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Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

O presente artigo busca compreender as táticas e campos de possibilidades de um artista local chamado Edney Areia, na cidade Imperatriz-MA, conhecida como “portal da Amazônia”. Para compreender como ele segue sobrevivendo naquele local, onde não há valorização da arte de rua e cuja política é focada nos grandes projetos de espoliação da natureza, acompanhamos percurso biográfico com especial atenção nos processos culturais, experiências cotidianas e saberes que apontam para as formas como ele se integra em uma rede de relações mais vastas. Nesse sentido, foram realizados registros fotográficos, observações diretas nas ruas e no ambiente virtual. Como conclusão, verificou-se a relação direta entre sociabilidades juvenis e a atualização do conhecimento técnico lhe possibilitou a obtenção de novas habilidades e capacidade de sobrevivência material.

Copyright of Cuadernos.info is the property of Pontificia Universidad Catolica de Chile, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, we aim to revisit one of the privileged places for citizens' expression -- the street and urban public space -- based on the legacy of graffiti and murals created during the Portuguese revolutionary period of April 25th, 1974. We reflect on the historical memory of the revolution and how periodically in the country, there has been a recovery of its political-aesthetic repertoire. With this context as the object of study, we contemplate the form of citizen participation and the role of public space as a fundamental terrain for political communication and democratic living, discussing aspects of visuality and political performativity. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

RESUMO: Este artigo aborda a importância do graffiti na cultura hip-hop e sua relação com a linguagem, identidade e o espaço urbano. Embora seja uma forma de expressão artística importante, o graffiti é frequentemente visto como um ato de vandalismo que causa desconforto nos sujeitos que enxergam o mundo pela ótica do capitalismo neoliberal. O texto argumenta que esse estigma é uma forma de perpetuar discursos que promovem a segregação e marginalização de indivíduos com base em raça, gênero e classe social. Essa pesquisa qualitativa adotará uma perspectiva crítica para compreender fenômenos linguísticos, como ressaltado na abordagem do bricoleur ( Denzin; Lincoln, 2006) do pesquisador a fim de transitar por campos de conhecimento distintos e confluentes. Por meio de entrevistas conduzidas com os participantes dessa pesquisa, é possível perceber que o graffiti é considerado um produto de uma disputa linguística nas paisagens urbanas e também um apontamento nos estudos sobre novos letramentos ( Mattos, 2011). O artigo discute como o graffiti pode representar uma forma de reexistência ( Souza, 2009; 2011) no paradigma transperiférico ( Windle et al., 2020), encontrando também apoio na perspectiva da linguística aplicada indisciplinar ( Moita Lopes, 2006; Pennycook, 2006).

Copyright of Revista de Ensino em Artes, Moda e Design is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Ensino em Artes, Moda e Design is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

O graffiti trata-se de uma manifestação cultural que se estabelece no século XX como forma de expressão de grupos marginalizados nos meios urbanos. O processo de patrimonialização, refere-se ao meio institucional de legitimação das memórias de grupos delimitados pelo tempo e espaço. Neste texto, procura-se reconhecer as potencialidades do graffiti enquanto bem patrimonial. Para tanto, utiliza-se de revisão bibliográfica, com o intuito de definir as noções de graffiti, patrimônio e memória. Ressalta-se que os procedimentos técnicos da patrimonialização não neutralizam as políticas de seleção de seus bens requerentes, esses definidos a partir de uma disputa de poder. Em suma, o graffiti corresponde à expressão de valores marginalizados da cidade e sua preservação, enquanto discurso patrimonial, é possível a partir da criação de normativas que consideram manifestações culturais como patrimônio imaterial relevante à memória local e nacional.

