaciones numerales que no habían sido mencionadas en estudios anteriores.

The present work proposes to interrogate, based on a photographic production and a later reflexive tour, the existing relationships between the ruins of the Historic Center of São Luís and the records that, through graffiti and “pichações/pichações”, young people from the periphery have carried out on the walls, doors and windows of historic houses in thecapital of Maranhão, Brazil. The methodology used for the production and inventory of the research images is based on a visual anthropology and an anthropology of the image. From the point of view of the way of operating the thought, I use some ideas of the philosopher Walter Benjamin (2012, 2009, 2013) about photography, remembrance and allegory. Lastly, I produce some commentaries on the meanings and aesthetic/political powers of graffiti and “pichações/pichações” in the Historic Center of São Luís -MA and the correspondence established with the ruins of the houses present there. The text is not intended as revisionist of themes related to graffiti, pichações/pixações and heritage, but a critical essay regarding how the visual arts operate in the contextof the correspondence between abandonment and appropriation of public space.

"Abstract: From the ceramic lot (circa 10.000 Roman wares) identified within the legionary fortress at Potaissa, only 10 of them bear graffiti, tituli picti and manufacturer stamps on their body (0,1% of the total). The ceramic wares were recovered from various areas of the fortress, namely the barracks (praetentura sinistra, praetentura dextra, latus praetorii dextrum, retentura), the legionary baths (thermae), the western gate (porta decumana), and the headquarters building (Principia). In the present study I will offer an interpretation of the finds, as well as an explanation for the extremely rare occurance of manufacturer stamps within the Potaissa legionary fortress. Keywords: Graffiti; Roman pottery; Potaissa; legio V Macedonica; legionary fortress. Rezumat: Din întregul lot ceramic (circa 10.000 de vase de factură romană) identificat in castrul legionar de la Potaissa, doar 10 vase prezintă graffiti, tituli picti şi ştampile de producător pe corpul lor (0,1% din total). Piesele ceramice au fost descoperite în diverse zone ale castrului, respectiv cazărmile soldaţilor (praetentura sinistra, praetentura dextra, latus praetorii dextrum, retentura), termele castrului (thermae), poarta de vest (porta decumana) şi clădirea comandamentului (Principia). În studiul de faţă voi oferi o interpretare a materialului descoperit, cât şi o explicaţie privind problema frecvenţei extrem de reduse a ştampilelor de producător în castrul legionar de la Potaissa. Cuvinte cheie: Graffiti; ceramică romană; Potaissa; legio V Macedonica; castru legionar. "

"Fragmentary artefacts with incised signs from the time of the Dacian Kingdom were discovered at Covasna - Cetatea Zânelor (Fairies Fortress). The main issue is whether these signs are simple scratches or graphic signs. Keywords: graffiti; Dacian Kingdom; Covasna; pottery; letters. Rezumat: În situl de la Covasna - Cetatea Zânelor au fost descoperite materiale cu semne incizate datând din perioada Regatului Dac. Problema care se pune este dacă aceste semne sunt simple zgârieturi sau sunt semne grafice. Cuvinte cheie: graffiti; Regatul Dacic; Covasna; ceramică; litere. "

This article examines graffiti in Naples between 2016 and 2018, arguing for its political importance. My thesis is that erasing graffiti from garbage trucks does not remove the social problems that caused it. Though sometimes seen as an eye-sore by tourists, graffiti offers vital information about the struggles and passions within the city itself. Under Silvio Berlusconi, rubbish became gold, as Camorra member Nunzio Perella stated when arrested in 1992. Three films, Biùtiful cauntri (2007), Gomorrah (2008), and Napoli Jungle (Bagnoli Jungle) (2015) document how toxic waste dumping affected three generations of Italians and continues to be a pervasive problem.

