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Automation in the construction has seen progress in using modern techniques, which has opened new perspectives for the verification of construction structures using point clouds. This paper discusses wall structure geometry verification, using point cloud data with geometry information extracted from building information modeling models as reference data. The research is focusing on automating the verification of wall structures using a software solution developed in Python. It involves processing and extracting geometric data from models in industry foundation classes' format, comparing the data and visualization of deviation. Results, conclusion, and future workplans are given for achieving better understanding. [ABSTRACT FROM AUTHOR]

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.)

The visual space of a modern city and any other populated area is very diverse and rich, both with useful elements: signs, road signs, posters, street names, etc., and with the elements which change the appearance of streets in a negative way, namely the graphic damage to urban space or unauthorized graffiti, which is in the focus of this paper. The relevance of the present study is determined by the significance of studying various types of everyday written and speech activities within the city space. The specificity of graffiti as an object of linguistic research is noteworthy. Being an ambiguous part of urban space, graphic damage is often not fully studied, but nevertheless has significant pragmatic potential that can influence the opinion of citizens. Thus, the purpose of the study is to describe graphic damage, considering the entire range of extralinguistic and linguistic components of the genre. The work is based on a descriptive research method, and the basis for the methodology for describing the genre is the model of a complex communicative-typological description of the natural written Russian speech, proposed by N. B. Lebedeva and adapted to the objectives of this study. Thus, the article presents a description of aspects of the genre under consideration through a number of characteristics: 1) author, 2) purpose, 3) addressee, 4) content, 5) communicative time, 6) linguistic embodiment, 7) social assessment 8) cognitive dominant of the genre.

Saqanefars are structures from the Qajar period that are derived from the indigenous and ritual architecture of Mazandaran. In contrast to comparable structures, Saqanfar Kijatekiyeh in Babol is characterized by a plethora of pictorial themes that are specifically focused on women. This research aims to explore the themes and significance of women's roles in these murals. The research questions are as follows: -What is the reason for the increased prevalence of women's motifs in Saqanfar Kijatekiyeh Babol in comparison to other Saqanefars? -What are the reasons for the prominence of women in these murals? - Which themes are illustrated in the murals of Saqanfar Kijatekiyeh, Babol? The research employs a descriptive-analytical method, which involves the non-random selection of specific images from epic, otherworldly, symbolic, and quotidian activity motifs and their description using an iconological approach. Significant developments and changes in women's status were reflected in the Qajar era, which saw a zenith in the redefining of women's roles in society, family, and art. The northern regions of Iran underwent a change in gender concepts as a result of their geographical and livelihood conditions. The development of women's roles is significantly influenced by historical, social, political, and cultural factors. The Tekiyeh building's simultaneity with the Qajar period, the fundamental changes in social relations, clothing styles, political positions, and aesthetic concepts of women, as well as the abundance of women's images, suggest a direct connection between these motifs and the political and social developments of the era. This is indicative of the impact of indigenous artists on the representation of political and social conditions within a particular historical context.

Among the men of the Middle Ages who have been reduced to anonymity due to an absence or lack of written and archaeological sources, as well as a failure of memory, are the majority of those sentenced to prison. The few archival documents that have come down to us reveal the faces of these unknown men, some of whom were judged by the ecclesiastical justice system, which was known as the officiality. The most that can be ascertained from the few surviving records are the names and dates of detention of the prisoners. In order to recover their identity, it is necessary to study the figurative graffiti, which provides invaluable information. Some prisoners left traces of their passage by “inserting their own images”, in the form of drawings or carvings, on their cell walls. This article will attempt to analyse the means of figurative expression in the late-medieval prison environment, to make them meaningful, to account for the sociocultural practices of those men and to grasp their unveiled identity. In order to gain insight into the concerns, beliefs, thoughts and very life of those men, the figurative graffiti of Selles Castle in Cambrai (France) will be used as an illustration. The Selles Castle served as a confined space in the late Middle Ages, particularly for the Cambrai officiality.

The article analyzes the phenomenon of street art in the context of its impact on the creation of local or global communities of both creators and audiences. It takes into consideration various forms of expression such as graffiti, community murals, or interventions by individual artists. It examines to what extent the communities formed around artistic activities are lasting and cohesive. Graffiti, as a form of art typical of the hip-hop subculture, represents expressions by groups that are closed and anonymous for the majority of society. Despite strong connections, these groups are usually temporary and may disband after the completion of specific projects. Other forms of street art are typically created by individual artists seeking to develop a unique style. Open, global networks of enthusiasts, activists, and organizations form around them, with the internet and social media serving as platforms used to maintain the connection between artists and their audience. Some street artists (e.g. JR or Swoon) are particularly sensitive to social issues and contribute to forming and sustaining local communities through their creations, even if they do not necessarily belong to them. A specific form of street art are community murals commissioned by a community to enhance its identity and cohesion. Street art and graffiti, therefore, have the ability to create communities on various levels, even despite their informal and ephemeral nature.