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A produção artística é um dos vestígios do patrimônio cultural material e imaterial deixado pelo ser humano ao longo de sua existência. As manifestações artísticas estão também nos muros das cidades, locais que consagram a efemeridade dos graffiti, com suas superfícies alteradas e apagadas diariamente. Diante disso, questiona-se: como é possível garantir a persistência dos graffiti como recurso informacional e, por consequência, atestar o seu acesso e visibilidade às futuras gerações? Como objetivo geral propõe-se um modelo de representação documental de graffiti, vocacionado ao acesso e à visibilidade, com características descritivas, temáticas, culturais, espaço-temporais e ideológicas. Para o seu alcance definem-se como objetivos específicos: avaliar métodos e apresentar instrumentos disponíveis para a descrição do graffiti que deem condições para sua persistência e identificação como recurso informacional. Esse artigo, com abordagem qualitativa e natureza aplicada, busca objetivos descritivos e exploratórios e faz uso de procedimentos bibliográficos e documentais. Como contribuições destacam-se: discussão dos recursos informacionais e da representação documental como objeto da Ciência da Informação, do graffiti como manifestação cultural, da efemeridade da arte de rua, com destaque para os graffiti, e da consagração de recursos informacionais como bens culturais materiais.

O presente artigo objetiva levantar discussões em torno de modalidades de agência femininas veiculadas por meio das artes, com um recorte centrado no movimento punk e do graffiti enquanto práticas de resistência. Os métodos adotados para a coleta e interpretação de dados foram a revisão de literatura, a observação direta, a elaboração de entrevistas semiestruturadas e a análise de conteúdo (Minayo, 2014). Após o contato com os campos, foi possível concluir que, no contexto das culturas urbanas contemporâneas, as artes podem se configurar enquanto recursos de contestação de espaços hegemonicamente masculinos por parte de mulheres vinculadas a esses contextos, algo que pudemos identificar tanto no âmbito do graffiti quanto no do movimento punk na cidade de Aracaju e que nos permitiu associar essas práticas ao conceito de agências estetizadas pensado por Marcon (2019) para definir novas modalidades de ativismo político contemporâneas.

Copyright of Revista História da Educação is the property of Historia da Educacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Rónai - Revista de Estudos Classicos e Tradutorios is the property of Ronai - Revista de Estudos Classicos e Tradutorios and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Odeere is the property of Edicoes UESB and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present study focuses on the artistic-cultural expression of graffiti approached from a research initiated in the city of Brasília. Among the objectives, these arch for assimilation of this modality of expression in cities, in the public spaces of their urban landscapes and, more recently, in prívate environments stands out. As a method of qualitative approach adopted in conducting the study, an investigative guide line was systematized that, initially, permeated the theoretical framework used on the thematic object with an identification and categorization of three distinct social groups with regard to their relationship with the interventions carried out in the public and prívate space through graffiti expressions; then, a mixed questionnaire aimed at the assimilation of graffiti by the three groups of social actors in question was elaborated and, finally, the application of this tool and the subsequent analysis of its data supported by the theoretical contribution initially used allowed the reach of expected results, such as the identification of similarities and distinctions regarding the assimilation of graffiti by the groups of actors participating in the research. In addition to the reflections linked to both the specialized literatura on the subject of graffiti and its regulations in our study location, we consider that the complementary reflections that we were able to add to the study through the responses of the participating public were also substantial for directing the investigation. Allowed us to go beyond the objectivity of a study on the subject at present or in a locality and perceive it from the subjective nuances of the groups of actors that, in someway, transform and are transformed by this field and that were sensitive to the attention to them requested under circumstances as specific and difficult as those experienced by every one since 2020. [ABSTRACT FROM AUTHOR]

