Undersökningen vill visa på den motivation som dagens graffitimålare i Stockholm har till att göra sina målningar och vad jag som blivande lärare kan ta till mig vad det gäller att motivera elever till sina estetiska produktioner. Min frågeställning är: Vilka motivationer för estetisk produktion finns hos individerna inom graffitikulturen? Vidare ger jag en kort introduktion till graffitins tidiga år både i USA och sverige.Sedan presenterar jag ett referat från Håkan Jenners texter om motivation och motivationsarbete. Min empiri består av intervjuer med fyra stycken graffitimålare som är aktiva idag(2009). Intervjuerna har varit semistrukturerade och samtalen har utgått ifrån olika teman som skall hjälpa mig att förstå informanternas förhållande till graffitin. Dessa teman har bland annat inriktats på informanternas syn på sitt eget konstnärskap, grupptillhörigheter och framtidstro men framförallt drivet hos dem, själva motivationen. Jag har sedan tolkat deras svar med hjälp av de motivationsteorier som Jenner presenterat i texten Motivation och Motivationsarbete. I min slutdiskussion tar jag upp vad jag har lärt mig och kommer ta med mig i mitt blivande yrke som lärare. Den gestaltande delen i examensarbetet utgörs av citaten från examensarbetet vilka jag med hjälp av en dator och digitalprojektor projicerat stort på väggen och sedan målat av. Detta för att ge min gestaltning egenskaperna hos graffiti men på ett institutionaliserat sätt då jag har använt mig av typsnittet Times new roman vilket för mig konnoterar vetenskap och byråkrati. Platsen för detta var vita havet på Konstfack. / BI / Konst

Undersökning syftar mot att visa att det finns informella läroprocesser inom den kreativa praktiken graffiti och vilken roll de spelar när en utövare kommer in på en konsthögskola. Min frågeställning är, vilket inflytande denna informella läroprocess har haft för mina informanter, i deras val av utbildningsområde? För detta ställer jag också frågan, vilka moment som varit särskilt viktiga för mina informanter i den kreativa processen? Det ges en kortfattad beskrivning av graffitins historia. Undersökningsdelen är baserad på intervjuer med tre informanter som själva målar graffiti. Deras svar är sedan tolkade utifrån ett sociokulturellt perspektiv med hjälp av Roger Säljö och Lev S Vygotskij texter Lärande i praktiken och Fantasi och kreativitet i barndomen. I slutdiskussionen berörs lätt den kriminella aspekten av graffiti och kampen om det offentliga rummet. Den gestaltande delen i examensarbetet utgörs av en graffitimålning som gjordes utifrån en skiss som var daterad 1993. Gestaltningen får utgöra en symbol för en graffitimålares resa från tåg och väggar in på en konsthögskola.Målningen gjordes i Vita havet på Konstfack. / BI/Konst

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

El graffiti en la actualidad, se muestra en el sistema educacional como una alternativa para desarrollar actitudes, un pensamiento creativo y servir como una herramienta expresiva, “Expresión de sentimientos, emociones e ideas, empleando como fuente de creación artística la percepción y la experiencia de vida adolescente” . Este proyecto busca ser una alternativa en la temática del graffiti dentro del contexto de la educación tradicional, exponiendo los conceptos de experiencia, expresión, libertad y respeto que envuelven a esta actividad visual, con la intención de ser una herramienta a la ponencia del profesor, encargado del área plástica, siendo un estimulo a los estudiantes y un reflejo de lo que es graffiti actualmente en Chile, siendo seis estilos los tradicionales y con cada estilo protagonizado por un referente dentro de lo que es graffiti, ya sea por su talento con el spray, su trascendencia o su influencia hoy en día.

Desde hace algunas décadas la ciudad ha ido cambiando notoriamente. Desde el punto de vista artístico y cultural son cada vez más las manifestaciones que observamos dentro de ella. A la saturación de información visual que nos vemos enfrentados cuando recorremos la ciudad se suman nuevas y diversas formas de expresión que van llenando los espacios y conviviendo con el viaje que realiza cada persona diariamente. Dentro de toda esta telaraña visual, el graffiti ha venido tomando un escenario importante desde hace algunas décadas dentro de nuestro paisaje cotidiano. Si en un inicio el graffiti representó una rara o extraña (a veces considerada fea y grotesca) forma de expresión, hoy en día es mucho más aceptado dentro de nuestro entorno visual, pese a que muchos aún lo consideran como una acto vandálico. No obstante, para nadie en la actualidad resulta extraño toparse con algún graffiti o hablar sobre él sin la necesidad de explicarlo o definirlo, por lo tanto, podríamos decir que el graffiti ya es parte del imaginario colectivo de los habitantes de la ciudad. Por otra parte, el graffiti es una de las cuatro ramas que conforman el movimiento hiphop1 y por lo tanto responde a códigos que esta cultura desarrolla. Una de las principales características del graffiti es la manera, muchas veces improvisada, pero rápida de su ejecución. A esto se suma un importante número de graffiteros que juntos a sus grupos o “crews”2 desarrollan un gran número de graffitis y en los lugares menos pensados, todo por obtener un reconocimiento mayor e instalarse en los lugares más altos o, por decirlo de otra manera, de mayor “status” dentro del graffiti chileno. Muchos de estos grupos desarrollan rivalidades que se traducen en “batallas en las paredes” en donde ambas crews luchan por realizar el mejor graffiti en los muros con mayor visibilidad dentro de la ciudad, o en aquellos lugares más inaccesibles para realizar un graffiti. Con todo esto, y pensando en el corto proceso de estudio, desde el punto de vista académico, que aún tiene el graffiti chileno, es posible plantearse un problema que puede ser expresado de la siguiente manera: El graffiti es un objeto complejo de estudiar, dada la dificultad de comprender sus códigos propios, y de lograr generar una mirada que de cuenta de la óptica del graffitero. Este problema de investigación entrega el impulso necesario para desarrollar esta investigación que tendrá al graffiti como principal objeto de estudio.