Various factors such as natural disasters, vandalism, weather, and environmental conditions can affect the physical state of traffic signs. The proposed model aims to improve detection of traffic signs affected by partial occlusion as a result of overgrown vegetation, displaced signs (those knocked down, bent), perforated signs (those damaged with holes), faded signs (color degradation), rusted signs (corroded surface), and de-faced signs (placing graffiti, etc., by vandals). This research aims to improve the detection of bad traffic signs using three approaches. In the first approach, Spiral Pooling Pyramid-Fast (SPPF) and C3TR modules are introduced to the architecture of Yolov5 models. SPPF helps provide a multi-scale representation of the input feature map by pooling at different scales, which is useful in improving the quality of feature maps and detecting bad traffic signs of various sizes and perspectives. The C3TR module uses convolutional layers to enhance local feature extraction and transformers to boost understanding of the global context. Secondly, we use predictions of Yolov5 as base models to implement a mean ensemble to improve performance. Thirdly, test time augmentation (TTA) is applied at test time by using scaling and flipping to improve accuracy. Some signs are generated using stable diffusion techniques to augment certain classes. We test the proposed models on the CCTSDB2021, TT100K, GTSDB, and GTSRD datasets to ensure generalization and use k-fold cross-validation to further evaluate the performance of the models. The proposed models outperform other state-of-the-art models in comparison. [ABSTRACT FROM AUTHOR]

The article explores the perspective of Bolivian feminist activist María Galindo on the recent military incursion in Bolivia and her critique of the country's political system. Galindo emphasizes the need to challenge oppressive structures and rethink the concept of the nation-state. The article also discusses the creation of a Feminist Constitution in Bolivia, led by marginalized groups such as Indigenous women, lesbian women, and the urban working class. The Feminist Constitution aimed to center the voices of these groups and propose innovative ideas for social transformation. However, challenges remain in achieving true gender equality and self-recognition for marginalized groups in Bolivia. [Extracted from the article]

The paper analyzes the phenomenon of street art and the relationship between street art, graffiti, cities and social actors, such as the audience of the artworks. The paper presents the state of the art related to phenomena of street art, graffiti, and the related subcultures. Then, the article considers original aspects and changes of the relationship between street art and graffiti. This analysis is possible thanks to reference to urban artworks of 1UP collective, Mr. Paradox Paradise, Cranio, Blu, and Mr. Woodland. These artists mark a turning point in the relationship between street art, graffiti, and social actors, and their works are considered as examples for the proposed arguments. In this sense, the global relevance of urban contexts such as Berlin, where some of these artists began their activities, emerges. The changing relationship between street art and graffiti is analyzed in the German capital from the perspective of visual sociology through photographic field research. Photographic research makes the artworks observable and analyzable ex-post. Street art emerges not as a homogeneous phenomenon, but shows different forms of expression, some closely related to traditional graffiti, others profoundly different. Emerging characters are analyzed through the concepts of audience, shock, collective innervation and aura, which refer to the sociological tradition of Walter Benjamin and Siegfried Kracauer, viewed as conceptual lenses for the study of contemporary street art. [ABSTRACT FROM AUTHOR]

Graffiti relies on social instrumentation for its creation on spatial structures. It is questioned whether different mechanisms exist to transfer social and spatial hierarchies under a new model for better engagement, management, and governance. This research aims to replace physical graffiti using augmented reality (AR) in smartphones. Contact-free AR graffiti starts with the creation of 3D graffiti; this is followed by an AR cloud platform upload, quick response (QR) code access, and site deployment, leading to the secondary reconstruction of a field scene using smartphone screenshots. The working structure was created based on the first 3D reconstruction of graffiti details as AR models and second 3D reconstruction of field graffiti on different backgrounds using a photogrammetry method. The 3D graffiti can be geotagged as a personal map and 3D printed for collections. This culture-engaged AR creates a two-way method of interacting with spatial structures where the result is collected as a self-governed form of social media. The reinterpreted context is represented by a virtual 3D sticker or symbolized name card shared on the cloud. The hidden or social hierarchy was reinterpreted by a sense of ritual without altering any space. The application of digital stickers in AR redefines the spatial order, typology, and governance of graffiti. [ABSTRACT FROM AUTHOR]