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Trata-se de uma pesquisa documental netnográfica, de abordagem qualitativa, com recorte histórico circunscrito ao ano de 2020, que visa refletir sobre a importância do graffiti nos processos de resistência e reinvenção da vida no contexto da pandemia da Covid-19, a partir da análise de narrativas imagéticas traduzidas em obras de graffiti produzidas em cidades contemporâneas no cenário global, especificamente Nova Iorque, Berlim, Bristol, Paris, Porto, Leiria e Rio de Janeiro, pelos artistas grafiteiros Saynosleep, Pure Genius, Eme Freethinker, Banksy, Jérôme Mesnager, Vhils, Aryz e Airá Ocrespo. As fontes de dados utilizados foram: Instagram, Facebook e Google. A aálise dos dados conduziu à identificação de três categorias. Os caminhos e obras tratadas revelam artivismos e contradições econômicas, políticas e sociais vivenciadas pelas sociedades na contemporaneidade e trazidas à superfície no contexto da pandemia, mas também colocam luz sobre as demais dinâmicas subjetivas envolvidas nesse processo. Isto é, desnuda as potencialidades do graffiti em intervir, revelar, processar e transformar as profundas incertezas, questionamentos e inquietudes humanas vivenciadas em tal período.

Desde hace varios decenios, numerosas investigaciones vienen poniendo de manifiesto los perniciosos efectos del turismo sobre los tejidos urbanos y sociales de las principales ciudades en la escala global, circunstancia que se ha evidenciado con especial dramatismo tras el estallido de la pandemia por la Covid-19. Entre las muchas consecuencias que esta situación está provocando en aquellos espacios donde el fenómeno se manifiesta con una cierta intensidad, está la expulsión de la población local, con especial incidencia en los estratos con menores recursos, y su sustitución por otra de carácter flotante. Vinculado a este proceso, se produce el reemplazo de los comercios tradicionales por establecimientos que tienen una orientación exclusiva al sector del turismo. En este contexto, el artículo tiene como objetivo explorar la utilización de fuentes complementarias a las oficiales que pueden ser de gran utilidad para el estudio de los ámbitos urbanos sometidos a procesos de turistificación que conllevan un desajuste y distorsión en la forma tradicional de habitar dichos espacios. Desde el punto de vista metodológico, la investigación parte de un análisis teórico donde se abordan, desde la teoría del turismo urbano y del paisaje, las potencialidades del estudio de las manifestaciones informales para la investigación de los procesos de turistificación en ámbitos urbanos sometidos a tensiones sociales y habitacionales entre la población local y la visitante. En este sentido, se acude al análisis de las imágenes que, en distintos contextos espaciales y bajo diferentes formatos, pero siempre de carácter informal y no institucionalizado, traslucen la existencia de procesos que tensionan la vida cotidiana de los habitantes y comercios tradicionales frente a un sector turístico predatorio. Las principales conclusiones de la investigación apuntan a que la aparición de este tipo de expresiones en determinados ámbitos de la ciudad manifiesta la existencia de un conflicto asociado a un proceso de turistificación.

How can we describe the emerging meaning of phrases and drawings inscribed on the walls of the city? How can we think about the meaning generated within each urban inscription, assuming that the utterance presupposes the enunciative act performed in the gesture of making graffiti? How can we relate such a gesture to the rhetorical notions of éthos and páthos? We shall return to these questions while we seek to recognize emerging styles of the practice triggered by urban inscriptions. In order to do this, we take discursive semiotics as a basis while paying attention to the boundaries of this theoretical project with studies related to the Humanities, by examining urban inscriptions collected from central districts in the city of São Paulo, Brazil. [ABSTRACT FROM AUTHOR]

The author describes an excursion through the city of São Paulo, starting from the Perdizes neighborhood, in São Paulo's West Zone, and arriving at the neighborhood of Grajaú, in the South Zone of the city. On the way, several graffiti made by the artist Mauro Neri are observed. In this itinerary, the authors reflect semiotically on the meanings produced by the graffiti in different regions of the city, the modes of living in the metropolis, and the possible escapes when living in an environment that is sometimes oppressive and violent. Thus, it is through the sensible dimension that one can discern, in the sometimes faded color of the graffiti, new forms of life. [ABSTRACT FROM AUTHOR]

