Thesis (M.A. Ed.)--Georgia State University, 2009. / Title from title page (Digital Archive@GSU, viewed July 1, 2010) Melody Milbrandt, committee chair; Melanie Davenport, Teresa Bramlette Reeves, committee members. Includes bibliographical references (p. 49-50).

Th.--Sci. polit.--Paris 13, 1982.

This study investigates classroom graffiti by U.S. college students. The data analyzed were collected in nine classrooms randomly selected from two buildings at a major land grant university. In all, 1,758 examples of identifiable pieces of graffiti were collected and analyzed from 419 desktops. Using data supplied by the University Registrar, the types of students who attended classes in these classrooms by major, gender, and class composition are correlated with the quantity and quality of desktop graffiti found. These graffiti are analyzed in order to gauge what some of the pressing issues are for students, and are useful in informing the university of what issues are most important to those students who engage in this activity. The findings suggest a strong interest in four main areas: sex, the University, drugs, and Greek organizations. One pattern that stands out is the large amount of sexual graffiti an anti-homosexual nature. A larger amount of graffiti appears in the liberal arts building compared to the engineering building. Student major and gender, as well as professor's gender, do not appear to be correlated with either amount or content of the graffiti studied. Instead, it is suggested that the course being taught and the room in which the class is held may be more strongly correlated with the amount and content of the graffiti found on classroom desktops. Notable in its absence is virtually any student graffiti of a racist nature. / Master of Science

The overall aim of the thesis is to explore and analyse graffiti in a translocal context, by asking questions about the actors' view on activity, meaning and interaction. The study has been located to a physical place, Jönköping, where actors with different interest perform graffiti-related activity. The study is based on qualitative data where participant observation and interviews form the two main methods. The study also utilizes other materials, such as newspaper articles and municipal documents. Central for the theoretical orientation is that empirical data has been collected that is first-hand information on how the actors themselves find meaning in graffiti. This implies a constructivist perspective on knowledge where meaning shifts depending on whose perspective is analysed. Theoretically, the study also is linked to Becker and his arguments that research in deviance must take notice of the interaction between actors who are perceived to deviate and those actors who respond to the deviant group. The actors consist of two main groups; graffiti writers and interveners. Graffiti writers mainly consist of young men who describe themselves as belonging to a global graffiti culture. The word “interveners” has bee selected as a generic name for actors who are involved in graffiti issues due to professional duties. Similar to the graffiti writers' interveners find the meaning in graffiti by actively select information from an “outside”, which corresponds with their professional commitment. The analysis links different approaches to perspectives of combating crime, confirming art and caring for the young men's socialisation. From those different understandings, three parallel patterns of interaction are observed. Interaction developed around graffiti as a crime has elements of a battle situation. From the graffiti writers' perspective, this fight is important when designing the local scene as an integral part of a global graffiti context. At the same time there are disadvantages managing an enemy. On a personal level, individual graffiti writers have to make an estimate how graffiti writing will affect life in the long term. Interaction developed around graffiti as an art form unites graffiti writers and interveners in an ideological consensus where graffiti can be seen as an art form that adds creative qualities to urban space. One significant difference is that the graffiti writers find the local arena as an important place. This local orientation is not necessary when actors from a cultural sector put attention on graffiti. Youth workers way of caring for graffiti writers follows a tradition of social work. This approach focuses the graffiti writers themselves and how to redirect them to accepted forms of artistic expression. The youth workers have good potential to make contact, but it seems difficult to establish long-term relations because graffiti writers themselves do not find it necessary to formalize graffiti as a scheduled activity. A conclusion made is that there is something locked up about graffiti issues because actors see graffiti from their "own" perspective, and at the same time they remain critical of alternative approaches. Somewhat contradictory to an interaction structured around distinctive perceptions, the study shows that actors express uncertainty about what they are doing. Such critical self-reflections seem to be perceived as personal objections and are not shared with others. This, together with the fact that interest in graffiti comes and goes in waves, adds ambivalence to the conflictual field of graffiti. The thesis ends with a hypothetical discussion of how the conflict level could change if graffiti would be met with a differentiated policy.

