bluuebunny/crossref_metadata_2025 huggingface dataset:
РЕЖИМ ЛИВНЕВЫХ ОСАДКОВ НА О. САХАЛИН В УСЛОВИЯХ ИЗМЕНЕНИЯ КЛИМАТА
Authors: Асауляк И.Ф. , Дронова Е.А.
Published: January 2025

Исследован режим ливневых осадков на острове Сахалин в летний период времени, рассчитан индекс гигротермодинамической неустойчивости для некоторых метеостанций, построены карты распределения ливневых осадков по исследуемой территории с 1966 по 1975 и с 2013 по 2022 гг.
ПРИМЕНЕНИЕ АКТИВНОЙ ТЕРМОГРАФИИ ПРИ КОНТРОЛЕ ПАЯНЫХ МИШЕНЕЙ ДЛЯ ИОННОГО РАСПЫЛЕНИЯ
Authors: Зилов А.А. , Лобанов П.Ю. , Мануйлович И.С. , Мешков М.Н. , Сидорюк О.Е.
Published: January 2025

Описан пример использования активной термографии как средства контроля качества мишеней для ионного распыления при их использовании в установках нанесения интерференционных оптических покрытий. Суть метода заключается в пирометрической регистрации изменений температуры поверхности после воздействия на нее импульсного нагрева. Отличия термодиффузии в разных местах образца из-за особенностей структуры и ее неоднородностей формирует картину объекта в инфракрасной области спектра, которая отражает характер, состав и расположение отдельных компонентов внутреннего подповерхностного слоя.
Proto Street Art in Ljubljana in the 1980s and 1990s
Authors: Konda Helena
Published: January 2025

Mizzart, a collective of students from different artistic fields, created large-scale paintings in the urban landscape in Ljubljana in the 1980s and 1990s. Their independent artistic practices in public space in the 1980s and 1990s could be described as ‘proto-street art’ – a new avenue of contemporary research in graffiti and street art studies. Based on a brief historical introduction of genealogical connections between street art and graffiti, upgraded with Rafael Schacter's classification of 'street art' as a defined artistic period, the article identifies the main characteristics of ‘proto-street art’, which are: the time of occurrence, agents, spontaneity/sovereignty, iconography, site specificity, unprofitability and interaction with public. Mizzart’s ephemeral cultural heritage is analysed by the proposed seven key formal elements of ‘proto-street art’.
Queering the Urban Space
Authors: Tunic Srdan
Published: January 2025

Inspector Yoda the Wrinkled (Inspektor Yoda Zgužvani) is an artivist project by Nikola Herman (alias Nikša), who also involved his pug Yoda in creating a street art alter ego to bring critical commentary and humor to the streets of Belgrade, Serbia, between 2014 and 2018. Inspector’s work is closely intertwined with the LGBTQ+ history and street art interventions in Belgrade over the past two decades. It provides an example of a locally contextualized and critical appropriation of the concept and term queer (in Serbian, kvar, which literally translates to “malfunction”). In nearly 200 graffiti and visual messages, Inspector Yoda the Wrinkled playfully appropriated vernacular language, often subverting their meaning, and offering an important gender and social critique in the nationalistic and sometimes violent public space of Belgrade in the mid-2010s. It is paramount to look at these interventions in a contextualized and embodied manner: as situational artworks which serve as tools of queer place-making. The stenciled little pug with speech balloons that Nikša used to tag the city may be seen as a sign of resistance and hope within an environment prone to desensitization to violence and general apathy.
Affect and Effect of Overpainting at the Age of Neo-muralism
Authors: Tremblin Mathieu
Published: January 2025

The art historical term pentimento is used to indicate areas in painting that have been modified or overpainted by the artist during the creative process. The process of tagging, covering and erasing existing graffiti and street art murals transforms the original visual work. When not restored, these ‘agonist ornaments’ generate an in-between graphic status to the mural, highlighting an ongoing conversation at the scale of the city. This dialogic aspect invites us to consider the shape of urban landscape as collective responsibility. Each overpainting transformation can thereby be considered to have the possibility of revealing affect and effect related to hidden power dynamics. Considering the walls of the city as a palimpsest,  the author analyses a series of murals through the lens of overpainting dynamics and offers an updated and site-specific understanding of the concept, combined with urban core topics such as social control tendencies, game as urban approach, and expression of emotions in public space. The author concludes that the upcoming processual beauty of contemporary muralism can be attributed to a chain of interactions where various actors depends one each other, the ‘pentimento’ of the collective author.
La ciudad como argumento poético
Authors: Rubio de Olazabal Juan
Published: January 2025

