After the fall of the Berlin Wall, the city of Berlin was faced with the challenge to reunify in both political and cultural realms. Berlin is noted throughout history as a metropolis that is characterized by flux; the Post-Wende [Post-Wall] era is another remarkable transitional phase in Berlin’s history. During this era, the city was extremely porous and susceptible to cultural forces that could easily define the city’s malleable future. This essay discusses such forces and events that were planned by the city government, as well as an organic grassroots force that was especially significant in the cultural reunification. This force is the squatting culture that was spurred by the excess of unused and unclaimed buildings in the center of Berlin. Many of the squatters are coalitions of artists who embody the renitente Kultur [unruly culture] that characterizes Berlin. Analyzed in this essay is a group of squatting artists, known as “Gruppe Tacheles das Kunsthaus” who inhabited the ruins of a historical building in the Mitte neighborhood located in the center of Berlin. The creators of Tacheles breathed life back into the ruins by establishing ateliers, a restaurant, a club, a movie theatre, a sculpture garden, and a bar in the building that became an artists’ haven with international fame. Artists, both residential and visiting, have treated the crumbling building like a makeshift giant canvas and it is now covered in layers of graffiti and stands as the Gesamtkunstwerk [total and universal ideal work of art] of the reunifying Berlin that has become an international hub for artists. Due to escalation in property value, an effective owner of the property on which Tacheles stands has stepped forward and taken actions to evict the artists and demolish the building in order to build luxury offices. Most of the artists have left the site, leaving it as a ghostly shell of the bustling community it once was. Near twenty artists remain and protest the actions to destroy their work of art that had come to live symbiotically with the city. At this point, there is one appropriate event to occur next in the lifeline of the site: the building must be demolished in a ceremonious explosion to mark the passing of its vitality, so that its legacy can live on untainted in the future phases of Berlin’s culture.

The field of crime mapping has an extensive history, yet it has managed to remain an effective tool for policing even in modern times. This success can be attributed in part to the field’s willingness to adapt to newer technologies as they have become available. A current trend that is occurring internationally is the practice of online crime mapping. Many police services from around the world have recognized the importance of using the Internet to connect with the public that they serve. To this end, while most police services have an online presence in the form of a Web site, some have opted to go further and to publish their crime data spatially in the form of an interactive Web-based mapping application. Presently, the City of Toronto has opted not to engage in interactive Web mapping and has limited their online publications to only static maps and written crime reports. This thesis attempts to build upon the capabilities that are offered by Web GIS tools for crime mapping applications in the City of Toronto. To achieve this, two Web applications were developed to help facilitate the process of reporting crime incidents and gang-related graffiti. The services in these Web applications were developed using ArcGIS for Desktop 10.1 and hosted using ArcGIS for Server 10.1, while the Web applications themselves were developed using the ArcGIS API for JavaScript. Each application was designed to support interactive incident mapping, as well as anonymous incident reporting. In addition, the Graffiti Tagger application utilized a mobile-themed interface and image attachments to promote on-the-go graffiti incident reporting. By doing this, it was hypothesized that the overall quality and quantity of data contributed to the Toronto Police Service would increase. To test this hypothesis, a survey was developed and released to a number of participants with varying backgrounds and technical skill levels. The results of this survey showed that a public desire did exist for both of these Web applications, along with a willingness from the majority of participants to voluntarily participate in using these applications. These results suggest that adopting the use of Web mapping applications has the potential to increase the quantity, and potentially the quality, of crime data that is reported.

The aim of this study is to uncover and discuss the spaces appropriated by graffiti writers and to reveal out the possible resistances involved in the act throughout the writers&amp / #8217 / motivations, characteristics, spaces they produce and all over process they are entering into together with the specifications of graffiti in Turkey. It demands to unfold the possibilities sheltered in everyday practices looking through graffiti and subsequently revealing out possibilities in graffiti looking through everyday life. It sees the urban space as a social product, which is incomplete without the tactics of the inhabitants and redefined as a result of appropriation. It looks through the history of graffiti, graffiti writers, their motivations and descriptions, working mechanism of the act, spaces chosen and their overall relations to power placed upon urban space in regard to its predescribed theoretical framework reaching out an integrated explanation on play/game theory and resistance it describes. It claims graffiti as a game of the juveniles acting in urban space as their playground.