Multimodal graffiti are constrained by the environment in which they are written and by the activities in which graffiti writing takes place. This article examines graffiti collected in Graffiti Park and Nam Van Lake Underground in Macao. The graffiti in the two sites display systematic differences in topics, objectives, subjects, affordance, texture and framing, which are attributed to varied activity types and the multimodality/materiality of public space. Specifically, those in Graffiti Park – a small and secluded area – are products of one-off activities attended by professional writers, ordinary citizens and tourists. Nam Van Lakeside has a more visible space, and yet the graffiti there – largely murals painted by a few commissioned writers – display limited topics/themes under institutional appropriation. The materiality of the wall space also contributes to the variations in styles and contents of graffiti in the two sites.

During the course of 2020 there have been plenty of restrictions on human rights, but there has also been what might be described as ‘artistic anarchy’. Particularly in the period of March–June 202...

Despite modernist precepts, digital projects that use crowdsourcing to annotate large collections of images of paintings and book illustrations with “tags” have encouraged viewers to see things in pictures and to say what they see. Both personal image tagging (ekphrastic in function) and automatic image tagging challenge in different ways the proposition that a painting as such will elide recognizable content.

Mexico has a unique history of deploying man-hunting drones in its militarized arsenal of security patrols to control narco traffickers, bandas criminales and dissident populations. Considered to be the drone capital of Latin America with one of the first Drone Academies to teach the myriad aspects of drone piloting, Mexico is at the forefront of drone surveillance technology. It is also at the vanguard of Drone Art Performance. Angered by what is perceived as militarized surveillance warfare and a violent culture of corruption that operates with impunity, Mexican phygital graffiti artists and activists have responded in collective protest to these post-panopticon tactics with its own counter-hegemonic warfare—Droncita, Mexico’s first grafitera drone. Droncita is an emerging art form that combines the ethical and subversive aesthetics of graffiti street art to physical spaces high above the ground to offer new models of spectatorship, testimony, participation, and political agency. First deployed after the disappearance of 43 students from Ayotzinapa teacher training college, Droncita represents a discursive space to revision art and humanity. This qualitative research demonstrates how surveillance technologies have been refocused and redeployed as an aesthetic genre of political activism and performance to challenge dominant discourses on militarized power.

This article deals with the problem of the functioning of urban space as a communicative platform for the expression of public opinion. The aim of the work is to analyze the culture of graffiti, which draws attention to modern social processes, and the main task is to assess the semantic and sociocultural content of graffiti and their influence on the formation of public consciousness. Based on the concept of the French researcher Roland Barthes, the authors analyzed the location “Bukashkin’s Yard” in Yekaterinburg. The article summarizes the ideas about social processes in cultural, sociological and philosophical terms.

The article cites new literary parallels to a graffiti inscription of the 12th century about the death of Prince Vsevolod-Gabriel, found on the wall of the Church of the Annunciation on the Settlement in Veliky Novgorod as a result of archeological and work by Vladimir Sedov in the summer of 2016–2017. This inscription is a traditional genre of annalistic news of the death of the Old Russian princes. They usually use the expression “weeping and sobbing”, “weeping and longing / sorrow”, in different versions, to refer to the crying and tears of the prince’s squad and relatives. In the inscription under consideration, it refers to the weeping of the squad for the deceased Prince Vsevolod Mstislavich. The author of the article adds a number of other literary parallels to the literary sources noted by the publishers and interpreters of the Annunciation inscription. Especially important for expanding the literary context is the old Russian apocryphal “Homilia for the Resurrection of Lazarus” at the end of the 12th — beginning of the 13th centuries”. An important episode in it is the weeping — the prayer of Adam in Hell, where he turns to Christ. The theme of weeping in the inscription on the wall of the Church of the Annunciation and in the “Homilia on the Resurrection of Lazarus” is expressed in similar words and phrases. The examples of similar expressions and formulas presented here allow us to expand the literary context of the Annunciation inscription about the death of Prince Vsevolod Mstislavich.

