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This article explores the connection between literature and street art vandalism, using the example of a mural featuring a quote from a love letter written by Jarosław Iwaszkiewicz, a prominent twentieth-century Polish writer. In addition to highlighting this specific incident, we draw attention to other instances of hate vandalism directed at LGBTQ+ artwork in Poland. Through this, we reveal a broader trend of recent political mobilization against gay rights art. Our analysis underscores the complex nature of art vandalism as a form of communication that is situated within a particular political and social context, shaped by the values and beliefs of those responsible for the vandalism. [ABSTRACT FROM AUTHOR]

The central region of India, home to several tribal groups, is rich in cultural heritage, with the Gond tribe being one of the largest and most renowned for its artistic traditions. Gond painting, in particular, has evolved from wall art to canvas, gaining global recognition. This study examines the transformation of Gond painting, focusing on female Gond artists from Patangarh Mal village in Madhya Pradesh. Through 87 in-depth interviews, 3 case studies, and long-term observations, this research explores the evolution of Gond art, the challenges women face in adapting to technology, navigating markets, and interacting with media, and their current socio-economic status. The findings reveal that while the content of Gond painting has shifted to address contemporary issues, women artists struggle with patriarchal norms, low literacy, and limited mobility. These challenges hinder their professional growth and market engagement, resulting in noticeable disparities compared to male artists. [ABSTRACT FROM AUTHOR]

This article proposes a semiotic analysis of the feminist Street art provided by the Spanish artist BToy and the Chilean artist Isonauta, putting the focus on their ability to express themselves in the streets, to make women visible and to pose a coherent imaginary that allows them to dialogue with the observer. In the context of several social movements that have contributed to strengthen feminist networks, both globally and locally, since 2018, their works expose messages with clear symbols that reinforce the social identity of women, develop a powerful iconographic memory and allow to contemplate new feminist perspectives in their societies. [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 Earth’s vital ocean is constantly changing and is at risk due to pollution, overfishing, and climate change (Pörtner et al. 2022). Research highlights the importance of personal attachment to the sea in fostering responsible stewardship (Chawla 2020; Pyle 2003). In urban areas, opportunities for human-nature interactions are limited, making mediated experiences, i.e., indirect interactions a crucial tool for fostering ocean stewardship. Murals, a form of street art, are prevalent in many cities around the world (Schacter and MacDowall 2023) and have been suggested as tools to promote community engagement and raise environmental literacy and awareness (see Mattern 1999; Sanchez et al. 2020; Schneller and Irizarry 2014). Based on the lessons learned from the project “From Sea to Street”, we hypothesise that murals evoke emotions, thoughts and memories, thereby shaping and strengthening people’s connection to the marine environment.

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.

With a point of departure in the creation of an unsanctioned street installation made in Granada, Spain, in 2005, this essay considers some of the central characteristics of street art. It further discusses some of the conditions under which urban environs may become places for autonomous interventions, experiences and reflections rather than spaces people merely pass through. [ABSTRACT FROM AUTHOR]

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.

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]

The present work investigates the physicochemical stability of spray paints when irradiated with artificial solar light (at spectral range 300–800 nm). This research highlights the importance of understanding the materials used in street art and public murals, recognising them as a significant component of contemporary cultural heritage. By examining the stability and degradation of spray paints toward solar light exposure, the study aims to contribute to the preservation of contemporary murals, which reflect current social and cultural narratives. A physicochemical approach was employed for the study of spray paints' physical and thermal properties, as well as the effect of specific photochemical ageing reactions/processes. The photochemical ageing results were compared with reference (unaged) samples. Specifically, a multi-technique approach was applied using stereo microscopy, scanning electron microscopy (SEM), atomic force microscopy (AFM), contact angle measurement, colorimetry, glossimetry, differential scanning calorimetry (DSC), UV-Vis spectroscopy, attenuated total reflectance-Fourier transform infrared spectroscopy (ATR-FTIR), and pyrolysis-GC/MS (Py-GC/MS). The photodegradation of the spray paints occurred from the first 144 h of solar light irradiation, resulting in changes in morphology, colour, gloss, roughness, and wettability. Regarding photochemical stability, ageing seems to affect the binders more than the synthetic organic pigments and the inorganic fillers. In particular, acrylic binders showed small chemical changes, whereas the alkyd, nitrocellulose, and styrene binders underwent severe chemical modification. The results suggest that simulated daylight irradiation prompts the migration of additives toward the surface of the spray paint films. In addition, the results of the analyses on the white spray paints in comparison with the coloured paints (from the same manufacturer) showed that there seems to be an active distinct photoageing mechanism involving titanium dioxide, but the whole issue needs further investigation. [ABSTRACT FROM AUTHOR]

