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When we approach magical papyri as artefacts, it becomes clear that these figures deserve as much attention as the texts and that they should be studied in conjunction. Graffity is a way of communication and a way of doing a art work and a way of thinking in our days; its give us a sense of social integration and public participation in arts and cultural responsabilities.
Upon entering the code in the designated section, the player's account is credited with the corresponding amount of V-bucks. These V-bucks can then be used to purchase a wide range of cosmetic items, such as character outfits, pickaxes, gliders, and emotes, which allow players to customize their virtual avatar and stand out in the game. By offering a prepaid gaming card, Fortnite provides players with a safe and accessible means of obtaining in-game currency.
Journal2017 v3 n2 final2 web
The subject is about street art and its interest within new generations. Graffity is a way of communication and a way of doing a art work and a way of thinking in our days; its give us a sense of social integration and public participation in arts and cultural responsabilities.
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In this paper I explore the intersection between urban creativity and gender studies, through a composite methodology and with a double purpose: to examine the role and the recognition of women in the graffiti and street art milieu; and to test the existence, the extent, and the quality of gender biases in the eye of the observer. In order to accomplish these two tasks, I examined existing literature treating the subject and created a visual survey. Observations and results from each step of the present work reveal a general lack of recognition of women’s role in street art and graffiti, as well as a remarkable amount of gender preconceptions during mere aesthetic appreciation of urban works of art.
Download Free PDF View PDF Download Free PDF View PDFIn the context of Spain’s economic crisis, waves of protests have transformed the streets of Spanish cities into sites of place- austerity years, street art has become an important part of political participation. Based on artists’ interviews and on my visual ethnographic research in the Spanish cities of Madrid (2013–2016) and Valencia (2016), this paper seeks to illuminate how political street art forms a part of social expression toward the authorities. Street art is a media through which artists can question decision-makers and challenge policies made by statesmen. The examples of political street art highlight how creative contestations become barometers of dissatisfaction and how street art confronts institutional power. Ultimately, political street art is argued in Spicca and Perdue’s (2014) term as ‘spatial citizenship’ producing more polyphonic space. Keywords: Political Street Art, Protest, Political Participation, Visual Ethnography, Spain
Download Free PDF View PDFThis article scrutinizes the use of visual and performative practices in football supporter culture. It examines how and performative protests -claim space in the public space of the urban fabric and on football terraces. Supporters means to bring unity in the public sphere of a city by the activities of the supporters.
Download Free PDF View PDFThis working paper advocates a methodological approach to the study of street art and graffiti that is based on the documentation of single sites over time. Longitudinal photo-documentation is a form of data collection that allows street art and graffiti to be examined as visual dialogue. By capturing everyday forms of public mark making alongside both more recognizably ‘artistic’ images, and more visually ‘offensive’ tags, we aim to attend to graffiti and street art’s existence within a field of social interaction. We describe a relevant analytic tool drawn from ethnomethodology and conversation analysis – the next turn proof procedure – which may be adapted in order to study street art and graffiti as a form of asynchronous, yet sequential, communication. This form of analysis departs from existent forms of analysis in that it is not concerned with the semiotics or iconography of decontextualized individual photographs of street art or graffiti. We present a worked analytic example to demonstrate the utility of longitudinal photo-documentation in making visible the dialogue amongst artists, writers and community members, and we employ the principles of the next turn proof procedure to illustrate the ways in which each party shows their understanding of the prior work on the wall via their own contribution to the ‘conversation.’
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This article addresses some of the challenges faced by heritagization related to graffiti and street art, namely the changes in context and temporality that this process entails. In order to discuss these issues, I will frame the Berlin Wall as a paradigmatic case that presents a trajectory in time: I will follow the transition of the Wall from a deadly frontier to an obsolete structure and, finally, to a historic monument. I will argue that graffiti and street art are context-specific, and deeply affected by the symbolism and/or functions of the surface on which they are inscribed. Moreover, I will recognize graffiti and street art as practices situated in between tangible and intangible heritage. Particularly with the Berlin Wall, and in regard to the preservation of memory and heritage, I will suggest that graffiti and street art do not always enter the institutional circuit, especially when illegal and anonymous.
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