Vietnamese American author Thanhha Lai captures the experience and emotions of immersion in another language and culture in her three books, Inside Out & Back Again (2011), Listen, Slowly (2015), and Butterfly Yellow (2019). [...]someone had captured the agony of learning another language when living in a new country. Through her first-person poems, she describes the puzzling parts of a new language, the challenges of making friends with people who look at you as different, and learning in a school system that does not know how to help the language learning and adaptation process. After reading the novel in verse, we talk about the story through a graffiti board in which students write/draw and discuss their initial reactions to the book (image 1).

The main purpose of this work is to provide an unprecedented view on hanzi which a particular group of citizens called graffitists use for their everyday cultural practices. To fulfil the purpose as such, it, most of all, seeks to think of graffiti in general or praxis of graffiti writing as a form of art based upon the de Certaurean conceptualisation of ‘textual poaching’. Taking a more philosophical approach to graffiti from a Spinozian-Deleuzian perspective, it, then, reconsiders both graffiti and graffiti writing to be ‘crimes of styles’ resisting the taken-for-granted law and order that not merely controls urban streets but rules the everyday lives of citizens. In the final analysis, it underlines the cultural value of hanzi against a series of violent assaults carried out by the State on us, the citizens.

A poesia de rua encontra-se cada vez mais presente no meio urbano. Está nos muros, nos postes, nas árvores, porém, muitas vezes tais escritos são considerados produções marginais desprovidas de valor literário. Com o intuito de contrapor-se a essa concepção, a presente pesquisa propõe analisar os aspectos literários inclusos na poesia de rua por meio do graffiti, bem como visa despertar um novo olhar para os leitores explorando e demonstrando a beleza, criatividade e relevância artística/cultural da poesia seja ela em qual contexto esteja inserida. O trabalho procura explanar o caráter ideológico dos escritos de rua vistos como produções marginais realizadas no cenário atual, apresentando seus múltiplos sentidos envoltos pela face poética. Como fundamentação teórica para a análise dos poemas, buscamos os pressupostos do Formalismo Russo, já que seus estudos indicam estratégias de reconhecimento da literariedade do texto, evocando para essa percepção, por exemplo, o uso de figuras de linguagem. Por meio das análises demonstramos que os textos selecionados neste corpus, produzidos em grafitti e pichados em muros, contém literariedade, provocando reflexões e questionamentos no leitor. Para essa pesquisa também contamos com os estudos teóricos de Paz (2012), Lodi (2003), Compagnon (2014), Tezza (2003) e Samuel (2011). O material poético coletado para a realização da análise foi fotografado nos muros da Universidade Federal do Piauí-UFPI.

This essay offers a new perspective on the creative origins, aesthetic qualities, and socio-cultural significance of Tom Wilson’s newspaper comic, Ziggy. More specifically, I point out the ways in ...

As a type of written discourse without guaranteed readership and response, protest graffiti nonetheless projects a participation framework in which protesters address different participants, including not only the government but also other potential ‘participants’ in the social/cultural/political context. This paper studies a dataset of graffiti associated with a protest movement in Macao, China. A survey of the longitudinal data reveals that the contents and visual representation of the graffiti have changed to reflect evolving participation frameworks which are in response to different stages of social movements. While graffiti in earlier stages tends to be more accusatory and anti-governmental, graffiti in later stages shows a shift of protesters’ position more in alignment with patriotism and allegiance to authority. Instead of presenting views competing with mainstream political discourse, our data, with their multimodal resources, draw heavily on Chinese cultural discourses which are supposedly shared among the protesters and addressees in this context.