Urban space, as a field of meaning, includes a set of historical, political, economic, social, aesthetic and cultural relations. This article, with a qualitative, exploratory, descriptive, bibliographical and documentary approach, has as object of study graffiti produced in the district of Campo dos Alemães, peripheral region of the city of São José dos Campos, headquarters of the Metropolitan Region of Vale do Paraíba Paulista, in years of 2007 and 2010, when the practice was prohibited by law. It is questioned if the graffiti can be considered forms of resistance and if they constitute expression of appropriation and resignification of territory and of the urban landscape. As a reference, besides resource of the graffiti, the field observation and the testimonies of two graffiti artists. The study pointed out that the graffiti, stigmatized by social exclusion, was used as an instrument of affirmation of identities and imposition of social visibility. [ABSTRACT FROM AUTHOR]

The artistic production is one of the vestiges of the material and immaterial cultural heritage left by human beings throughout their existence. The artistic manifestations are also on the walls of cities, places that enshrine the ephemeral nature of graffiti, where their surfaces are changed and whitewashed frequently. Due to that, the question is: how can graffiti persistence be guaranteed as an information resource and, consequently, attest its access and visibility to future generations? As a general objective, it is proposed a graffiti document representation model, oriented to access and visibility, with descriptive, thematic, cultural, space-temporal, and ideological characteristics. Its scope is defined as specific objectives: to discuss graffiti and its ephemeral aspects, including on account to evaluate methods and instruments that provide conditions for the persistence of graffiti and its identification as an information resource. This research, with a qualitative and applied approach, seeks descriptive and exploratory objectives and makes the use of bibliographic and documentary procedures. As contributions include: discussion of information resources and documentary representation as the object of Information Science, graffiti as a cultural manifestation, the ephemerality of street art, with emphasis on graffiti and the consecration of information resources as material cultural goods. [ABSTRACT FROM AUTHOR]

Copyright of Rónai - Revista de Estudos Classicos e Tradutorios is the property of Ronai - Revista de Estudos Classicos e Tradutorios and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ao andar pelas ruas de bairros afastados da região central de Lisboa, não é difícil deparar com grandes murais que compõem uma nova estética urbana em bairros periféricos. A cidade que se pensa colorida, regada pelas margens do rio Tejo, fez do colorido dos muros uma política de descentralização urbano-cultural através da criação de espaços como a Galeria de Arte Urbana (GAU), que funciona desde 2008 para promover a street art. Neste artigo busco debater os sentidos, usos e contradições que envolveram três experiências de realização do Festival Muro em bairros sociais, afastados da centralidade turística do território lisboeta. Através de uma etnografia de processos visuais em contradição, busquei perceber os efeitos que tais projetos de transformação da paisagem tiveram na vida dos bairros. Por fim, reflito sobre os possíveis impactos desses grandes projetos de muralismo vinculados tanto à descentralização cultural, quanto ao desenvolvimento urbano.

Com o objetivo de propor um dispositivo metodológico aplicável de forma online, o embasamento bibliográfico deu suporte para a construção de um percurso investigativo, que, unindo conceitos da etnotopografia e do mapeamento visual, pode ser aplicado como piloto aos participantes de uma oficina virtual temática, contida na programação de um evento acadêmico local, com potencial para revelar atributos e elementos da percepção, pertencimento, cultura, memória e identidade, a fim de questionar se as pessoas percebem a presença e/ou como identificam as táticas discursivas presentes em seu cotidiano. Delimitou-se um caminho linear para um flâneur digital para observar os graffitis ao longo da Avenida XV de Novembro na região central da cidade de Campos dos Goytacazes/RJ, às margens do Rio Paraíba do Sul, onde aconteceu o Festival Campos Graffiti, em 2016.