La película Columbus (Kogonada, 2017) plantea una relación especular entre el dinamismo interior de los personajes y el dinamismo propio de la ciudad. Este último se despliega en dos sentidos: la cartografía o recorrido de la ciudad misma, es decir la Columbus (Indiana, EE.UU.) que da título al filme, y el diseño arquitectónico de sus edificios. Este triángulo dramático-cartográfico-arquitectónico convierte a la obra en un caso de estudio pertinente para comprender las posibilidades catalizadoras de la ciudad en el descubrimiento de la identidad personal y, a su vez, para profundizar en las sinergias cine-arquitectónicas. El nexo de unión o encuentro ideal entre estas dos artes aparece aquí como el movimiento: el psicológico-moral de los personajes y el esculpido en los museos, iglesias, plazas etc. que conforman la ciudad. Partiendo de una metodología basada en las nociones psicológicas de la poética aristotélica (anagnórisis, catársis) y de las nociones antropológicas de Julián Marías acerca de la proyección del deseo como mapa de ilusiones (Marías, 2004), proponemos un análisis poético de la ciudad de Columbus –“Meca” del modernismo arquitectónico en EE.UU.– como dispositivo para ensayar la felicidad de los personajes, notablemente sus posibilidades de (auto)reconocimiento. A nuestro aparato crítico incorporamos nociones de análisis audiovisual (tipología y composición de plano) así como los trabajos vídeo-ensayísticos del propio Kogonada sobre la representación urbana en el cine (2013, 2016). Una inquietud, ésta última, anterior incluso a la filmación de Columbus y que contribuye a reforzar la relevancia de nuestra propuesta.
Short Documentary Film, Urban Art, and Local Memory
Authors: Bogas Ríos María José , Abellán-Hernández María
Published: January 2025

This article explores the interplay between public spaces, urban art, identity, and local memory, engaging with new audiovisual formats such as the micro-documentary within the Lira Arte Público audiovisual project. The primary aim of this study is to delve into the themes, spaces, and dialogues that interconnect the city, urban art, and micro-documentaries. Employing a mixed-methods approach that integrates qualitative and quantitative tools, complemented by an analytical-synthetic framework and a narratological perspective, the research analyses the documentary series ‘Muros con Historia-Edición Barrio Arte’. This series consists of six short documentaries, each ranging from four to five minutes in length. The findings elucidate the dual functionality of the series: firstly, as a documentary record enhancing the visibility of the artistic process; and secondly, as a platform for the testimony and affirmation of the identities of the collectives inhabiting the spaces transformed by the mural projects. The study conclusively identifies and discusses how audiovisual language, through both content and form, constructs and conveys the characteristics of the city, mural art, and the Latin American identity of the involved artists.
Pedestrian-Oriented Urban Space with emphasis on Sabzeh-e-Meidan Pattern
Authors: Molaei Asghar
Published: January 2025

With the arrival of cars in cities, urban spaces, especially squares, have become a space for cars to dominate and the square has become a square. Loss of squares with the dominance and circular passage of cars through the square, the middle island has become an inaccessible space for pedestrians, and plans and plans to rehabilitate and organize the squares are often on the sidewalk of the square. They have not gone anywhere. In the meantime, the green field is a space that the street passes by and has advantages in pedestrianization compared to the common squares. Therefore, with the above problem, the purpose of this study is to identify the green field as a suitable model for creating urban pedestrian nodes. This article deals with the recognition of field green by descriptive-analytical, comparative and case studies. The results of this study show that the pattern of the green field as the street passes by it, the safety and security of pedestrians; it can be used in different scales of city, village and neighborhood. The knowledge and analysis of the green field shows that this type of field with connection from at least one side to the building blocks includes important religious, commercial, administrative-government buildings, etc. and has various species in the form-shape dimensions. Accessibility is the presence of natural elements, scale and urban / neighborhood function. This type of field with flexibility in body, use and size can meet the diverse needs of riders and infantry. Relying on the dominant building or complex of buildings, Sabzeh-e-Maidan will act as a public front and pre-space and provide a successful, desirable and memorable urban space for the citizens. Recognition of the green field shows that this type of field can be used as a flexible model in different scales, in different functions in creating public pedestrian urban spaces.
Unfolding Spaces of My Memory
Authors: Steindorf Johanna
Published: January 2025