In the middle of March 2020, Indonesia declared a Covid-19 emergency. This pandemic has an impact on art activities, including the artistic world of graffiti. During this time, the activities of graffiti artists in public spaces were increasingly limited. However, this limitation does not dampen their spirit, especially in terms of organizing exhibitions. Where on May 17, 2020, they held a virtual exhibition titled "Youth Pandemics." This topic is interesting to discuss since organizing a virtual exhibition is a new thing for graffiti artists, especially in Indonesia. This research uses the descriptive qualitative method. This study's results reveal that implementing a virtual exhibition gave new alternative space for graffiti artists during a pandemic. Also, a virtual exhibition is a place to gather for graffiti artists amid their social limitations. Pameran Virtual Graffiti “Pandemic Youth” ABSTRAK Medio Maret 2020 Indonesia dinyatakan darurat Covid-19. Pandemik ini berdampak pada aktivitas seni termasuk di dalamnya dunia artistik graffiti. Selama pandemik, aktivitas artistik pelaku graffiti di ruang publik semakin terbatas. Namun batasan ini tidak menyurutkan semangat berkesenian sebagian pelaku graffiti, terutama dalam hal penyelenggaraan pameran. Dimana pada 17 Mei 2020 lalu mereka menyelenggarakan pameran virtual bertajuk “Pandemic Youth”. Topik ini menarik untuk dibahas mengingat upaya penyelenggaraan pameran virtual ini merupakan hal yang baru bagi pelaku graffiti khususnya di Indonesia. Penelitian ini menggunakan metode kualitatif deskriptif. Hasil dari penelitian ini mengungkap bahwa penyelenggaraan pameran virtual menambah alternatif baru bagi ruang berekspresi para pelaku graffiti di tengah pandemik. Selain itu pameran virtual sekaligus menjadi wadah berkumpul bagi para pelaku graffiti di tengah keterbatasan sosial mereka.

La chapelle dite « à trois loges » à Deir el-Médina (chapelle 1211) est souvent considérée comme faisant partie des chapelles votives en raison de son triple naos, un signe distinctif de ce type de bâtiments à Deir el-Médina et à Amarna, en dépit de la présence ici d’un puits funéraire dans la cour. Que ce puits appartienne ou non à la chapelle, la vingtaine de graffiti figuratifs qu’on y trouve enregistre les activités sociales et votives qui prirent place dans cette chapelle. Ces témoignages de dévotion collective et d’épigraphie rituelle sont probablement à mettre en rapport avec la fête de Sokar à Deir el-Médina. The so-called « chapelle à trois loges » at Deir el-Medina (chapel no. 1211) is usually considered as a votive chapel because it has three naoi, a feature distinctive of this category of buildings at Deir el-Medina and Amarna, in spite of the pit dug in its courtyard. Whether this funerary pit used to belong to this building or not, the 20 or so figurative graffiti that can still be found in the naoi record the social and votive activities that took place in this space. These testimonies of group devotion and ritual epigraphy are possibly to be put in relation with the Sokar Festival in Deir el-Medina. تُعد غالبًا المقصورة المعروفة بـ "ثلاث نواويس" في دير المدينة ( المقصورة 1211) ضمن المقاصير النذرية وذلك لاحتوائها على ثلاث نواويس، وهى علامة مميزة لهذا النوع من المباني في دير المدينة وتل العمارنة، على الرغم من وجود بئر جنائزي في الفناء. وسواء كان هذا البئر جزءًا من المقصورة أم لا، فالمخربشات الموجودة بها والتي يبلغ عددها عشرين تسجل الأنشطة الإجتماعية والنذرية التي كانت تتم فى هذه المقصورة والتي من المحتمل أن يكون لها علاقة باحتفال الإله سوكر في دير المدينة.

Открытая при раскопках храма Афродиты в Нимфее фреска с изображением гребного корабля «Изида» вплоть до настоящего времени остаётся предметом дискуссий, в контексте которых поднимаются самые различные вопросы. Их амплитуда включает как датировку иконографического памятника, так и аспекты, имеющие прямое отношение к морской истории Боспорского царства вообще, военному флоту Спартокидов и их талассократии на Понте Эвксинском, в частности. Тщательное изучение основных узлов конструкции на изображении корабля, моделирование основных размерений и пропорций корабельного корпуса позволяет выявить величины, вполне сопоставимые c памятниками античных кораблекрушений и находками отдельных элементов конструкции боевых эллинистических кораблей. Это позволяет с привлечением имеющихся фрагментарно-эпизодических и немногочисленных данных античной традиции, а также с учётом всей совокупности окружающих «Изиду» изображений других морских судов и разновременных граффити обосновать заявленный в названии тезис, предложив датировку отображённого на фреске исторического события – 288 г. до н. э.