Street art, with a particular emphasis on murals, plays a crucial role in shaping the cultural DNA of contemporary cities. A prime example of this is the mural "Four Seasons with Kora" in Warsaw, which is dedicated to the renowned Polish artist Kora (Olga Jackowska). This large-scale mural, which combines the artist's portrait with a chestnut tree motif, visually changes with the season, influencing the artist's social perception. This study analyzed murals' functions in social, cultural, and ecological contexts, highlighting their role in informal education and as a platform for social dialogue and integration. Using research methods such as visual analysis and examining comments and reactions on social media, this work aimed to understand how a mural integrates with its surroundings and is perceived throughout different seasons. The results indicated that the mural has become an important element of public space, not only for beautifying the city but also for stimulating social and cultural reflection. [ABSTRACT FROM AUTHOR]

The purpose of the article is to establish the design and artistic means of forming the cultural-artistic context of modern anthropogenic space. The research methodology involved the use of synthesis and analysis methods with the involvement of interdisciplinary connections (architecture, art history, cultural studies, psychology, design), which made it possible to develop the available theoretical and practical experience on the subject of the article; the method of theoretical generalisation was used to formulate conclusions regarding the outlined problem. The scientific novelty of the article lies in the fact that it actualises the issue of the role of the visual and plastic language of design in the formation of the communicative and cultural content of the anthropogenic environment. Conclusions. With the change of socio-cultural, political and economic conditions, people's requirements for their environment also change. Design and artistic techniques make it possible to dynamically adjust the visual context of the space, to modernise it. The visual plastic design language of the modern anthropogenic environment is presented in artistically decorated stationary and moving objects, their parts, which add character and individuality to it, cause certain emotions in people who interact with such a space. The presence of murals, graffiti, street stencils, sticker art, aerosol art, posters, photo wallpapers, knitted graffiti, mosaics, LED art, media facades, sculptures, video mapping contributes to the formation of a new visual context of the environment, 3D images. Unsystematic, chaotic formation of the visual context of the space can disrupt its artistic integrity. It is worth considering the location of the object, its role in the general structure of the environment, architectural, historical or ethnic context. [ABSTRACT FROM AUTHOR]

This essay engages with Guias do Mocho [Mocho's Tourist Guides], a bottom-up cultural tourism initiative emerging in Quinta do Mocho, a 'peripheral' neighbourhood of Lisbon, as a way of problematizing the relationship between public and street art and social media aesthetics. Scholarship on digital creative industries and street art tourism tends to emphasize the complicities of this kind of cultural experience with neoliberal understandings of the urban space. By examining an example of bottom-up, localized guided tours that operates through social media in the context of peripheral areas of Lisbon, we argue that public art and social media should be seen as part of a more complicated correlation, one in which the affects and effects of creative, site-specific projects are actively developed and expanded in unforeseen ways. Our research demonstrates that public art and social media are mutually developing a renewed economy of attention and system of valorization. The critical examination of both elements is compulsory when measuring the impact of art-driven processes of community development. [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.)

