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Submitted by Livia Mello (liviacmello@yahoo.com.br) on 2016-09-30T18:06:15Z No. of bitstreams: 1 DissGRE.pdf: 20596395 bytes, checksum: 662d48320b8a4f1d65cde94f98b0731e (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T16:17:50Z (GMT) No. of bitstreams: 1 DissGRE.pdf: 20596395 bytes, checksum: 662d48320b8a4f1d65cde94f98b0731e (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T16:17:56Z (GMT) No. of bitstreams: 1 DissGRE.pdf: 20596395 bytes, checksum: 662d48320b8a4f1d65cde94f98b0731e (MD5) / Made available in DSpace on 2016-10-20T16:18:03Z (GMT). No. of bitstreams: 1 DissGRE.pdf: 20596395 bytes, checksum: 662d48320b8a4f1d65cde94f98b0731e (MD5) Previous issue date: 2016-03-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This research aims to investigate the mechanisms of creation and production by the British artist Banksy, the leading exponent of what became known as Street Art in the early 2000. It starts with his incursion as an audiovisual director of the work launched in 2010 Exit Through the Gift Shop to discuss the relations between the street artist and the documentary filmmaker. From the constitutive elements of the filmic text it is noticed various mirroring of the processes initiated by the artist: appropriation and subversion of cultural texts, parodying and social criticism. Initially it discusses the film from the perspective of some film theories (markedly the documentary film) and other film genres. Following it draws up an overview of the genesis of Street Art and its reception and finally it shows the intersection and dialogue between the street artist and the documentary filmmaker based on the proposals of Julio Plaza and the Intersemiotic Translation. / A pesquisa propõe a investigação dos mecanismos de criação e produção do artista britânico Banksy, principal expoente do movimento que ficou conhecido como arte de rua no início dos anos 2000. Parte-se de sua incursão como diretor audiovisual da obra Exit Through the Gift Shop, lançada em 2010, para discutir as relações entre o artista de rua e o documentarista Banksy. A partir dos elementos constitutivos do texto fílmico, notam-se espelhamentos com os processos encetados pelo artista: apropriação e subversão de textos culturais, parodização, crítica social. Inicialmente, discute-se o filme pela perspectiva das teorias do cinema (marcadamente de filmes documentários) e dos gêneros cinematográficos. Em seguida, traça- se um panorama sobre a gênese da arte de rua e sua recepção; e, finalmente, os processos de intersecção e diálogo entre o artista de rua e o documentarista, embasados principalmente nas propostas de Julio Plaza e da Tradução Intersemiótica.

This thesis in Art History and Visual Science is about values to graffiti and graffiti artist Banksy. I have studied values relating to Banksy´s graffiti images through which context they are placed in and where they are located. I have selected two different images of Banksy as an example on the basis of a transnational phenomenon, where the images that circulate in the public arena by street art and other images and imported into the galleries and consumption market. My conclusion is that the values of the images are based on the context in which each room have its surroundings and that therefore the impression will increase. The public space context, signal availability and the white cube context indicates art, and the commercial context signals goods and items that can be bought. Therefore the values for the images are based on the context in which each room says to the environment and the surrounding impressions accruing to the picture. Hence, when Banksy's images circulate in these three rooms they are received and valued based on which place the pictures are in, based on context and the background ideas you have for the expression.

Uppsatsens ämne berör transformation av bilder i påverkan av olika mekanismer och kontext. Fokus ligger på verket Girl and Balloon (2004), ett gatukonstverk av Banksy. Uppsatsen undersöker verkets omvandling från gatumålning till en perfomanceakt och dess rest Love is in the Bin (2018). Det empiriska materialet består av fotografier samt filmupptagningar, till största del från konstnären själv. Syftet är att försöka tolka underliggande betydelser i de tre verken samt eventuella betydelseförskutningar i transformationen. Det teoretiska perspektivet bygger på Anna Dahlgrens teori om bilders rörelser och presenteras som en social bildbiografi uppbyggd med stöd av en ikonografisk analys enligt Erwin Panofskys metod. Dispositionen består av bakgrundsbeskrivning av konstnären samt analyser av de tre verken. Resultatet visar på att de estetiska förändringar som föregår Love is in the Bin (2018) är process från urban väggmålning, till målning på inramad canvas, till målning och ram som  självförstörande installation samt en genom film och fotografi dokumenterad performanceakt. Mekanismer som påverkar transformationen är den institutionella konstvärlden och den kommersiella konstmarknaden och verken tolkas som en reaktion mot detta. Trots estetiska förändringar kvarstår den urbana väggmålningen Girl and Balloons (2004) övergripande betydelse, det vill säga kritik mot institution och bolagskontroll över konst och kultur, samt ställningstagande mot kommersialism och kapitalism.  I de olika verken bär inte motivet den kritiserande betydelsen utan ram, plats och hantering av material är meningsbärare.