This article focuses on the possibilities of using the audio walk as a method for artistic research. First, the decisive characteristics of the format will be outlined, followed by a detailed description of an example case: my artistic research project that focuses on the subject of female migration. Several elements of the audio walk were used in a series of exercises with a group of recently migrated women, with the intention of investigating how the perception of the city is determined by their specific experience. This example case will be used as a means of pointing out several possibilities and opening up a space to think of the audio walk as a way of presenting a work but also as a way of generating knowledge as well.
Preserving Urban Heritage and Creativity:
Authors: Curralo Ana Filomena
Published: January 2025

This article addresses the interaction between urban regeneration and cultural policies. Planning and developing urban transformation may foster positive and experience design through the experience economy, targeting a cohesive cultural narrative and identity. The discussed case study discussed here concerns the reuse of the AXA Building in the historic center of the city of Porto, in Portugal, as an alternative to classical integrated urban cultural policy and the promotion of free access dynamic leisure activities. In this case, the reuse of a historical building resulted from a hybrid project. Characterized by fusion, the design combined urban rehabilitation, heritage conservation and maintenance, cultural institutions, environments and experiences, social interaction, recreation, and programs aimed at improving the quality of life of both residents and visitors.
Mapping Creativity through Socially Engaged Visual Arts
Authors: Pinto António Gorgel
Published: January 2025

This article addresses the notion of the socially engaged visual arts. The first part explores some fundamental historical periods to help understand this practice, from the Greek concept of teknè until the present time. Then, the idea of a machine for the emancipation of creativity is explained, as well as its operation in two neighborhoods of the Portuguese city of Amadora. Finally, as a result of this immaterial machine, the focus turns to a detailed description of an archive of audiovisual elements that represents each activity undertaken within the project.
Graffiti, Street Art, and Culture in the era of the Global City
Authors: Menor Luis
Published: January 2025

What is the role of art in the reinforcement or rejection of current models of public space management in our cities? To answer this question, we must attend to the ties of all artwork with public institutions, and whether or not it questions the dominant order. In this article, I will focus on the works of the Ana Botella Crew, a group of artists from Madrid, as an example of “artivism” that challenges the City Council’s management of public spaces in Madrid. My aim is to explore how useful internet tools can be to articulate artistic interventions that challenge the hegemonic uses of public space, in what Sassen has called the global city.
Letting the walls of the city speak:
Authors: Sequeira Ágata Dourado
Published: January 2025

This article sets out to show how a sociological research project on the production of street art in Lisbon was built, from the construction of an object of research to the development of a methodological approach that enabled the collection of a diverse set of expressive data. The notion of ‘route’ serves not only as a valuable instrument of research in the first stages of an investigation in urban sociology, but also as a powerful visual depiction of the development of a specific methodology and the set of techniques adopted. The diverse set of interrogations about the object that stem from these incursions, as well as the specific urban context at hand, allowed the researcher to conceptualize street art as a component of contemporary urban space and as a visual means to reveal social dynamics between the several actors involved in its production, and the city itself. Therefore, in this paper it is briefly shown how this object is theoretically framed, namely in what concerns the street artists and the way they build an artistic path and attribute meaning to the act of intervening artistically in the streets of the city, and how this connects with the worlds of contemporary art and the several contexts of production of street art; the contexts in which street art is currently created in Lisbon, from individual initiatives to the actions of associations or collectives, and the municipality; and the way in which the city, through its institutional powers, can instrumentalize street art as a way of creating ‘images of the city’, and how this can be explored in terms of tourism and the marketing of cities, and the conflict or opportunities that these processes reveal for the actors involved.
Murals of Budapest in the age of creative cities
Authors: Murányi Kata
Published: January 2025