The article analyses public art within the framework of the cultural approach – as a form of visualization of the city’s cultural code. The author examines the variants of public art comprehension existing in the Russian academic discourse and identifies the two most common approaches to the interpretation of art in the public space. According to the first approach, public art is interpreted as “commissioned” art, which is an instrument of the state’s ideological policy, and is therefore evaluated negatively. According to the second approach, public art is understood in a less evaluative and more meaningful way, emphasizing the variability of artistic practices existing within it, their focus on communication with society, participation of residents, and reflection of locally significant meanings. The article emphasizes the commemorative functions of public art and comprehends its role in the actualization of the city’s cultural memory and representation of urban identity. The author explores what historical, cultural, and mythological narratives are depicted on the murals in Veliky Novgorod, created within the framework of the All-Russian Street Art Festival “Pages of History” (2019–2023). The article proposes to categorize Novgorod murals into the following thematic groups: 1) genius loci; 2) historical subjects; 3) myths and legends; 4) cultural heritage; 5) natural objects; 6) modern heroes. Art in Veliky Novgorod’s public spaces, especially located in typical Soviet districts, serves to individualize the urban environment and create new points of attraction for the city dwellers. Murals have become part of new excursion routes that run both through the symbolic city center and the city outskirts. The author argues that the subjects represented on the murals are authentic for Veliky Novgorod, contribute to the formation of local identity, enhance the imagery of the urban environment, and emphasize the uniqueness of the Novgorod cultural landscape.

BetingVillage is one of the urban sub-districts in Pontianak City, precisely in East Pontianak District. The local community views Kampung Beting with a negative image. This village looks busy and dirty because it was built on river water. Efforts that need to be made to improve the quality of the village environment are the PKM Activities for Improving the City Village Environment through Visual Street Art in Beting Village, Pontianak City. The aim of making visual street art is to beautify the village by painting the walls of residents' houses using bright colored paint.PKM is implemented using participatory and collaborative methods, starting from the preparation stage for determining the design, implementing wall drawings, and the final stage of socialization with the community. The image design concept chosen is Air Beting Village. The choice of street art design theme considered the characteristics of Kampung Beting as a sub-district where most of the residents' houses are above the water. This activity will add to the beauty of the environment and increase the attractiveness of Kampung Beting as a new tourist destination in Pontianak City

The text describes a mural called The Dharma Mural, created by street artist "Crayone" Rigel Juratovac in San Francisco's Mission district. The mural, painted in 2018, features four internationally recognized humanitarians: Gandhi, Cesar Chavez, Martin Luther King Jr., and Mother Teresa. The mural represents principles of non-violence, compassion, and unity in diversity. It was created as a way to restore a sense of community after a fire destroyed nearby buildings and displaced residents. The mural is seen as a symbol of hope, promise, and peace, and it has the power to transform perspectives and inspire viewers. [Extracted from the article]

This article, titled "In Between," explores the author's personal journey of self-discovery and connection to nature through self-portraiture. The author describes how photographing themselves in various landscapes helped them feel alive and connected to the earth. They discuss the transformative power of nature and the importance of finding solace in the in-between phases of life. The article also includes several photographs taken by the author during their time in Maine. The author, Ciarra K. Walters, is a multidisciplinary artist based in Baltimore, Maryland. [Extracted from the article]

This study features the perspectives of language teacher-researchers as ethnographers exploring the urban semiotic landscape in the historic district of Bogotá, Colombia. We posed a question: What can teacher-researchers learn from studying this urban semiotic landscape through a decolonial lens? Using collaborative ethnography, we analyzed how teacher-researchers engaged with wall art. They recognized that representations of racial and linguistic diversity in wall art make local sources and ways of being visible for decolonizing education. Decolonizing educational research might be one step toward decolonizing resources and territories in Latin American societies. [ABSTRACT FROM AUTHOR]

Contemporary murals and street art play a critical role in urban culture, serving as platforms for social activism and reflecting the vibrancy of city life. This study within the SuperStaAr project framework examines the challenge of graffiti removal while safeguarding the original synthetic paint layers. Through a detailed investigation using Q-Switch and Long Q-Switch lasers (Nd:YAG), we evaluate the effectiveness and safety of laser cleaning techniques on both unaged and artificially aged mural mock-ups. The initial findings highlight the Q-Switch and Long Q-Switch lasers as promising for removing graffiti without compromising the paint integrity. Our assessment criteria—encompassing residue presence, surface roughness, color changes, cleaning effectiveness, and pigment pickup—were validated through empirical evaluation and supported by colorimetric, micro–ATR–FTIR, and Py–GC/MS analyses. Notably, the incorporation of a passive sampling system for Py–GC/MS analysis facilitates a deeper understanding of the ablated materials without direct sampling from the artwork. This research contributes a foundational framework for the evaluation of laser cleaning in mural conservation, emphasizing the importance of tailored strategies to enhance the sustainability of urban art conservation efforts. [ABSTRACT FROM AUTHOR]