This _Article explores the intersection of urban beautification and caste in contemporary Indian cities, with specific focus on commissioned works of street art which are part of urban cleanliness campaigns. Over the past three decades, statesponsored urban improvement schemes have aimed at eradicating perceived 'dirt' from cities, often employing street artists to promote urban beautification and cleanliness. Within the apparently inherent connection between beauty, sanitation and citizenship in Indian cities, an attempt at establishing an urban aesthetics of clean(s)ing is discernible, specifically in New Delhi. This _Article argues that the utilization of urban aesthetic practices like street art, particularly as a means to combat 'dirt,' emerges from caste-based and revanchist visions of the Indian public sphere. Through case studies, it shows how murals are employed to promote ideals of cleanliness that reflect upper-caste values that serve to transform urban spaces while policing oppressed-caste and working-class residents. Building on analyses of spatial transgression, such as Mary Douglas' idea of dirt as "matter out of place," Tim Cresswell's notion of graffiti as "words out of place," and D. Asher Ghertner's concept of "aesthetic governmentality," it explores the discursive procedures through which certain types of bodies and symbols are declared as illegal/illegible or dirty/disgusting in the Indian city. The _Article will show how street and other forms of art may embody and/or critique these prevalent notions of socio-spatial order. [ABSTRACT FROM AUTHOR]

The close conceptual links between symbolic death, rebirth, and pilgrimage are widely known to modern sociologists and anthropologists and can be observed in several modern pilgrimage traditions. This study argues that the same connections can already be detected in Aristides' Hieroi Logoi, "the earliest detailed first-person account of pilgrimage that survives from antiquity". In terms of methodology, this article follows recent scholarly work on ancient lived religion perspectives and religiously motivated mobility that favours a broader understanding of the notion of pilgrimage in the Greek-speaking world. Rutherford, in particular, has produced a plethora of pioneering studies on all aspects of 'sacred tourism' experience in various media including documentary papyri, inscriptions, and graffiti. This chapter builds further on Rutherford's work and focuses on Aristides' accounts of his visits to smaller, less-well known healing centres. The main aim is to demonstrate how Aristides' pilgrimage experience to the healing temple of Asclepius at Poimanenos or Poimanenon (a town of ancient Mysia near Cyzicus) is wholly recast and presented in terms of travelling to the sacred site of Eleusis, one of the most important cultural and religious centres of the Roman Empire in the Antonine Era. Thus, Aristides' pilgrimage experience to Poimanenos is successfully reframed as a mystic initiation that marks the death of the previous ill self and the birth of the new, enlightened, and healthy self. [ABSTRACT FROM AUTHOR]

Graffiti represents a multi-disciplinary social behavior. It is used to annotate urban landscapes under the assumption that building façades will constantly evolve and acquire modified skins. This study aimed to simulate the interaction between building façades and generative AI-based graffiti using Stable Diffusion® (SD v 1.7.0). The context used for graffiti generation considered the graffiti as the third skin, the remodeled façade as the second skin, and the original façade as the first skin. Graffiti was created based on plain-text descriptions, representative images, renderings of scaled 3D prototype models, and characteristic façades obtained from various seed elaborations. It was then generated from either existing graffiti or the abovementioned context; overlaid upon a campus or city; and judged based on various criteria: style, area, altitude, orientation, distribution, and development. I found that rescaling and reinterpreting the context presented the most creative results: it allowed unexpected interactions between the urban fabric and the dynamics created to be foreseen by elaborating on the context and due to the divergent instrumentation used for the first, second, and third skins. With context awareness or homogeneous aggregation, graphic partitions can thus be merged into new topologically re-arranged polygons that enable a cross-gap creative layout. Almost all façades were found to be applicable. AI generation enhances awareness of the urban fabric and facilitates a review of both the human scale and buildings. AI-based virtual governance can use generative graffiti to facilitate the implementation of preventive measures in an urban context. [ABSTRACT FROM AUTHOR]

Saqanefars are structures from the Qajar period that are derived from the indigenous and ritual architecture of Mazandaran. In contrast to comparable structures, Saqanfar Kijatekiyeh in Babol is characterized by a plethora of pictorial themes that are specifically focused on women. This research aims to explore the themes and significance of women's roles in these murals. The research questions are as follows: -What is the reason for the increased prevalence of women's motifs in Saqanfar Kijatekiyeh Babol in comparison to other Saqanefars? -What are the reasons for the prominence of women in these murals? - Which themes are illustrated in the murals of Saqanfar Kijatekiyeh, Babol? The research employs a descriptive-analytical method, which involves the non-random selection of specific images from epic, otherworldly, symbolic, and quotidian activity motifs and their description using an iconological approach. Significant developments and changes in women's status were reflected in the Qajar era, which saw a zenith in the redefining of women's roles in society, family, and art. The northern regions of Iran underwent a change in gender concepts as a result of their geographical and livelihood conditions. The development of women's roles is significantly influenced by historical, social, political, and cultural factors. The Tekiyeh building's simultaneity with the Qajar period, the fundamental changes in social relations, clothing styles, political positions, and aesthetic concepts of women, as well as the abundance of women's images, suggest a direct connection between these motifs and the political and social developments of the era. This is indicative of the impact of indigenous artists on the representation of political and social conditions within a particular historical context. [ABSTRACT FROM AUTHOR]