Thesis (Ph. D.)--UCLA, 2008. / Vita. Description based on print version record. Includes bibliographical references (leaves 329-334).

No description available.

Detta är en kandidatuppsats i etnologi. Ämnet för studien är graffiti, närmare bestämt hur  graffitin och dess utövare påverkas av att det är olagligt att klottra. Med ett kvalitativt  intervjumaterial och teoretiska begrepp lånade från aktör nätverksteori så försöker  forskaren att genom klottrarnas egna ord redogöra för hur klottrarna på olika vis influeras  av att deras uttryck är förbjudet. Studien tar upp frågor om vad som fick de intervjuade  personerna att först börja med graffiti, vad som görs för att stoppa dem från att klottra,  vad som händer om klottrarna blir gripna och vad de gör för att försöka undvika detta.  Ämnen som klottrarnas värdering av sin graffiti, graffitins visuella stil och k-märkt graffiti  behandlas och analyseras i relation till syftet.

Pintor

Urban Voodoo mimics semiotic phenomena, which constitute language and functions as a system of signs that intra-act ambiguously within their own system. This project explores the link between the ambiguous signs of the worm, what looks like a mimesis of icons/symbols, and the way in which simulations are caught up in semiotic implications. Urban Voodoo, which followed on from my earlier Project Iroiro, developed language precursors from the study of the marks of the worm, creating different patterns and styles, and generating language-like effects. Using this system of signs, my project explores the idea that humans are part of a system operated by language, and examines the notion that language itself may be disrupted. To explore this, my project is about layers of competing imprints, about 'languages' tagged into spaces occupied by several graffiti artists within a local skate park. Urban Voodoo acts as a new Graffiti system. In mimicry, organisms make themselves resemble others or their environment. Icons 'look like' what they represent; simulation proposes 'to be' what it suggests. These concepts of assimilation and representation will be explored to understand and interrogate the power balance of language systems, starting with a specific local situation, the skate park. Latin; Inter" denotes "among" or "between," so "between symbols" or "among symbols" is a reasonable meaning. "Intra" denotes "within," as "intra muros," meaning "within the walls.". See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn1 Iroiro, the mark of the worm found in nature, under the bark of trees or etched into the surface of seashells. It is these intriguing patterns that are of interest to this research. These marks perform a role in which systems of language surface. See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn2 Graffiti Piece; the terminology used to define larger works of graffiti art as opposed to tagging, a form of territory recognition mark. See also http://arden.aut.ac.nz/moodle/mod/forum/discuss.php?d=3410#_ftn3

Syftet med arbetet är att belysa möjligheter och metoder för ett ämnesövergripande arbetssätt mellan bild och slöjd genom nutida konst-och hantverksfenomen såsom gatukonst och graffitiarterna, samt att undersöka pedagogernas uppfattningar om de sätt genom vilka de arbetar med dessa konst- och hantverksfenomen i undervisning och i sina kurser. Utgångspunkten är att studien ska besvara hur lärarna arbetar ämnesintegrerat mellan Bild och Slöjd och hur pedagogerna förhåller sig till gatukonst och graffitiarterna i sin undervisning och i sin verksamhet. Frågan om hur dessa konstformer kan motiveras som undervisningsinnehåll ska också få svar. Kvalitativa intervjuer har gjorts med informanter med skilda erfarenheter av området, men de är alla lärare, lärarutbildare eller workshopsledare. Resultatet är belyst ur ett sociokulturellt perspektiv och med Foucaults teorier om makt och diskurs. Skillnader och likheter i pedagogers förhållningssätt har synliggjorts och vilken plats gatukonst kan ha i ett skolsammanhang. Synen på Bild och textilslöjd, som i samhället kan motsvaras av konst och hantverk, står inför en förändring och får en ny plats i en samtida kulturkontext.