Copyright of Arq.urb is the property of Arq.urb and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Resumo: A preocupação com a preservação e o compartilhamento dos registros do conhecimento para as futuras gerações não estava institucionalizada e, com o passar do tempo, instituições de patrimonio cultural, como bibliotecas, arquivos e museus, passaram a se comprometer com a preservação, o armazenamento, o acesso e a exposição de coleções documentais, de obras de arte e do mundo natural. Na atualidade, alcançam evidência os graffiti, formas de manifestações simbólicas, passíveis de armazenamento e preservação. Nesse contexto, levanta-se a seguinte questão: como o graffiti, enquanto manifestação de arte efêmera, pode ter assegurado o seu acesso pelas futuras gerações? Como objetivo geral, propõe-se discutir elementos de metadados para a catalogação de graffiti, considerando questões de contexto de criação, produção, divulgação e acesso. Com abordagem qualitativa e de natureza aplicada, o estudo tem objetivos exploratórios e faz uso de procedimentos bibliográficos e documentais. Como resultado, elaborou-se um rol de elementos de metadados que considera o padrão de estrutura de dados VRA Core 4.0 e quatro novos elementos que tecem a aproximação contextual buscada: “citação cultural”, “citação espaço-temporal”, “citação ideológica” e “intencionalidade”. O graffiti enquanto patrimônio cultural é garantido por sua conversão em recurso digital, o que favorece o acesso ubíquo a informações relacionadas às obras de arte urbana.

A quais interesses correspondem as jornadas de prefeitos que visam a coibir e punir as intervenções visuais urbanas? As reflexões deste artigo apontam algumas direções para responder a esta indagação. A partir de uma abordagem etnográfica e da análise de situações ocorridas entre os anos de 2016 e 2017, descrevo e analiso as operações e articulações de um prefeito para instituir um novo programa antipichação na cidade de São Paulo, cujo objetivo era aumentar as punições aplicadas àquelas e àqueles pegos em flagrante pintando na rua. A partir da análise deste caso, procuro mostrar como este tipo de esforço mobiliza estas práticas, especialmente o graffiti e a pixação, para expressar, pelo contraste, um certo paradigma de ordenação social e urbana. Argumento, ainda, que este tipo de empreendimento moral integra um conjunto mais amplo e diverso de artefatos de gestão urbana que visa não somente a manutenção de um certo estado das edificações e superfícies, como também determinar maneiras de ser e estar na cidade.

This paper explores the potentialities of the scientific dissemination project "Mapping the religious diversity in Downtown Rio de Janeiro" in teaching and research training. The project aimed to map multiple forms of religious presence in the city: temples, monuments, graffiti, and posters, among others, to organize events with a non-specialized public. This paper reflects on the experience and describes the analytical and methodological dimensions of walking experiences. Beyond the simple act of movement, as teaching resources, walkings invite the students to go outside the classrooms and confront themselves with the world. Walking thus challenges modes of attention and provides a displacement experience once spatial and internal. This reflexive attitude expands perception with substantive analytical and methodological consequences. Walking on the streets with renewed attention, the students registered materialities of seven different religions in lists, maps, and photographs. Drawing on their field research, we have organized, so far, five walkings with more than 120 persons and have promoted debates on the many ways different religions coexist, share spaces, language, and symbols, or confront others. [ABSTRACT FROM AUTHOR]

This article is an excerpt from original research aiming at recognizing territories from their narratives. The territory clinic method, based on drifting, listening and writing, to map, was tried out by the main author under the co-author's advisement. Sentences and expressions written on walls, here called "grapixos," were read as territory narratives based on a construed process called "text mixing." This paper seeks to present the mixing proposal as a way to read/listen to narratives of territorial spaces and to analyze their problems, potentialities, and results. Its main result shows that mixing grapixos with the researcher's "escrevivência" an appropriate method to reveal discursive layers of the territory concealed or silenced. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Esboços: Historias em Contextos Globias is the property of Esbocos: historias em contextos globais and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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The paper describes the relational dynamics of street art from the standpoint of memorable artists and their trajectories in two Brazilian cities, São Paulo and Fortaleza. If there are specificities in the way street artists performer in these two cities, there are also many things in common, such as the constitution of singular forms of occupation of urban space and of political memory. When presenting the specificities of street arts and their conflicts in these two Brazilian cities, we also attempt to situate them in the country’s current political context, showing how the state acts both to capture and to repress these interventions.