This study documents a set of historical graffiti in the church of the Recoletas convent in Tafalla (Navarra, Spain), dated in the 19th century. A significant portion of these exhibit military themes, linking them directly to the Third Carlist War. It includes depictions of soldiers and weapons, but notably an inscription attributed to a musician from the first battalion of the third Marine Infantry Regiment, who on August 15, 1874, had just returned from the Battle of Oteiza. This discovery provides additional detail in understanding the participation of this regiment in the battle. [ABSTRACT FROM AUTHOR]

Aeolianites and cemented beach deposits on South Africa's Cape coast preserve evidence of events that transpired on them when they were composed of unconsolidated sand. Over the past decades, numerous Pleistocene vertebrate tracksites have been identified on aeolianite palaeosurfaces in the Garden Route National Park, West Coast National Park, and Addo Elephant National Park. In the Garden Route National Park alone, 57 Pleistocene vertebrate tracksites have been discovered. An equilibrium exists, whereby new sites become exposed through cliff-collapse events, while known sites slump into the ocean, are eroded through the action of wind and water, or are destroyed through wave action. Engraved graffiti poses a further threat. These sites complement the traditional body fossil record, and have significant palaeoenvironmental and palaeoanthropological implications. Hominin sites are of global importance: one contains the oldest tracks attributed to Homo sapiens, others contain patterns made in sand by ancestral humans and constitutes a form of early palaeoart. Collectively, these sites have substantial geoheritage value. The discoveries create management questions: which sites require active management, and how should they be ranked in importance? Factors which need to be considered in developing a management strategy include the scientific and heritage value of the sites, whether recovery or replication is preferable, the presence or absence of suitable repositories, the level of the threat to site integrity, the accessibility of the site, and the feasibility of recovery. Checklists containing appropriate criteria and questions can form tools in assessing the importance of these ichnosites. [ABSTRACT FROM AUTHOR]

The article deals with Jean-Luc Godard's interventions in the multimedia arts, known as « fraternal arts », and « ut pictura poesis » to reconsider the audiovisual juxtaposition of fiction and documentary in the film-collage of the modern period of end of the sixties and « cinema effects » in contemporary arts. It retraces some of the main elements of the film One plus One directed by Jean-Luc Godard and addresses its role and importance in the clandestine nature of artistic creation by revealing the interconnections between « musical history in the making » and the aesthetics of graffiti, Brechtian quote, and distancing (Verfremdungseffekt). In the second part, the essay draws on Burgin and Dubois to examine how the « cinema effect » (l'effet-cinéma) of the so-called « Godardesques » emerges in the context of contemporary museum installations. By approaching artistic works, our wish is to reveal the forms of reconstitution of the Godardian One plus One. These works loosely linked to classical cinema can be considered, following Burgin, as cinematic heterotopias. [ABSTRACT FROM AUTHOR]

Copyright of Aposta is the property of Aposta 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.)

Recent years have witnessed a spurt of progress in China’s tourism industry, contributing greatly to the economy, culture, and ecology. Cultural relics and historic sites boast significant value in terms of tourism, economic, ecological service, cultural, and scientific research value, yet the intentional destruction makes it a serious problem threatening human natural and cultural heritage. So far, there is no scientific and standardized method to assess the value of the damaged cultural relics and historic sites and the corresponding ecological compensation. This study fills up a critical gap in developing a new ecological damage assessment method for the intentional destruction of cultural relics and monuments by taking the graffiti of Taishan Mountain, a World Heritage Site in China, as an example. The method consists of four steps: (1) selecting the assessment indicators based on the characteristics of cultural relics and historic sites, (2) obtaining the evaluation weights of the indicators by conducting a questionnaire survey among experts and the public, (3) determining the spatial distribution of the protected areas and the damage grade of the cultural relics and historic sites by using GIS and remote sensing techniques, and (4) calculating the economic value of the damaged cultural relics and historic sites by using the market price method, the travel cost method, and the contingent valuation method. The results show that the total value of ecological damage in the case was 70,588.07 yuan ($9958.11), which was successfully accepted by both parties involved in the case.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

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.