The concepts of creative city and creative economy along with the cultural city development were born in the 1970s, when traditionally industrial centers had started to decline. From the 1990s on there has been a constant discussion of Western European and North American cities’ post-fordist culture and technology based transformation. Since the appearance of Richard Florida’s book The Rise of the Creative Class, the concept of creative city has become a fashionable and often used terminology, and in this sense there is wide acceptance of a social and economic arrangement that is based on the so-called creative class, which tends to settle down in cities open to creativity. Florida’s theory was taken over by Hungarian professional and academic circles without much criticism, and creative city is still a beloved expression and approach while discussing Budapest’s strategic vision. In this writing I analyze why street art, as a thoughtful expression of creativity, artist’s freedom and reflection of urban life, is still not sufficiently emphasized and remains in the periphery of the post-socialist Hungarian capital.
In search of a commons of centers
Authors: Willcocks Marcus , Toylan Gamze
Published: January 2025

Photographer Martha Cooper points out that artists and graffitists define street art as pictures and graffiti as words (Cooper, 2016). Meanwhile, municipal authorities, property and transport managers may tell us that street art is framed by what is legal and graffiti by what is illegal. This is not an article about art versus crime, rather it is about disparate and commonly accessible centers for discussing and understanding value, in ways that look toward easier dialogue across and between long-separated specialisms concerned with unsolicited visual urban practice and efforts to manage those. To Cooper the processes of painting and urban play are at the center, to authorities legal, political and commercial demands lie far closer to the center. Each of us who variously associate or engage with uncommissioned street art, urban creativity or graffiti, bring new centers and peripheries, be those related to social personal interest, professional occupation, or spatial action. Artists, creative practitioners, urban managers, land owners, cultural consumers, transport providers, academics, activists and self-proclaimed vandals, each reframe what we bring to this terrain through highly disparate values and indicators that we consciously or unconsciously attribute to these informal visual urban practices. This article draws on findings from a recent major European research project, Graffolution, plus separate socially responsive design-led insights gathered through the Graffiti Dialogues Network via the University of the Arts London, plus interviews with a wide range of individuals, diversely concerned with graffiti and related practices. It sets out to identify and discuss some of the value-sets and indicators which some consider as central and others consider peripheral in experiencing, managing, creating or otherwise intervening in urban contexts through visual practices. The article refers to cases that merge diverse value centers, in varying success, and discloses a number of immediate opportunities for prototyping new common and accessible ways to understand and respond to different centers and peripheries of value.
Why can’t our wall paintings last forever?
Authors: Alves Alice Nogueira
Published: January 2025

The concept of ephemerality has been used in the last decades as the opposite of memory preservation. In this article, I seek to understand the valorization of street art as cultural heritage, as well as the strategies that have been adopted for its preservation in a non-institutional context.
Sustainable Graffiti Management Solutions for Public Areas
Authors: Huntington David
Published: January 2025

Towards advancing sustainable graffiti management solutions for public areas, this article investigates the efficacy and socio- ecological effects of a range of contemporary graffiti management tactics. In addition to finding that reactive management tactics (e.g. painting over graffiti, chemical-based graffiti removal, and anti-graffiti coatings) are largely ineffective at deterring graffiti vandalism in public areas, it is shown that reactive management efforts also entail both short- and long-term environmental risks. Moreover, a comparison of reactive and proactive management tactics (e.g. landscaping techniques, green walls, community murals, legal graffiti spaces, and public art workshops) indicates that the cumulative environmental effects of reactive tactics are significantly more detrimental to human health and local ecosystems. Accordingly, it is recommended that local authorities focus on proactive graffiti management tactics for public areas. Finally, several best practice case studies of sustainable graffiti management are highlighted.
The evolution of Halls of Fame in graffiti writing and my run to a masterpiece
Authors: Hilmer Christopher D,
Published: January 2025