The field of crime mapping has an extensive history, yet it has managed to remain an effective tool for policing even in modern times. This success can be attributed in part to the field’s willingness to adapt to newer technologies as they have become available. A current trend that is occurring internationally is the practice of online crime mapping. Many police services from around the world have recognized the importance of using the Internet to connect with the public that they serve. To this end, while most police services have an online presence in the form of a Web site, some have opted to go further and to publish their crime data spatially in the form of an interactive Web-based mapping application. Presently, the City of Toronto has opted not to engage in interactive Web mapping and has limited their online publications to only static maps and written crime reports. This thesis attempts to build upon the capabilities that are offered by Web GIS tools for crime mapping applications in the City of Toronto. To achieve this, two Web applications were developed to help facilitate the process of reporting crime incidents and gang-related graffiti. The services in these Web applications were developed using ArcGIS for Desktop 10.1 and hosted using ArcGIS for Server 10.1, while the Web applications themselves were developed using the ArcGIS API for JavaScript. Each application was designed to support interactive incident mapping, as well as anonymous incident reporting. In addition, the Graffiti Tagger application utilized a mobile-themed interface and image attachments to promote on-the-go graffiti incident reporting. By doing this, it was hypothesized that the overall quality and quantity of data contributed to the Toronto Police Service would increase. To test this hypothesis, a survey was developed and released to a number of participants with varying backgrounds and technical skill levels. The results of this survey showed that a public desire did exist for both of these Web applications, along with a willingness from the majority of participants to voluntarily participate in using these applications. These results suggest that adopting the use of Web mapping applications has the potential to increase the quantity, and potentially the quality, of crime data that is reported.

<p>This research is interested in the linguistic choices people use to express and negotiate subjective, inter-subjectiveand ideological positions through the graffiti within the confines of selected men's and women's toilets on the UWC main campus. The focus is on attitudes, one aspect of appraisal theory. The aim of investigating the attitudes inherent in the toilet graffiti is to obtain an insight into the evaluative discourse of men and women with regard to their emotional, judgmental and evaluative stance in their writings. This form of analysis is on the level of meaning. Differences with regard to the attitudinal content in terms of occurrence (quantitative) and content (qualitative) are investigated. The data shows that &lsquo / male&rsquo / (gender) are implicit when expressing emotions, whereas female is explicit in its expression of emotions. In addition, in terms of the evaluation of emotions, the data indicates that &lsquo / females&rsquo / are insecure in terms of their emotional disposition, whereas males mostly express emotions of unhappiness in the toilet graffiti analysed. Both males and females have a tendency to judge each other with regard to their capacities. In terms of judgement of behaviours and things, males can be said to have interesting and even creative ways of evaluation, which include punctuation, taboo varieties and pictures.</p>

Thesis (M.Arch.)--University of Detroit Mercy, / "28 April, 2008". Includes bibliographical references (p. 105).

Univ., Diss.--Augsburg, 2004.

Thesis (Ph. D.)--Ohio State University, 2006. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 May 26