This thesis examines the projects outlined by the Situationist philosophers and their impact on revolutionizing consciousness. Alongside of this examination this thesis demonstrates how the appropriate rhetorical means in conjunction with street art—specifically the work of Banksy—may lead to the successful implementation and execution of the Situationist's projects. This thesis examines the concept of the spectacle as developed by the Situationists as its object of critique and the concepts of culture, unitary urbanism, psychogeography, détournement and dérive as the framework in which the spectacle can be successfully critiqued in order to foster a more critical consciousness. In addition to this framework my claim is that the aforementioned elements are accomplished by the work of Banksy and his ability to alter the material conditions of our reality through his rhetorical construction of material enactments by creating appropriate and kairotic works which provide life to the Situationist's projects and affords the potentiality of revolutionizing consciousness. In Figure 1. Banksy critiques the idea of spectacularization. There is a fear that technology will distract individuals’ from living and experiencing their lives to the fullest, that their desire to record moments will get in the way with actually living through experiences. In fact the concept of recording events, for many people, is bringing more life to those events than the event itself. We’re currently living in a society where the record of the thing itself is greater than the thing itself. Of course, whenever something is recorded it can be spectacularized--elevated to a greater degree of importance--and shared with many. At the same time, urban architectural achievements have become idols unto themselves. People visit the Eiffel Tower for the purposes of visiting the Eiffel Tower. Even in the act of being a tourist or a spectator we are being placed in positions of passivity. The goal is to absorb whatever man made phenomena has been constructed for the purposes of enjoying it intrinsically without understanding why. In their article "Rhetoric and Materiality in the Museum Park at the North Carolina Museum of Art" Kenneth Zagacki and Victoria Gallagher rhetorically analyze the complex and interwoven spaces of the North Carolina Museum of Art. Their research claims that "the move from symbolicity to materiality involves a shift from examining representations (what does a text mean/what are the persuader's goals) to examining enactments (what does a text or artifact do/what are the consequences beyond that of the persuader's goals) and, as Carole Blair suggests, to considering the significance a particular artifact or text's material existence: What does it do with or against other artifacts? And how does it act on persons?" (Zagacki and Gallagher 172). This move from the purely symbolic importance of a text or artifact to its materiality is exceptionally important when discussing how potential Situationist projects can be materialized into and implemented effectively in the real world. The Situationists were essentially radical realists—their critiques need to exist in the most material form possible in order to generate the conscious liberation that they desired. That being said Margaret LaWare and Victoria Gallagher "...suggest that material rhetorics contribute to discourses of public identity by inviting visitors to see and experience landscape (or physical context) around them in new, and very much embodied ways" (as cited in Zagacki and Gallagher 172). The recursive nature of material rhetorics allows us to analyze exactly how environment's are affecting individual's subjectivities and how they too can go about affecting their world in new ways. I turn to this article specifically for the methodology that Zagacki and Gallagher construct in order to discuss in a more concrete fashion the rhetorical complexity of these spaces and their potential affect on visitors: we argue, through two material enactments of the human/nature interface that we characterize as ‘‘inside/outside’’ and ‘‘regenerative/transformative.’’ By ‘‘inside/outside,’’ we refer to the experience of moving (1) between constructed spaces, such as a museum space or an urban landscape, to less constructed, more organic spaces such as the outdoor park or the rural landscape; and (2) between what we refer to as natural history and human history. By ‘‘regenerative/transformative,’’ we mean moving (1) from natural states to human-constructed states and back again to nature, and (2) from one state of understanding to another. The capacity to create spaces of attention that call forth particular experiences reveals the potential rhetorical impact and reach of the Museum Park’s material forms. (173) The framework established here is specifically most affective when discussing these specific spaces—not every material space will have an inside/outside which would lend itself to phenomenological observation. However, for the purposes of this project, I find it important to reflect on how the "static/dynamic" enactments produced by the space harboring Banksy's work functions as a method to produce the "concrete/utopia" enactment by détourning expectations of space via messages whose kairotic nature—its location in time and place—and content create a specific psychogeography which can revolutionize our expectations and engagement with the world.

Arbetets ena syfte är att identifiera gatukonstnären Banksys stil och se vilka faktorer som kan lyftas fram som "Banksyska". Det andra syftet är att undersöka hur Banksy förhåller sig till begreppet "konstvärld" som teoretikerna Arthur Danto, George Dickie och Howard Becker talar om. Efter att ha observerat och granskat ett stort kvantitativt urval av Banksys gatukonstverk valdes ett antal verk ut, som sedan analyserades genom en semiotisk analysmetod. Genom de semiotiska analyserna och uttalanden från Banksy gick det att konstatera ett tydligt mönster av färgstarka, schablonmåleriska, ironiska, paradoxala och främmandegjorda bilder utifrån den auktoritära kontext som karaktärerna i bilderna brukar ses i. Det gick även att konstatera att Banksys relation till konstvärlden är paradoxal utifrån uttalanden och de semiotiska analyserna, då han påstår sig vara ointresserad av konstvärlden samtidigt som han deltar i den.