Cultural and urban geographical research related to graffiti and street art poses interdisciplinary questions and employs multi-methodical approaches. In recent years, research methods in the field of ethnography have been receiving more and more attention in the German-speaking community of human geography. With this in mind, the following working paper presents a methodological experiment for examining the everyday urban practice of graffiti writing and its spatial relevance. “My run to a masterpiece” presents the current status of this ethnographic research, whereby it has been attempted to localize and analyze legal walls for graffiti writing (some of them considered “Halls of Fame”) in the urban cultural landscape as well as these walls’ potential for integrated urban development policies in Germany.
The Brigada Ramona Parra and the Art of Muralising Protest During the Pinochet Regime
Authors: Doughty Craig
Published: January 2025

In 1946, while demonstrating in support of a group of striking nitrate workers, a twenty-year-old female communist named Ramona Parra was shot to death by police in Santiago, Chile,[i]in what has come to be known as the Bulnes Square Massacre.A product of political marginalisation, the details of Parra’s life are sketchy. But for fleeting mentions in art history books she is otherwise a mystery.[ii]Her death, however, has had a far-reaching significance, for she became and remains a martyr symbol of the Chilean struggle against oppression. In particular, her name was proudly taken to identify the artistic movements of the muralist brigade of the Chilean Communist Party (CCP), the Brigada Ramona Parra (BRP) in 1968.[iii]
On September 11,1973, Chile, and with it the CCP, was thrown into turmoil. The country that homegrown poet Pablo Neruda once described as a ‘long petal of sea, wine, and snow’ was transformed from Latin America's foremost social democracy under Salvador Allende to the region's darkest dictatorship under the military regime of Augusto Pinochet.[iv]The latter ushered in a period of widespread torture and the murder of an estimated 3000 Chileans. Furthermore, the regime carried out an assault on culture that saw the erasure of swathes of leftist literature, film, music, and art, which included the whitewashing of BRP murals that had for five years colourfully decorated and secured Santiago’s streets for Salvador Allende.  As Geoffrey Hutton stated in the immediate aftermath of the coup, ‘Now, a bullet through the head is more effective than a vote in the ballot-box’.[v]
In the process of writing a brief history of the BRP collective, this article contextualises the violence imposed on Chile by Pinochet’s Military Regime; and in doing so documents how members of the left perpetuated modes of artistic expression and protest at home and in exile throughout dictatorial rule. By attributing meaning to the murals of the BRP, the aim is also to contribute, if only moderately, to the reconstruction of a fragmented, distorted, and, in part, whitewashed (i.e., destroyed) past. Interwoven is an acknowledgment of the role the BRP played in the 1988 ‘No’ campaign; in this respect, the efforts of the BRP, which are largely without recognition, to paint and ultimately reclaim Santiago’s streets served as an essential subsidy to the widely lauded and successful savoir-faire TV campaign orchestrated by Eugenio García.
From the street to the walls
Authors: Christian Gerini
Published: January 2025

The French yellow vests movement (the “Gilets Jaunes”, GJ in the text below) is a new kind of resistance and fighting against the state and financial policies. It’s nearly a revolution and also a way to bypass (and criticize) the traditional press - television or written press-, thanks to the digital social networks and instant communication with the smartphones.
A possible expression of this "revolt" or of the support that some people express for it, occurs through what is now called street art. We will briefly illustrate (without being exhaustive), with illustrations to support it, what forms this presence of street art takes in relation to the GJ movement. We will indicate the connexions between this two kinds of revolts and the reasons why it is also important to consider how digital social networks, protest websites and blogs have provided the possibility all around the world to get acquainted with the Gilets Jaunes protest as well as with the urban artists directly or indirectly linked to this movement. In addition, we will demonstrate that the digital memory of this ephemeral art or of this revolt in the streets is a matter of urgency, the crucial question being whether or not are to be saved the historic and artistic memories of the quickly deleted walls (erased by State or local authorities decision).
Editorial
Authors: Neves Pedro Soares
Published: January 2025