The present paper discusses about an experience on education in the teaching of visual arts accomplished at school with a group of five students in the first grade of high school in Marco Polo School in Santa Maria/RS. This study utilizes the language of graffiti for questioning the visual features of school environment. Teacher and students interact in an educational process grounded on the scope of visual culture. The education of the visual culture by presenting a multidisciplinary character makes possible interrelationships of spaces and convergence as a field of knowledge, permeated by visual. The research was supported in Research Based in the Arts (IBA) or Arts Based Research (ABR), which is a type of qualitative research approach and it is not focused on the researcher or the researched object, but as a researcher, developer, reader can write and build that together. The most important authors participating in this theoretical construct are: HERNANDEZ (2000, 2007, 2008), Martins (2004, 2007) and MIRZOEFF (2003) regarding the field of visual culture; Lazzarini (2007) and Silva (2005) with reference to graphite, and Costa (2009), SILVA (2000, 2000a) and Pereira (2010), concerning the space to the school. These influences are brought by the survey are still settling into other possibilities. Among the results, it can be highlighted the new learning as a collective group that covered the meetings with new textures with different views, trying to rephrase things and try other ones, mainly to build a space for dialogue to discuss art. / A presente pesquisa versa sobre uma experiência educativa no ensino das artes visuais realizada no recinto escolar com um grupo de cinco estudantes do primeiro ano do ensino médio, do colégio Marco Polo, em Santa Maria/RS. Este estudo utiliza-se da linguagem do grafite para problematização da visualidade do espaço escolar. Professor e estudantes interagem num processo educacional embasados na perspectiva da cultura visual. A educação da cultura visual por apresentar um caráter transdisciplinar possibilita espaços de interelações e convergências como campo de conhecimento, permeado pelo visual. A investigação apoiou-se na Investigação Baseada nas Artes (IBA) ou Arts Based Research (ABR), que é um tipo de abordagem de pesquisa qualitativa, que não está focada no pesquisador ou no objeto pesquisado, mas no que pesquisador, colaborador, leitor podem escrever e construir juntos. Os principais autores que participam desta construção teórica são: HERNÁNDEZ (2000, 2007, 2008), MARTINS (2004, 2007) e MIRZOEFF (2003) em relação ao campo da cultura visual; LAZZARIN (2007) e SILVA (2005) com referência ao grafite e COSTA (2009), SILVA (2000, 2000a) e PEREIRA (2010), ao concernente ao espaço escolar. As ressonâncias trazidas pela pesquisa são muitas que ainda estão se acomodando em outras possibilidades. Dentre os resultados, destaca-se as novas aprendizagens do grupo enquanto coletivo que revestiu os encontros com novas texturas com diferentes visões, na tentativa de redizer coisas, arranhar outras e, principalmente, construir um espaço de interlocução para discutir sobre arte.

Orientadora: Plácida Leopoldina Ventura Amorim da Costa Santos / Banca: Zaira Regina Zafalon / Banca: Ana Maria Pereira / Banca: Ana Cristina de Albuquerque / Banca: Ricardo César Gonçalves Sant'Ana / Resumo: Na atualidade vivencia-se o que Bauman (2001) conceituou de modernidade líquida, identificada como aquela em que as relações humanas e sociais são caracterizadas por não terem configuração de solidez ou como aquela em que não se conserva forma por muito tempo; prima-se pela mudança; vive-se das inconstâncias. A natureza desta liquidez é reconhecida por conta da leveza, da mutabilidade e da mobilidade das relações. A importância da preservação da memória artística para as futuras gerações também tem mudado. Com o grande avanço nas tecnologias de reprodução e exposição às massas, obras de arte se disseminam com a facilidade de circulação das imagens. Essas manifestações estão nos muros da cidade, locais esses que têm suas superfícies alteradas e apagadas diariamente. Diante disso, questiona-se como se dá o tratamento documental do graffiti como manifestação de arte efêmera? Em decorrência, como pressuposto da tese, aponta-se que o tratamento documental do graffiti, convertido em recurso digital, contribuirá para sua consolidação como patrimônio cultural material. Delimitou-se como objetivo propor como se dá o tratamento documental do graffiti, convertido em recurso imagético, considerando a ubiquidade, os aspectos da informação líquida e da ecologia da informação e as novas formas de disponibilizar o acesso. O estudo apresenta abordagem qualitativa, de natureza descritivo-exploratória tendo como universo de pesquisa projetos de exposições digitais de arte urbana. Como resultado... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Nowadays we live what Bauman (2001) defined as liquid modernity, it is identified as human and social relationships that are caracterized by not having solid aspects in it or that one which doesn't keep its format for too long; changes are constant and inconsistencies are lived. The nature of this liquidity is know by the lightness, mutability and mobility of relationships. The importance of artistic memories preservation has also changed. With the breakthrough in playback technologies and exposition techniques to majority of people has made works of art disseminate easily just like images. These manifastations are in the city walls, places that have their surfaces changed and erased daily. Having that in mind, the question that arises is how the documentary treatment of graffiti as a manifestation of ephemeral art occurs? As a consequence of this, by the thesis' theoric references, it is pointed out that the documentary treatment of graffiti, converted into a digital resource, will contribute to consolidation as a material cultural heritage. The objective decided was to identify how the documentary treatment of graffiti occurs when converted into an image resource, considering ubiquity, the aspects of liquid information and information ecology and new ways to make acess available. The study presents a qualitative approach, of a descriptive-exploratory nature having as the research universe, projects of digital exhibitions of urban art. As a result, it has been found that the... (Complete abstract click electronic access below) / Doutor