A prática do graffiti é objeto de variadas áreas do conhecimento que discutem seu valor artístico, seu potencial como meio de comunicação e expressão de grupos de indivíduos marginalizados e, principalmente, sua ilegalidade. Uma das construções teóricas mais adotadas ao se tratar do graffiti é a das subculturas delinquentes, porém faltam análises detalhadas acerca da adequação da classificação do graffiti como tal. Desse modo, confrontam-se as características classicamente definidas como pertencentes às subculturas delinquentes com informações sobre o graffiti vindas de áreas como Comunicação, Artes e Sociologia, a fim de identificar suas correspondências e afastamentos. Percebe-se que as correspondências entre o graffiti e a subcultura delinquente são menos numerosas que seus afastamentos, e ainda se referem a aspectos que não são eminentemente negativos, o que indica a necessidade de atenção especial quando se aborda o graffiti como uma prática subcultural delinquente.

This research work is twofold: it tries to reflect on the nature of graffiti and street art, and analyses a specific competition developed in April of 2019 in Torrevieja (Spain) as a case study. Thus, it reflects on the impact of urban tattoos and their elaboration process. It discusses some of the characteristics that graffiti possess when they are understood as a minority’s social action or a critical protest, and how they constitute a process of action on the urban built environment that is based and is often spurred by graphic expression. We also analyse the different specific proposals in the city of Torrevieja understanding the enclaves as supports for this street art, as well as their scope and repercussion, or their graphic nature: their morphological, material and, fundamentally, temporal dimensions. The study of these works includes interviews with the authors as well as with the inhabitants who have ended up incorporating them in their day-to-day work, thus completing the proposed research. The conclusions will allow us to gauge the possibilities that this graphic format and its apparent lack of rules offer for the recovery and the activation of critical protest in our cities, and how to reflect on them from an architectural point of view considering the integration of image, architecture and meaning. We will also weight the consequences in urban planning as this phenomenon could also be interpreted as a tool of contemporary urbanism if this creativity is conveniently channelled towards street art. The drawings on the walls, first, and the walls themselves in time, may contribute, in certain circumstances, to build a more committed, mature and complex cityscape.DOI: https://doi.org/10.20365/disegnarecon.24.2020.12

Urban art or street art, known worldwide as graffiti , has become a form of expression, which often has a great visual impact, and now is being part of the image of almost all cities. The majority of these manifestations are carried out illegally, and they consist of a combination of seemingly disjointed texts, whose main aim is to achieve a sensory distraction, a revolutionary or an anti-system act, instead of having an artistic purpose itself. However, there are other graffiti works that can be considered as masterpieces, since they have an artistic value that is comparable to any piece of art.Another distinctive aspect of graffiti works is its temporary character, so they are ephemeral and non-conservable pieces, since they are exposed to the climate elements. On the one hand, this fact is not necessarily a problem for the vast majority of graffiti, but, in the case of a graffiti masterpiece, it is undeniable that this distinctive feature of mutability, which is an intrinsic part of its artistic objective, should not avoid its correct documentation as a work of art. As its material transience has to be respected, at least, we should document them to preserve its memory and to create a graphic database of urban art masterpieces for future diffusion on other media. The main aim of this contribution is to show different photographic methodologies for the doc-umentation of graffiti on architectural supports. These methodologies have been tested, analysed and evaluated, establishing a suitability criteria according to the conditions in which the works are placed.Finally, some conclusions will be drawn on the different documentation methodologies for these urban artworks, which are often photographed both in their sequence and in their final art, without having an adequate architectural graphic record.DOI: https://doi.org/10.20365/disegnarecon.24.2020.23