Public discourse, including graffiti, billboards and bumper stickers, is innovative and dynamic, reflecting and often also challenging social values. While graffiti involves defacing public property, bumper-sticker (BS) discourse adds a human “touch” to a metal object, expressing the driver’s identity, and turns the street into an arena for display and communication. The few previous studies of BS discourse explore this type of discourse as a non-traditional means of communication and as a medium of political agency in different societies, with emphasis on the US and Israel. Lammie and Humphreys (2004) classify a corpus of American BSs into nationalistic, ideological, commercial, religious, and philosophical categories. Egyptian BSs, however, remain uninvestigated both linguistically and sociologically. The present paper, combining tools from content analysis, linguistics and ethnomethodology, explores how BSs function differently in Egypt based on a corpus of 581 bumper stickers on private cars, taxis and shuttle microbuses in Cairo. In terms of content, they are argued here to revolve around affiliation (e.g. sport, school, and profession), religion (as an expression of faith and/or invoking God’s protection), and ideology (e.g. photo of Guevara) among other culture-specific conceptual domains. In addition to the content analysis, the paper also analyses BSs in terms of engagement markers, speech acts and intertextuality. The paper concludes with insights regarding the dialogic interactional nature of BSs.

Graffiti art is a controversial art form, and as such there has been little empirical work assessing its aesthetic value. A recent study examined image statistical properties of text-based artwork and revealed that images of text contain less global structure relative to fine detail compared to artworks. However, previous research did not include graffiti tags or murals, which reside in the space between text and visual art. The current study investigated the image statistical properties and attractiveness of graffiti relative to other text-based and pictorial art forms, focusing additionally on the role of expertise. A series of images (N = 140; graffiti, text and paintings) were presented to a group of observers with varying degrees of art interest and expertise ( N = 169). Findings revealed that image statistics predicted attractiveness ratings to images, and that biases against graffiti art are less salient in an expert sample.

Lo scopo di questo elaborato e atto alla divulgazione del continuo crescere del mondo dell’Arte (in particolare della Street Art) e di come esso sia di fondamentale importanza per scoprire artisti che, nei loro elaborati, sono stati pionieri e precursori di nuove tecniche pittoriche, liberando l’estro creativo e psicologico ed unendo quest’ultimo alla tecnologia artistica che si prometteva immortale e capace di poter dare vita a grandi cose con limitati materiali. L’intento di questo articolo e far scoprire elementi ed immagini non ampiamenti trattati, quali appunto il mondo della Street Art. Un’arte non sempre capita ed accettata che ha saputo e dovuto aspettare il momento giusto per esplodere in tutta la sua potenza narrativa e conflittuale, con episodi che riguardano la comunita, la popolazione ed il sociale. Ideata soprattutto per entrare a far parte della memoria collettiva con violenza di immagine e di colore. Il progetto mi ha portata a toccare con mano uno dei tanti manufatti artistici del movimento della Street Art, Il murales di Keith Haring ad Amsterdam, facendomi capire, apprezzare e comprendere le problematiche intrinseche a questo tipo di opere, semplici e sintetiche ma mai semplicistiche. E stato quindi condotto un progetto, uno studio ed un’ipotesi di restauro su di una delle tante opere lasciatoci da Haring. Quest’ultimo ha avuto come obbiettivo quello di portare nuovamente alla luce il murales realizzato nel 1986 dall’artista e situato all’interno del Groothandeles Market di Amsterdam. Non piu visibile da trent’anni, l’opera era coperta da pannelli isolanti posti due anni dopo la sua realizzazione. Con i Professori Antonio Rava e William Shank, l’associazione Keith Haring Foundation di New York, lo Stedelijk Museum di Amsterdam e con la galleria Vroom & Varossieau specializzata in arte di strada, l’8 Giugno 2018, i grandi pannelli di lamiera metallica sono stati tolti ed e stato nuovamente possibile ammirare uno dei piu grandi murales di Haring. society through their artwork, a power that unites sentiment and encourages change. It is art which affects the community, the population and society. It is designed above all others to become part of the collective memory through violence of image and colour. This project led me to come into contact with one of the many artistic artefacts of the Street Art movement, the Keith Haring’s mural in Amsterdam, a piece that makes me. understand and appreciate the problems inherent to these type of works, simple, synthetic, but never simplistic. Therefore, a project, a study and a restoration hypothesis were conducted on one of the many works by Haring. The purpose of this was to shed light once again on the mural made in 1986 by the artist, situated in the Groothandeles Market of Amsterdam. No longer visible for thirty years, the mural was covered by insulation panels placed two years after its creation. With professors Antonio Rava and William Shank, the association Keith Haring Foundation of New York, the Stedelijk Museum of Amsterdam, in collaboration with the gallery Vroom & Varossieau, specialised in road art, on 8 June, the large metal sheet panels were removed and one of the greatest murals by Haring could once again be admired.