Introduction. In a modern urban environment, graffiti also plays a role in shaping the younger generation. Certain creolised texts have a significant educational potential as they reach a wide audience of casual observers. These texts can propagate, emphasise, appeal to, or influence the emotional state of the reader. However, the peculiarities of perception and assessment of the educational potential of urban graffiti are practically unstudied in the scientific community. Aim. The aim of the study was to investigate the mechanism of the impact of urban graffiti with pronounced educational potential on individuals by assessing the features of their perception, memorisation, emotional response, and interpretation of the content. Methodology and research methods. The present study is part of an exploratory laboratory experiment using high-precision research equipment, known as an “eye-tracker”. During the laboratory experiment, the perception features of 21 texts were evaluated. These texts were selected from a pool of 2,000 photographs, which were taken of texts vandalised in the megacities of the Russian Federation. The results were processed mathematically and statistically using descriptive statistics, MANOVA, comparative analysis, and contingency tables. Results. The results of the study demonstrate that urban graffiti with educational potential is memorised and reproduced by 10 to 43% of the study participants. The study describes the unique eye-movement patterns observed during the perception of creolised texts, which lead to a reduced comprehension of the educational content and impact embedded in them. Generalised principles for creating urban graffiti that effectively realise positive educational potential include the presence of a prosocial message, brevity of the text, literal and unambiguous communication, complementation of the text with a consistent graphic image, and the use of creolised text. Scientific novelty. The scientific novelty lies in identifying the mechanism through which urban graffiti, with significant educational potential, impacts students. This is achieved by characterising their perception, emotional evaluation, and interpretation. Practical significance lies in the potential use of the collected data to achieve educational goals through the utilisation of street art and graffiti in urban spaces. This includes considering the specific characteristics and limitations in how young people perceive the educational value of these art forms.

Tematem artykułu jest nowe zjawisko sztuki miejskiej określane jako „dzikie typo”. Jest ono specyficznie lokalne, łódzkie, ale jednocześnie pozwala uchwycić złożoną problematykę doświadczenia postindustrialnego miasta — i w tym sensie jest uniwersalne. Sam termin jest zastanawiający, ponieważ wydaje się wewnętrznie sprzeczny. Mimo iż pojęcie dzikości ma pewną tradycję we współczesnej teorii sztuki, to nie przystaje do zagadnienia typografii. Różne przejawy „dzikiego typo” w przestrzeni miasta uwikłane są w szereg zależności podważających status autorstwa, narażających twórców na naśladowanie i instrumentalne wykorzystanie ich prac. Jeśli chodzi o fizyczną przestrzeń miasta i jej walory dzikości i autentyczności — to „dzikie typo” użycza tej przestrzeni wieloznaczności i także przejmuje jej wieloznaczność, co wraz z ingerującą przyrodą oraz zaniedbaniem sprawia, że użytkownik miasta nie ma jasności, z czym ma do czynienia. Interesujące jest, dlaczego i z jakimi intencjami lub nadziejami artyści wikłają się w ten splot sztuki, wandalizmu i degradacji krajobrazu. Potraktowanie tych przestrzeni i praktyk jako heterotopijnych pozwala wyjść poza schematyczne wartościowanie legalne/nielegalne, estetyczne/antyestetyczne, kulturalne/zdziczałe.

This article introduces the possibility of studying graffiti using a colorimeter developed with Arduino hardware technology according to the Do It Yourself (DIY) philosophy. Through the obtained Red Green Blue (RGB) data it is intended to study and compare the information extracted from each of the graffiti present on different walls. The same color can be found in different parts of a single graffiti, but also in other graffiti that could a priori be of different authorship. Nevertheless, graffiti may be related, and it may be possible to group graffiti artists and "gangs" that work together. The methodology followed for the construction of the colorimeter and its real application in a practical case are described in four case studies. The case studies describe how graffiti were identified and recognized and they provide a comparison of the collected color samples. The results show the added value of the colorimeter in the graffiti recognition process, demonstrating its usefulness on a functional level. Finally, the contributions of this research are outlined, and an analysis is carried out of the changes to be made to the proposed method in the future, for improved graffiti color identification.

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.)

There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist's erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism's queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism's sexual valences, I contextualize the movement's attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century. [ABSTRACT FROM AUTHOR]

This article introduces the possibility of studying graffiti using a colorimeter developed with Arduino hardware technology according to the Do It Yourself (DIY) philosophy. Through the obtained Red Green Blue (RGB) data it is intended to study and compare the information extracted from each of the graffiti present on different walls. The same color can be found in different parts of a single graffiti, but also in other graffiti that could a priori be of different authorship. Nevertheless, graffiti may be related, and it may be possible to group graffiti artists and "gangs" that work together. The methodology followed for the construction of the colorimeter and its real application in a practical case are described in four case studies. The case studies describe how graffiti were identified and recognized and they provide a comparison of the collected color samples. The results show the added value of the colorimeter in the graffiti recognition process, demonstrating its usefulness on a functional level. Finally, the contributions of this research are outlined, and an analysis is carried out of the changes to be made to the proposed method in the future, for improved graffiti color identification. [ABSTRACT FROM AUTHOR]