There is broad consensus regarding the fact that street art is a form of social, political and cultural protest and critique. However, rather than one single form, street art consists of a wide range of complex and contradictory styles featuring a diversity of interests, derivations and conflicts with underlying factors of both a structural and contextual nature. Taking as examples the cases of Pinacoteca aCel Obert and Pinta Malasaña, in Barcelona and Madrid respectively, this article explores the production of urban art and notes how, as part of plans to revitalize neighborhoods, it assumes different versions in harmony with the characteristics and circumstances of the surrounding areas. Using a qualitative methodology, it explores the conception, development and results of both projects, revealing the heterogeneity of explanatory factors, the complexity of their implementation, and the role, which is not exempt from conflict and rivalry, of street artists in the urban space. [ABSTRACT FROM AUTHOR]

This paper explores the unique interplay between graffiti practices, 'gentle privatism', and urban space in Block 45, a large housing estate in New Belgrade. Focusing on the informal code of conduct adhered to by local graffiti artists, the study examines how these unwritten rules shape social hierarchies and community dynamics. Through an analysis of graffiti's territoriality and its role in place-making, the paper reveals how artists navigate the tension between public and private domains, challenging conventional neoliberal urban paradigms. By appropriating public spaces, graffiti writers transform common walls into valuable canvases that reflect the collective identity and mutual respect within the ambience of Block 45. The paper argues that this form of gentle privatism not only asserts the presence of the artists but also enriches the urban landscape and strengthens community bonds. Ultimately, the study highlights the sociocultural significance of graffiti as a medium for cultural expression and social commentary within the context of privatism. [ABSTRACT FROM AUTHOR]

The coup of 1980 in Turkey was considered a negative impact of effective and long-term changes. Everything, including the historical process, political, economic, social and cultural phenomena, as well as street and art concepts, has been shaped before and after the 80s. The first half of the 80s became a period for Turkish art when works were published and bought and sold as commodities. After 1980, there was a major break in the field of visual arts, both in reviewing the subjects discussed and in the forms of creation. Artists who worked on the distribution of arbitrary border lines between political, economic, social or cultural products until the 80s gained a freer understanding of art in the 80s. With these understandings, after the 1990s, Turkish artists have signed practices that are open to diversity in art and are increasingly appreciated as interdisciplinary and interdisciplinary. This diversity has been provided with opportunities in the interdisciplinary and interdisciplinary period in which the art environment has been cultivated along social and cultural mobility such as global production, freedom, technological developments and international markets. Expanding the interdisciplinary and extreme expressions of disciplines within the scope of the research and examining the selected examples in a more comprehensive manner, revealing the results that Bitcoin has created in the last period and afterwards. [ABSTRACT FROM AUTHOR]

Copyright of Trabalhos em Lingüística Aplicada is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos 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.)

Street art and graffiti are pervasive artforms found throughout the world and throughout history. While the artforms have been associated with crime and vandalism in the past, they have increasingly been featured in different capacities from art galleries to corporate marketing campaigns. With street art's growing recognition and popularity, corporations have begun to use the medium to target new customer bases. In some situations, the use of artwork in marketing campaigns is unsanctioned by the artist. Therefore, courts have now begun to examine the balance between copyright protection for street artists and the corporate use of street art. Section 120(a) of the Architectural Works Copyright Act of 1990 (AWCPA) provides a limited panorama right to take pictorial representations of architectural works that are visible to the public without fear of copyright infringement. Specifically, the Central District of California and the Eastern District of Michigan have grappled with the copyright protections for street art appearing on buildings in the background of ad campaigns and Section 120(a). This Note argues that the exemption found under Section 120(a) should be limited to noncommercial uses of street art in order to balance street artists' copyright interests with the relative resources of companies that wish to use the artwork. Limiting Section 120(a) to noncommercial uses would also align with the congressional intent behind the exemption and would be analogous with other Berne Convention signatory countries who also provide a limited panorama right for noncommercial uses. Courts and the general public have recognized the valuableness of street art and graffiti. Therefore, street art should receive increased copyright protection similar to other artforms. [ABSTRACT FROM AUTHOR]