abstract: This study contributes to the literature of the Israeli-Palestinian conflict by offering rhetorical and discourse analysis of political graffiti on a wall built by Israel in Palestine. The analysis attempts to answer the urgent questions of why, who, when, how and for whom these graffiti exist. The data collected for the analysis consists of personal photos of graffiti taken randomly in 2010 and 2013 in Bethlehem, on the Palestinian side of the massive wall. Several theories in rhetoric and discourse analysis were consulted to perform the technical rhetorical and linguistic analyses of the graffiti utterances, images, and messages in selected photos of the graffiti. Social, physical, psychological and political factors that affect communication between the wall graffitists and their readers is discussed to assist in the interpretation of the messages of these graffiti from a Palestinian perspective. The findings of this qualitative study show that graffiti on such a high profile site are not typical of violent gang graffiti as commonly interpreted in the US, but rather contribute a universal interactive rhetorical mode employed by local and international graffitists to show their solidarity and demands for basic human rights for a misrepresented culture. Moreover, the wall graffiti function as evidence that graffiti has evolved into a formal performing art that can be found in respected art galleries. The wall graffiti create a dialogue between uncoordinated actors who come from different orientations to produce an array of positions not usually present in corporate media outlets. The analysis of the wall shows that these graffiti promote deep cultural and historical understanding, as well as break down boundaries and stereotypes. The collective threefold result of the analysis is the following: First, graffiti on the wall have a collective universal motive; second, the graffiti give voice to the voiceless; and third, the graffiti can prompt a sociopolitical change that can lead to a long overdue peaceful resolution to the conflict. Keywords: Political rhetoric, discourse analysis, Burke, Halliday, Banksy, political graffiti, street art, Arab graffiti, rhetorical and linguistic patterns, dramatistic, identification, universality, Palestine divisive wall, intertextuality / Dissertation/Thesis / Doctoral Dissertation English 2017

This paper discusses culture jamming as the countercultural tool of our current mass media society and argues for a more holistic understanding of the concept in order to open up its subversive potential. Part of this holisitic approach involves emphasizing the role of remediation inherent in the concept. Thus, the aim of this paper is twofold: to elaborate the diverse techniques involved in culture jamming (as opposed to the common reductionist approaches to the concept) and, more importantly, to highlight the remediation elements imbedded in culture jamming practices. To accomplish this, the works of street artist Banksy are taken as a case study and analyzed to answer the following questions: In what ways do the works of street artist Banksy subvert or “jam” culture? And how does remediation come into play in these jamming practices?

This thesis analyzes the ways in which Banksy’s street art installations are used to critique sociopolitical injustices. The street has long existed as a platform for social and political movements. In particular, street art offers unique opportunities for voicing criticisms in pioneering ways that have been proven successful in upsetting normative power structures. Anne Theresa Demo’s analysis on the Guerilla Girls’ comic politics of subversion offers an appropriate conceptual lens to analyze Banksy’s employment of perspectives by incongruity as strategies for subversion. Therefore, this thesis analyzes how Banksy’s subversive satire is rhetorical by examining three techniques that have successfully exposed hegemonic institutions: mimicry, revision, and juxtaposition. Further, I argue that Banksy’s street art gallery, Better Out Than In, utilized these techniques in a global, revolutionary manner to bolster access and widen audience participation. Banksy’s street art both spotlights contemporary injustices and provides a frame to interpret the artist’s critical perspectives. By analyzing the ways in which Banksy uses satire as subversion, this thesis illustrates how visual rhetoric can offer liberation for victims of sociopolitical injustice.

Uppsatsen tittar på värdeproduktionen inom konst med utgångsläge i tre samtida konstverk, som i samband med dess försäljning varit utmärkande. Dessa verk är Rabbit (1986) av Jeff Koons, Propped (1992) av Jenny Saville och Girl with Balloon (2006) av Banksy. Uppsatsen sammanför för första gången dessa tre verk och ställer sig den retoriska frågan om hur det kommer sig att Koons säljer dyrare än Saville men att Banksy är populärare än Saville? Det empiriska materialet är konstverken, litteratur och auktionskataloger. Syftet som föreligger uppsatsen är att undersöka relationen mellan konstens estetiska uttryck i förhållande till dess ekonomiska marknadsvärde samt den uppmärksamhet som genereras genom popularitet och kontroversiella handlingar/aspekter. Frågeställningarna rör både kontextuell biografisk bakgrund av verk och konstnär, samt ifrågasätter vilka gemensamma teman som är involverade inom konstens värdeproduktion i samband med försäljning. Detta görs med hjälp av social konsthistorisk teori. Uppsatsen är uppdelad i två huvudkapitel. Produktionskontext kapitlet presenterar varje konstnär och verk med hjälp av panofskys ikonologiska/ikonografiska analysmodell i tre nivåer. Det andra kapitlet Försäljningskontext tittar på försäljningen i samband med världens två största auktionshus, med grund i auktionskatalogerna och litteratur. Resultatet visar att tre olika teman är involverade inom konstens värdeproduktion. Dessa är ekonomiskt värde, konstnärligt värde och uppmärksamhetsvärde. Analysen visar att dessa tre teman är beroende och dirigerande av varandra inom konstens värdeproduktion och att de alltid är i samverkan med varandra. Det framgår också av undersökningen att uppmärksamhets värdet är flyktigt och högt beroende av produktionskontexten primärt.