The SAUC V5 Issue 2, “Desire Lines: Metaphorical” is about:
The Disappearance/Virtualisation of Graffiti and Street Art – From Urban to Institutional to Virtual Space; Whose Wall is it Anyway? Using street art to navigate the private and the public in a community; Polysemiotic Communication vs. Multimodality: a conceptual and terminological distinction applied in street art; The Past in Public Space “Der Jahrhundertschritt”: A Lieu de Memoire As An Urban Intervention of Memory (2018); Zero Tolerance = 100 New Techniques Swedish / Nordic Street Art; Contextualizing graffiti and street art in suitable museum settings: Street Art Today’s upcoming museum in Amsterdam; There and Back Again: Redistributing Visibility between the Virtual and Real Alleys of Graffiti; From Post-Posters to Un gilet; Streetness & Inopinatum: the “sense of the street” and the “unexpected impertinence”. For a binary code in street art.; Street Art is dead. Again and again. Brief State of the (Urban) Art.
With contributions from Sweden, Switzerland, Canada, Netherlands, Spain, China, France and Italy.
Contextualizing graffiti and street art in suitable museum settings
Authors: Di Giacomo Giovanna
Published: January 2025

Overall, this essay examines the suitable settings for contextualizing graffiti and street art indoors, by introducing the upcoming museum for graffiti and street art in Amsterdam, an initiative of Street Art Today. Firstly, an overview of the project’s story, including its idealizer, location and collection is provided. Secondly, the contributions of the museum to the art form are presented. In particular, through its ambition to become a knowledge hub of graffiti and street art, the institution produces, gathers and analyses data, thus reinforcing the legitimation of these visual expressions. Finally, this article examines the expectations related to the museum’s role and its future visitors.
Applying Contextualism in Designing Furniture, during the Process of Revitalizing the Historical Sites
Authors: Barani Mahshid , Shirvani Maryam
Published: January 2025

Revitalization is of crucial importance in revivifying historical sites and heritages. In most cases, it is associated with the reconstruction and restoration of a historical site and only considers its physical aspect, while the aspects concerning its value are not taken into consideration. However, historical sites require elements, such as environmental furniture, as a factor connecting unique historical heritages and audiences. This study, which is a systematic effort towards considering the design of environmental furniture in the process of revitalization, is applied research with a descriptive approach that evaluates the furniture existing in Persepolis based on library studies and field observations and emphasizes heeding the importance of design in terms of functions, esthetics, and semiotics in historical sites. Therefore, by explaining the patterns in the contextualism approach, an effort has been made to present solutions for designing, so that the designed furniture and equipment help understand the message of the design context. According to the results, in the process of designing the furniture for historical sites, esthetic and semiotics must be heeded in addition to functions. Therefore, the visual and functional expectations of the audience (tourists) are met during their presence, and the achieved harmony allows for a better understanding of the site’s identity.
Why Can´t Banksy Be a Woman?
Authors: Pinto Sofia
Published: January 2025

In this article, the question ‘Why Can´t Banksy Be a Woman’ is a point of departure to approach some of the pressing challenges regarding sex and gender in graffiti and street art studies, in order to contribute on the matter of the presence/absence of women graffiti and street artists in this epistemological field. To this aim, I summon feminist contributions on the invisibility of women in the established art world, namely from art historians Linda Nochlin and Griselda Pollock. I map important contributions on the question of women in graffiti, by referring to graffiti scholars Nancy MacDonald and Jessica Pábon-Cólon. As street art has been considered more gender inclusive in regards to conditions of production, I locate restrictions mainly in terms of reception. Finally, I suggest that the question of women in graffiti and street art studies is larger than sex and gender.
Comparative analysis of street art cataloguing projects in the cities of Monterrey (Mexico) and Jaen (Spain): Proposal for the inclusion of communities
Authors: Luque Rodrigo Laura , Díaz Fernández Adris , Moral Ruiz Carmen
Published: January 2025