Featured Application: This study explores the viability of employing ultra-freezing air projection as a sustainable method to eliminate graffiti from rail vehicles and structures. Its potential application extends to the cleaning of non-porous materials, including industrial cultural heritage sites. Unauthorised graffiti is a challenge in urban environments, affecting railway structures, stations, tracks, and vehicles. Inefficient cleaning methods increase the costs and downtime of railcars, limiting passenger transport. In turn, they are harmful to the operator's health and the environment, due to the VOCs they release. This study focuses on the feasibility of dry-ice blasting, replacing carbon dioxide with ambient air as an innovative and sustainable solution to remove graffiti from rail vehicles. Experimental tests have been carried out with 13 different aerosols, controlling the temperature (<−80 °C), pressure (up to 3 bar), projection distance (0.5 cm) and exposure times (30″/1′/2′/4′/6′/8′/++). The results showed that ultra-freezing with ambient air preserved the integrity of the support materials and altered the topography, colourimetry and adhesion of the aerosols tested, achieving the total removal of one of the paints. Preliminary results suggest that ultra-freezing with ambient air could be a viable and sustainable solution for graffiti removal on railway structures, transferable to other urban environments. [ABSTRACT FROM AUTHOR]

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]

Using the example of graffiti created by famous artists on the walls of buildings and structures damaged during hostilities in Kyiv and its suburbs, the article analyzes and summarizes the factors influencing the lifespan of street artworks. Special conditions for dismantling graffiti and changing the exposure are considered. Examples of measures taken to preserve art objects are given. The study provides recommendations for additional protection of building structures, which are the basis of murals, taking into account their condition and degree of destruction. The authors provide photographic materials and results from some of the most common objects. Also provided are constructive schemes for strengthening the building elements or their fragments and options for technological solutions for protection, preservation and further dismantling. The article also includes materials from already implemented projects: applications of street art, which were saved using these other methods and techniques. [ABSTRACT FROM AUTHOR]

This manuscript investigates the cultural and educational dimensions of murals and graffiti in the ruins of the Aliko Hotel on Naxos Island. Moving beyond their aesthetic value, these artworks are examined as conduits for complex sociocultural and educational discourses. Employing semiotic analysis, particularly informed by Roland Barthes' conceptual framework, the study offers a multi-layered interpretation of the significance of street art. A systematic approach guided the empirical data collection, entailing the careful selection and categorisation of 76 photographs, eventually honed down to 21 key images for detailed analysis. This set, comprising 6 murals and 15 graffiti pieces, was subjected to meticulous examination to discern both dominant themes and motifs ('studium') and the elements evoking personal connections ('punktum'), thereby facilitating emotional and intellectual engagement. The methodology of the study is tailored to uncover the collective narratives encapsulated within these visual forms, as well as the individual responses they provoke. It probes how personal interpretations are influenced by the viewers' beliefs and backgrounds, thereby expanding the semiotic analysis to encompass both shared and individual meanings. This balanced analytical approach deepens the understanding of visual expressions as dynamic interactions between the artwork and its audience. It underscores the transformative role of street art in urban environments and its contribution to public art discourse. The impending demolition of the Hotel Aliko ruins underscores the ephemeral nature of street art. The murals and graffiti, as transient custodians of cultural and social narratives, accentuate the fragile nature of this cultural heritage. This critical moment underscores the importance of documenting and preserving such art forms and the stories they encapsulate, highlighting their significant role in shaping community identity and cultural education. [ABSTRACT FROM AUTHOR]

Aeolianites and cemented beach deposits on South Africa’s Cape coast preserve evidence of events that transpired on them when they were composed of unconsolidated sand. Over the past decades, numerous Pleistocene vertebrate tracksites have been identified on aeolianite palaeosurfaces in the Garden Route National Park, West Coast National Park, and Addo Elephant National Park. In the Garden Route National Park alone, 57 Pleistocene vertebrate tracksites have been discovered. An equilibrium exists, whereby new sites become exposed through cliff-collapse events, while known sites slump into the ocean, are eroded through the action of wind and water, or are destroyed through wave action. Engraved graffiti poses a further threat. These sites complement the traditional body fossil record, and have significant palaeoenvironmental and palaeoanthropological implications. Hominin sites are of global importance: one contains the oldest tracks attributed to Homo sapiens, others contain patterns made in sand by ancestral humans and constitutes a form of early palaeoart. Collectively, these sites have substantial geoheritage value. The discoveries create management questions: which sites require active management, and how should they be ranked in importance? Factors which need to be considered in developing a management strategy include the scientific and heritage value of the sites, whether recovery or replication is preferable, the presence or absence of suitable repositories, the level of the threat to site integrity, the accessibility of the site, and the feasibility of recovery. Checklists containing appropriate criteria and questions can form tools in assessing the importance of these ichnosites.