After an introduction to mural art and a glance through history for its contextualization, this article focuses on an interview with the artist José Fernandez Ríos on the integration of his plastic work in contemporary architecture. This article draws attention to an aspect that often, in the world of art, takes second place to the work itself: the thoughts and words of those who create it. The paper takes a look at different forms of mural expression of civilization, from the first manifestations in caves to contemporary architecture, its techniques and styles, from classic mural art to clandestine graffiti, in order to establish analogies and differences. Walls are part of our daily landscape and streets and buildings have been increasingly transformed into a cosmos of pictures where citizens become viewers with ambivalent opinions. This kind of intervention is a modern way of expression that is increasingly extended and sometimes overwhelming. It can express protest and criticism and can function as a tool for social and educational integration (Martinez y Barba, 2013). Contemporary mural art, authorised, tolerated or clandestine is increasingly gaining ground in our culture, turning into a tourist attraction for many cities. This is the case in Berlin, Melbourne, New York, London, Rio de Janeiro, Bologna and Barcelona, among many others, where specialised companies offer urban art guided tours. Through this article we try to learn more about this phenome- non from the perspective of a creator: José Ríos.DOI: https://doi.org/10.20365/disegnarecon.24.2020.10

Art is widely used as an instrument in the dynamics of urban renewal. Among them, Street Art has gone from being considered as a way of highlighting historic centers and contributing to civic identity to become one more tool of the dynamics of festivalisation of cities, framed within the processes of gentrification and a rising trend of enhancing cultural tourism.This article focuses on highlighting that Street art, as art, becomes a showcase for conflict on cultural, social and political issues. Thus, when artistic interventions do not focus exclusively on their aesthetic component, they fulfill the objective of becoming a trigger for stimuli between citizens and the places they inhabit. The objective is to demonstrate how in this context, graffiti enhancing its symbolic component, places learning in the public space and through it, the links, interaction, and the acquisition of information are enhanced. In this sense, the role of the institution is taken as a reference from the study of two recent government tenders, which show very differentiated approaches: Embellir Paris and Interactive Women of Science Murals, led respectively by the French government, in Paris, and by the Universitat Politècnica de València, in València.DOI: https://doi.org/10.20365/disegnarecon.24.2020.24

The graffiti birth is initially recognized for its illegal nature and its “disrespectful push”. However, Street Art today is full of different meanings, that are no more necessary connected to the inner message, but almost linked to the medium, the style and the relationship with the chosen location. Also the illegal nature couldn’t be considered as a fundamental prerogative of contemporary graffiti. Considering the hybrid and multiple character of contemporary Street Art, in terms of register, execution methods, references and communicative intent, it is becoming increasingly important to distinguish the works of writers, be they legal, illegal, lasting or temporary, from the practices of simple vandalism, going to analyse the canons, even if diversified, that the artists adopt. Starting from state of art of heterogeneous Street Art’s world limited in the European context, the research focus on the formal choices aimed at the creation of a language, that although it is multiple, has its roots in the word of drawing roots, graphics and representation. The aim of the paper is to identify a matrix of analysis of the graffiti, based on graphical-material techniques and representation methods, in order to reach a definition of a serie of semantic groups from for-mal and technical point. These first results have been discretized with the variable of context to emphasize the interdependence between technique and language and to connect every methods of representation to the material techniques that reflect it most.In conclusion the research wants to code, finding the common proprieties, heterogeneous and personal expressions, born from the youth rebellion, to recognize the rules and typologies of the used language.DOI: https://doi.org/10.20365/disegnarecon.24.2020.6

Este artigo faz parte da minha pesquisa de mestrado em Antropologia (PPGA-UFPA), que foi uma etnografia sobre as Freedas Crew, um coletivo de mulheres e uma pessoa trans que grafitam na cidade de Belém. Utilizo a experimentação como metodologia e ao me colocar como pesquisadora-aprendiz dialogo com conceitos que perpassam pelas técnicas do corpo e corpografia. Levando em consideração que o graffiti aqui abordado tem sua história vinculada ao movimento hip hop norte-americano, as vivências apresentadas estão inseridas em contextos periféricos, relações de gênero, regras de convivência e o uso de meios virtuais para difusão. É um texto que se propõe a problematizar como essas integrantes se articulam enquanto coletivo em relação a cena do graffiti paraense.