Tampons séculaires entre la France et l'Allemagne, la Lorraine et l'Alsace comptent parmi les régions les plus densément fortifiées au monde. Les innombrables groupes fortifiés, forts, casemates et blockhaus éparpillés en rase campagne et s'enfonçant dans les entrailles du sol recèlent une multitude de traces iconographiques laissées par les troupes de forteresses ou les occupants de passage. Nous nous sommes fixés comme objectif d'inventorier ce patrimoine pariétal, de la peinture murale de grandes dimensions au discret graffiti. Notre travail a ensuite consisté à comprendre cette production composée d'œuvres d'art ou de simples traces, en tentant de la classer par ordre thématique et de la comptabiliser. Nous proposons également des grilles de lecture de cette iconographie pour tenter d'en dégager des règles comportementales nous permettant de mieux saisir l'univers mental, les systèmes de représentation ou les codes de sensibilités des occupants, combattants et militaires, de ces fortifications contemporaines / Secular plugs between France and Germany, Lorraine and Alsace consider among regions most densément strengthened to the world. The uncountable strengthened groups, the forts, the bunkers and the bunker scattered in the open countryside and sinking into the entrails(depths) of the ground conceal a multitude of iconographic tracks left by the troops of fortresses or the occupants of passage.We settled as objective to inventory these parietal heritage(holdings), of the mural of big dimensions in the discreet graffiti.Our work then consisted in understanding(including) this compound production of oeuvres of art or simple tracks, by trying to classify her(it) in order theme and to count(record) her(it). We also propose railings(bars) of reading of this iconography to try to loosen(to kick away) of it of behavioral rules allowing us to seize better the mental universe, the systems of representation or the codes of sensibilities of the occupants, the fighters and the servicemen, these fortifications

Thesis (M.A.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The recent and relatively unknown art form of graffiti knitting (GK) refers to the act of installing yarn-based products in public spaces in such a way that gently provokes sociopolitical and cultural dialogue. This qualitative study explores and analyzes the potential of GK as a cooperative, change-oriented or praxis-learning tool for a public-school art program. Few academic studies exist on GK and no studies have been focused on how graffiti knitting can impact interaction between high school students. The researcher's unit introduced male and female students in grades 9 through 12 to knitting and to GK, and it culminated in installations around the school environment of knitted products on benches, computer stands, lockers, and other high-visibility semi or permanent structures. Students who participated in the unit installations of GK voluntarily engaged in a round-table discussion. Their responses indicated that the process of learning to knit and the repetitive nature of the skill fostered a calm, collaborative space where students largely took over the teaching of knitting. Their responses also indicated that the act of GK impacted many of the participants' views on self-reliance in a consumerist society and challenged their largely conventional views on gender roles. Finally, their responses suggested that the experience of learning about, sharing, and engaging in GK altered the students' perception of the role and value of craft art in society. Learning and doing GK gave students an insider's view of the power of collaboration within an art community and provided them with a direct, empowering observation of strangers who encountered and reacted to their art. Feedback from participants in the GK unit largely supported the value of constructivist theories of learning, where the most beneficial learning is argued to happen when learners take responsibility for the learning of others. The GK artwork that students created was less important than the social changes that took place. That is, the key value of the unit wasn't so much the physical art produced by participants, it was the community developed among the students that grew inside the classroom and extended into the hallways and streets where the art was being experienced by both the makers and viewers. / 2031-01-01