Introduction. The impact of street art on the state of space of the modern city is investigated. The object of the research is the modern urban environment considered in the context of the changing perception of street art by the urban population. The aspects of forming a favourable urban environment from the point of view of urban dweller’s stay in it are considered.Materials and methods. The methodological basis of the research is an analytical review of materials reflecting the interaction between art and the viewer in general, and street subculture and the urban dweller in particular. The focus of this paper is the concept of the functionality of the time-changing urban environment and its human perception. The research methodology is based on the analysis of the urban space of Ryazan through the prism of its perception by the urban population. The empirical base contains materials, including a statistical study of the opinion of the target audience of teachers, staff and students of the Ryazan Institute (branch) of the Moscow Polytechnic University regarding the existence of the social phenomenon of street art, its dynamics and impact on public opinion, an interview reflecting the view of the artist Alexander Sinitsyn on the state of the Street art movement in Ryazan and the authors’ own participation as artists in the social project “The City in Colours”, which took place in the summer of 2022. The concrete fence of the railway tracks in Moskovskaya street was the object of creativity.Results. The main factors influencing the perception of street art by the population are revealed, the data of statistical research of the state of public consciousness is carried out, reflecting aesthetic views, social activity, involvement in the processes of transformation of the urban environment, the dynamics of perception of the visual range contained in street art objects. The authors of the paper determined the average level of awareness of residents about the activities of street artists and various works of street art.Conclusions. Street art is a new direction that is undergoing transformation processes, adapting to new trends in the modern structure of society and people’s consciousness. Modern subculture of street art will be in demand on the territory of urban space, thanks to its informational, propaganda and aesthetic component.

This study explores the rich spatial-cultural phenomena of street skateboarding and graffiti in Jakarta. The enduring appeal of both activities lies in their ability to inspire creativity, foster subcultural identities, and leave a lasting impact on culture. Through interviews and detailed observations by the first author, an active skateboarder, the research investigates the motivations, challenges, and cultural significance of skateboarding and graffiti. It examines their appropriation of urban spaces, exploring how they navigate local norms and regulations. The study also uncovers the social dynamics and subcultural communities that have emerged around these activities, shedding light on their role in shaping individual and collective identities within Jakarta’s urban fabric. The findings highlight the positive responses from the surrounding community, the strong attachment of the youths to their preferred locations, their constant adaptation and development of skills, and how they express their unique identities.

Color data are often required for cultural heritage documentation. These data are typically acquired via standard digital cameras since they facilitate a quick and cost-effective way to extract RGB values from photos. However, cameras' absolute sensor responses are device-dependent and thus not colorimetric. One way to still achieve relatively accurate color data is via camera characterization, a procedure which computes a bespoke RGB-to-XYZ matrix to transform camera-dependent RGB values into the device-independent CIE XYZ color space. This article applies and assesses camera characterization techniques in heritage documentation, particularly graffiti photographed in the academic project INDIGO. To this end, this paper presents COOLPI (COlor Operations Library for Processing Images), a novel Python-based toolbox for colorimetric and spectral work, including white-point-preserving camera characterization from photos captured under diverse, real-world lighting conditions. The results highlight the colorimetric accuracy achievable through COOLPI's color-processing pipelines, affirming their suitability for heritage documentation. [ABSTRACT FROM AUTHOR]

Historic graffiti offer new and interesting insights into late medieval and early modern English society. This paper will show the value of studying these inscriptions by discussing two churches constructed in the late medieval period in Suffolk, England, with drawings of two figures that potentially represent the Virgin Mary and the Christ Child. These drawings are similar and yet quite different in their quality and execution, and they possibly relate to lost medieval imagery within the building. These images may also have been created in response to various iconoclastic movements that occurred as part of the Reformation as well as after it. This paper seeks to encourage further study on the relationship between historic graffiti and local history by observing the connection between the late medieval parish churches of Lidgate and Stradishall and their respective figural drawings by suggesting that graffiti serve a larger purpose than idle drawing or doodling and instead are valuable pieces of evidence about parish life and values. [ABSTRACT FROM AUTHOR]

Objective: The purpose of this research is to study the wall and desk writings from the linguistics aspects to reach students underlying and hidden layers of text, namely the relationship between power and ideology. And it brings together various ideologies within the text to achieve critical deconstruction. Methods: For this, the method of critical discourse analysis of Fairclough was used. A descriptive content analysis method was used. The data of this study is 40 writings of various junior high school students in Miyandoab. These writings were taken by camera and also was used note taking. Results: This research was analyzed by using of the framework of critical discourse analysis approach in three layers of description, interpretation and explanation. At the descriptive level, more emphasis is placed on the lexical items and metaphorical aspects that express the student's ideological perspective. At the level of interpretation, the emotional, psychological crisis and the limitations prevailing in schools and different discourses are interpreted with an intertextual connection. At the explanation stage, distress, hatred, feelings, friendship and hostility all express the emotions of the students. The position of the teacher and manager in relation to the students and their power are expressed. Conclusions: The results showed that power of teachers, managers and the ruling of ideology in schools caused the students to write their thoughts on the desks and walls and express the ruling discourse in school. [ABSTRACT FROM AUTHOR]