Determining the features of the visual display of sports life in the existing street art of Ukraine. Issuing recommendations on the conceptual improvement of the visual display of sports life in the existing street art of Ukraine, for the created objects of art and design related to the reflection of personality in sports. The paper used the methods of systematization and updating of analytical information about the features of the visual display of sports topics in the street art of Ukraine. The accumulation, systematization and implementation of information was carried out by studying specialized professional literature, relevant sites, field studies in Kyiv and the region. Studies were conducted with a focus on street art in large cities of Ukraine. The main displays of sports life in the existing street art of Ukraine are identified and characterized. The main trends of the visual series of modern street art of Ukraine, reflecting sporting events, are described. A comparative analysis of some trends in the design of murals and graffiti is done. Abstract recommendations are given for improving street art in the country. The paper describes the features of street sculpture, murals and graffiti of the country. Abstract recommendations are given to improve the modern street art of Ukraine, aimed to solve aesthetic and, as a result, ethical problems.The paper shows modern trends in the design of murals and graffiti of Ukraine, reflecting the sports life of Ukraine, which can serve as a guide for creating new murals.

This paper seeks to examine urban Art in Kenya as an integral part of urban culture with particular emphasis on ‘matatu’ graffiti, (an off-shoot of ‘mural’ graffiti that is depicted on medium-sized vehicles used for urban public transport) as an avenue for self-expression among the youth in Nairobi, Kenya. It will also examine other forms of related art, such as the genre of painting referred to as street art and explore the genesis of themes and subject matter that interest the youth. In order to generate a chronology of thoughts, the paper approaches the above first from the broad spectrum of urban culture and what it entails and then breaks it down to one of the most critical and visible elements of urban culture which is urban Art which, in turn, encompasses many forms of visual creativity both in two dimensional and three-dimensional dispensations that manifest themselves within an urban environment. The paper delves substantively on the generation of broad themes that form the basis of varied subject matters that are regularly depicted in matatu graffiti. These broad themes often derive or emanate from sociocultural, socioeconomic, religious and political factors. The paper also examines the age bracket (herein referred to as The Youth) which embraces urban Art both in terms of its execution and its consumption as well as the underlying factors that seem to make it broadly attractive and acceptable as a means of self-expression, collective discourse and social commentary among the youth. The paper finally examines the relationship between matatu graffiti and hip-hop, a genre of music characterized by terse verbal symbolism and which is increasingly associated with urban culture and the complexities of social expression in the contemporary urban world.

This research studies the discursive ways in which male student graffiti at Midlands State University reveal ethnic tensions between the Shona and Ndebele of Zimbabwe. The study is carried out in a...