With the increasing incidences of orbital wall injuries, effective reconstruction materials and techniques are imperative for optimal clinical outcomes. In this literature review, we delve into the efficacy and potential advantages of using titanium implants coated with nanostructured hydroxyapatite for the reconstruction of the orbital wall. Titanium implants, recognized for their durability and mechanical strength, when combined with the osteoconductive properties of hydroxyapatite, present a potentially synergistic solution. The purpose of this review was to critically analyze the recent literature and present the state of the art in orbital wall reconstruction using titanium implants coated with nanostructured hydroxyapatite. This review offers clinicians detailed insight into the benefits and potential drawbacks of using titanium implants coated with nanostructured hydroxyapatite for orbital wall reconstruction. The highlighted results advocate for its benefits in terms of osseointegration and provide a novel strategy for orbital reconstruction, though further studies are essential to establish long-term efficacy and address concerns. [ABSTRACT FROM AUTHOR]

Using the example of graffiti created by famous artists on the walls of buildings and structures damaged during hostilities in Kyiv and its suburbs, the article analyzes and summarizes the factors influencing the lifespan of street artworks. Special conditions for dismantling graffiti and changing the exposure are considered. Examples of measures taken to preserve art objects are given. The study provides recommendations for additional protection of building structures, which are the basis of murals, taking into account their condition and degree of destruction. The authors provide photographic materials and results from some of the most common objects. Also provided are constructive schemes for strengthening the building elements or their fragments and options for technological solutions for protection, preservation and further dismantling. The article also includes materials from already implemented projects: applications of street art, which were saved using these other methods and techniques. [ABSTRACT FROM AUTHOR]

This manuscript investigates the cultural and educational dimensions of murals and graffiti in the ruins of the Aliko Hotel on Naxos Island. Moving beyond their aesthetic value, these artworks are examined as conduits for complex sociocultural and educational discourses. Employing semiotic analysis, particularly informed by Roland Barthes' conceptual framework, the study offers a multi-layered interpretation of the significance of street art. A systematic approach guided the empirical data collection, entailing the careful selection and categorisation of 76 photographs, eventually honed down to 21 key images for detailed analysis. This set, comprising 6 murals and 15 graffiti pieces, was subjected to meticulous examination to discern both dominant themes and motifs ('studium') and the elements evoking personal connections ('punktum'), thereby facilitating emotional and intellectual engagement. The methodology of the study is tailored to uncover the collective narratives encapsulated within these visual forms, as well as the individual responses they provoke. It probes how personal interpretations are influenced by the viewers' beliefs and backgrounds, thereby expanding the semiotic analysis to encompass both shared and individual meanings. This balanced analytical approach deepens the understanding of visual expressions as dynamic interactions between the artwork and its audience. It underscores the transformative role of street art in urban environments and its contribution to public art discourse. The impending demolition of the Hotel Aliko ruins underscores the ephemeral nature of street art. The murals and graffiti, as transient custodians of cultural and social narratives, accentuate the fragile nature of this cultural heritage. This critical moment underscores the importance of documenting and preserving such art forms and the stories they encapsulate, highlighting their significant role in shaping community identity and cultural education. [ABSTRACT FROM AUTHOR]

This article deals with the intertwine between street art and the practice of democracy in post-Soeharto Indonesia. It attempts to investigate the role of street art in the contemporary political landscape of Indonesia, especially two decades after the reformasi (reformation) movement. Reformasi, which was marked by the collapse of the New Order regime in 1998, is regarded as a turning point in Indonesia's democracy after 32 years of authoritarian government. Street art took a crucial part in that historic moment as a medium of protest. This study shows cases of the Anti-Tank Project, one of Yogyakarta’s street artists, posters with four prominent issues: human rights, gentrification, rotten politicians, and anti-corruption, which are pivotal issues in strengthening the democracy agenda in Indonesia. I argue Anti-Tank Project has a significant role in the production of a new space of democracy through his works. This article investigates 12 Anti-Tank posters by employing the Peircean semiotic perspective and analyzes them through theoretical and conceptual approaches, namely democracy and participation, relational aesthetics, new social movement, and alternative media.