Most economic literature on the internet views the internet through the lens of private markets. However, the internet, concretely, as a collection of software protocols, is intrinsically a public good, as economists define them. The article reviews a selection of conventional approaches to the internet; the focus of which, on markets, is an example of Alfred North Whitehead's fallacy of misplaced concreteness. On closer analysis, these markets turn out to be traditional business activities enabled by internet applications, which are themselves not market "goods." An alternative analogy is that of a virtual public square, the walls of which are used as a communal bulletin board. This image is actually a close representation of the way that the early internet was developed. A number of policy conclusions are drawn from this contrasting approach. The public good character of the internet needs to be protected against private interests, including the current group of internet oligarchs. In line with Thomas Piketty's work on the extreme levels of income and wealth inequality that have evolved in the global economy, some small measure of correction can be assisted by making the private appropriators of the public good pay for the services that the internet provides to them. [ABSTRACT FROM AUTHOR]

Russian interference and invasion in Ukraine have transformed that nation's historical practice of mural painting. A traditional art form with deep religious and political resonance in Ukraine, murals have become an instrument for patriotic mass mobilisation against the Russian military threat. From the mid-2000s, spraypaint graffiti underwent a gradual process of professionalisation and reconciliation with mainstream culture as Ukrainian municipalities pursued urban beautification initiatives and city-branding strategies to mitigate the socioeconomic challenges of postsocialism. It was this legacy of apolitical, privately funded street art that provided the foundations for patriotic muralism following the Maidan "Revolution of Dignity" and the Russian annexation of Crimea. Amidst the post-Maidan search for a postcolonial understanding of Ukrainian culture disentangled from Soviet and Russian influences, professionally produced murals in central urban districts proposed new visions of national identity. The war's intensification since 2022 has resulted in a decentralisation of mural production. No longer reliant on international festivals in urban centres, conflict murals are now made by Ukrainian artists in large cities and small towns across the country. The newest murals represent a blending of the physical and digital—with a subject matter often inspired by viral conflict memes; artworks are, in turn, shared with worldwide audiences via social media. [ABSTRACT FROM AUTHOR]

Examples of nanostructured fluids (NSFs) used as highly specialized "brush‐on, wipe‐off" detergents for the removal of graffiti coatings resistant to removal are water‐in‐oil nanoemulsions that have been stabilized with nonionic saccharide surfactants. Nanodetergents with safe, ecofriendly ingredients were produced using high‐pressure homogenization (HPH). These ingredients included D‐limonene or 3‐methoxy‐3‐methyl‐1‐butanol, esterified vegetable oils, and alkyl polyglucosides (APG). Responsive surface methodology (RSM) optimization was used to identify the most efficient detergents for removing stubborn graffiti coatings. Two different types of black paint containing nitrocellulose or bitumen as components to strengthen the paint properties were used to create a stubborn graffiti coating on a marble surface. The effectiveness of the nanodetergents in removing the stubborn graffiti coatings was evaluated, and the results revealed a considerable variation in the pace at which the coatings could be removed by the nanodetergents, despite the fact that both paints strengthened with different additives showed similar surface properties. It was found that alkyl polyglucosides are highly efficient in stabilizing water‐in‐oil nanoemulsion systems, including diverse solvent types. These nanoemulsions can be used as specialized "brush‐on, wipe‐off" detergents for the precise removal of different graffiti coatings, which require a specified action period to prevent destroying the underlying original substrate. [ABSTRACT FROM AUTHOR]

The paper focuses on gender aspects in graffiti and street art as contextand communication-based cultural phenomena. The key issues tackled here are how gender aspects and gender-based communication are expressed in graffiti and the nature of the gendered aesthetics of street art. The analysis aims to identify gender clichés in graffiti, illustrating stereotypical views from a broader sociocultural perspective. The study also highlights the role of graffiti and street art in challenging gender stereotypes and bringing novel concepts to the fore. The paper combines studies on graffiti and street art with the gender studies approach and employs as a research method the contextualisation of graffiti and street art as ephemeral cultural phenomena from a viewer's perspective. Graffiti works collected mainly in 2010-2020 and held in the online graffiti database of the Estonian Literary Museum constitute the sources of this paper. [ABSTRACT FROM AUTHOR]

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The carvings presented here were discovered during the second (2017) field season of the Badia Epigraphic Survey (BES), in Wādī Swīʿad, which is located in al-Ḥarrah approximately 34 km to the southeast of aṣ-Ṣafawī (H5) and stretches for 13 km and is approximately 820 meters above sea level. This article presents some examples of Rock Art that appear next to the inscriptions and provide us with two new personal names (grmry and hnʾmt), as well as with new Safaitic verb (ḫwr "he became weak or feeble" and wyl "Woe to!") and the adverb dhr (dahran "forever"). [ABSTRACT FROM AUTHOR]

Copyright of Anaquel de Estudios Árabes is the property of Universidad Complutense de Madrid 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.)