Made available in DSpace on 2015-03-05T18:25:03Z (GMT). No. of bitstreams: 0 Previous issue date: 26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A pesquisa que toma forma nas páginas desta dissertação de mestrado problematiza o graffiti na mídia TV, considerando sua atualização na Music Television (MTV) brasileira. A dissertação, inserida na linha de pesquisa de Audiovisualidades do Programa de Pós-graduação em Comunicação da UNISINOS, partiu da intuição de uma graffitação televisiva na emissora, em relação à qual o projeto colocou os seguintes problemas de pesquisa: Como se atualiza o graffiti na MTV? Que devires de TV podem ser encontrados nas atualizações do graffiti na MTV? Como se configuram os processos técnicos e estéticos nas atualizações do graffiti da MTV? As opções metodológicas estão relacionadas ao processo cartográfico, ao método intuitivo de Bergson, ao método do rizoma de Deleuze e Guattari e ao método desconstrutivo de Derrida. O corpus que possibilitou a cartografia é resultado de um recorte cartográfico de tempos de TV moldurados pela emissora: comerciais, marketing points (MP) e promo imagens (PI) que, apreendidos dos tempos fluíd / This thesis is a research about graffiti on Television, considering it’s actualization on Brazilian Music Television (MTV). This work belongs to Audiovisual research line of Post Graduation in Communication by UNISINOS, and had come from the intuition of a televisioned-graffiti working on TV programming. On the way to research about this phenomenon this project tries to get an answer to the following questions: How does graffiti is being actualized on MTV? Wich devires of graffiti can be found on these actualization? Wich configurations are established by the esthetic and technical processes on the actualization of graffiti on MTV? The methodological processes of this research are taken in contemporary philosophy related to the Bergson’s intuition method, Deleuze and Guattari’s rizoma method, Derrida’s desconstructive method and, finally, the cartographic process of investigation. The corpus for cartographic analysis was taken from MTV’s fluxes: commercials, marketing points (MP) and promo-images (PI), those

This thesis proposes a critical exchange between architecture and graffiti. Graffiti in Athens plays a key role in the expression of Greek tensions making this city an ideal place for developing such an exchange. The author acts in a three-fold manner in this research: as architectural designer, one with an impulse to survey by drawing and capable of grasping the matrix of the surfaces upon which graffiti finds an expression; as graffiti writer, somebody with some practical experience as graffitist hence partially equipped to decode the graffiti matrix placed on any given architectural matrix; and as writer on graffiti, who is interested in bringing together and working between the architectural and graffiti matrices to reveal their convergences, deviations and interdependences, and, in so doing, expose the hidden spatiality of graffiti writing. Stemming from this peculiar triple positioning, this book promotes a new situating of Athenian inscriptions. The thesis is presented as an Atlas of Athenian Inscriptions, a book of drawings of writings and writings on drawings. The Atlas offers, in both drawn and written form, a close study of four situations in which graffiti has been recorded. The thesis regards a recent significant graffiti Exhibition – in which the author is actively implicated by being invited into it as a graffiti writer and writer on graffiti – as a starting point, as its situation zero. By de-situating graffiti from its original urban and political context whilst placing it onto the gallery surfaces, this thesis argues that the Exhibition undermines graffiti’s critical potency and has transformed graffiti into an aesthetic object. However, perhaps paradoxically, presenting graffiti as an empty gesture, the Exhibition nonetheless raises questions concerning the situating role of graffiti. By including it in the Atlas together with the following more overt surface ruptures in political edifices, the Exhibition is framed as an equally political situation. The other three situations, all in Athens’ city centre, reflect three important periods in local political history and are emblematic in that they are the epicentres of historical ruptures during which they are extensively graffitied: the former Nazi Detention Centre which operates during the Axis occupation (1941-1944); the Athens Polytechnic that plays a pivotal role in the student uprising against the Greek Military Junta (1967-1974); and the Bank of Greece HQ building which is a site of recurring political expression in contemporary crisis (2010-2015). The Atlas indexes graffiti and related information from the city of Athens, the systematic organisation of which creates different graffiti-related matrices allowing us to make sense of, navigate in and reconstruct the Athenian graffiti landscape through characteristic surface environments. By placing different political situations in the same set with the Exhibition, the thesis aims to give critical voice to how graffiti is perceived. By resituating (graffiti) images, the Atlas restores broken and creates new links between them and their surfaces whilst revealing not only the spatiality of graffiti in Athens but also the spatiality of architecture of Athens as a recurring tension between the matrices of dissensus and consensus. The thesis deconstructs the mythology that architecture represents consensus and graffiti dissensus, since each is embedded in the other. Ultimately, by carefully considering graffiti’s situating character and graphic articulation, this research promotes rupture to the smoothing of its political asperity attempted by architecture, institutions and those writing on graffiti that seek to restrain it.

<p>This essay concerns graffiti, and in particular graffiti removal regarded as iconoclasm.</p><p>Graffiti is described as a visual symbol laden with both negative and positive values, and sometimes as a meaningful expression in the urban public space. One problem with graffiti as a field of study is the diversity of both the meaning of the term as well as the diversity of the phenomenon itself. Therefore I have defined the term graffiti as follows: words and images painted on public walls by a person usually in an unauthorised manner. Specific examples of graffiti and related phenomena are presented. Within the Swedish anti-graffiti discourse the pejorative term klotter (scribbling) is used to describe what I above define as graffiti. A short analysis of this discourse is followed by case studies of specific examples of graffiti removal that can be regarded as iconoclasm.</p>