In the last few months of 2020 and the first half of 2021, two street art cataloguing projects have been carried out in two
cities in different countries that have made it possible to put methodological proposals into practice that until now have
remained mainly at a theoretical level. This is the project "Painted on the wall. Study of wall painting in the province of Jaen in the XX-XXI centuries; financed by the Institute of “Giennense” Studies (Provincial Government of Jaen) and the project;The commissioned street art murals creation of the cultural-artistic Festival of Urban Expressions CALLEGENERA " in the city of Monterrey, financed by the Mexican Programme for the Promotion of Cultural Projects and Co-investments. In these projects, methodological systems for working and collecting information, cataloguing cards and models for interviewing different artists have been developed, with a common theoretical basis, such as the proposals that emerged within the GEIIC Street Art and Commissioned Street Art Murals Group, and taking into account the proposals of the CAPuS project and YOCOCU. For this reason, this paper analyses both projects in terms of their methods and results, and draws conclusions about which options have worked best from the perspective of optimising resources for future projects. A proposal is also made to improve the street art cataloguing cards by including information about the correlation between the work and the communities surrounding it, since street art only makes sense in its context, and some of this information is lost when the cards are made. Furthermore, from the perspective of taking possible action for the preservation of the artwork, a relationship with the communities in which they are integrated is fundamental.
Conventionality and Innovation. Détournement in 2011-2012 Protest Art
Authors: Jeziorowska Emilia
Published: January 2025

In this paper I look into the conventional side of protest street art in 2011–2012. I am particularly interested in whether there are any rules of formation of revolutionary and protest images, and do any historical conventions apply in protest art nowadays. Translating the method of horizontal discourse analysis on a micro-scale, I analyze three case studies of reusing and recycling certain symbols and artifacts during protests of the Indignados movement in Spain, the Occupy movement in the United States, and the Egyptian revolution during the Arab Spring. Apart from investigating the visual sphere of protest, in appendix I also show how this research method works on protest slogans.Thanks to supplementing my research with the situationist theory of détournement strategy, I was able to distinguish three modes of image and symbol reproduction: the historical, the external, and the internal. Reproducing in the historical mode consists of referring to certain symbols or images from the past, in the external mode—to symbols or images that are inherently neutral to the protest. The internal mode of reproduction works within the protest, producing its original symbols, images and mythology, separate for each social movement. In conclusion, the historical and the external modes of reproduction are generally responsible for the conventional visual components of protest, internal mode on the other hand—for more distinctive, innovative ones.
Art and urban space: Reading the contemporary Latin American city
Authors: García-Luna Romero Ana Cristina
Published: January 2025

In the XXI century, the cultural sphere of urban expressions are a reflection of the perception of life in the city, of the routines and figurations that tend to relate to the urban environment and that come to shake or shape the conditions of urban life . The practice of urban art marks a drastic change within artistic movements and offers recognition to urban expressions in the bigger scale affecting the city, its identity, and its social interaction. 
The elaboration of this project consists of the analysis of urban art throughout the understanding of the urban system and its elements. As a case study we examined the murals produced inside the metropolitan area of the city of Monterrey, N.L., Mexico.
The purpose of the documentation is to examine the relationship that each of these murals has within the urban context where they are located, achieving it through the reading of its adjacent urban elements, the study of the space where it resides and also by analyzing how these works of arts had influenced the citizens by their presence in the metropolitan context, so it can be demonstrated the impact these murals can generate, seeking the revaluation of street art within the city.
Evaluation of Shopping Malls in Istanbul with Respect to the Sustainable Sites Initiative Criteria
Authors: Yücel Caymaz Gökçen Firdevs , Türer Başkaya Fatma Ayçim
Published: January 2025

Severe interplays between the environmental dynamics and human beings provoke designers to search for new ways to handle the issue of sustainability. This study interrogates ways to evaluate landscape sustainability and focuses on certification systems. SITES appears as the certification system that this study considers as it comprehensively handles all scales of the landscape studies.
Studying on the Shopping Malls of Istanbul Megacity, the projects are graded according to the nine major parameters as “site selection”, “pre-design assessment and planning”, “water”, “soil and vegetation”, “materials selection”, “human health and well-being”, “construction”, “operations and maintenance”, and “monitoring - innovation”. Benefitting from the background of the certification system, within this study, four different techniques developed, which are structured as weighted, unweighted, prerequisites regarded and disregarded. Through these techniques, six selected shopping malls are evaluated for their sustainability levels to generate an available platform to compare both the techniques' credibility and the projects' sustainability.
Following the implementation of the techniques, 3 of the projects examine higher sustainability levels than the others. Results of the applied techniques represent that among all techniques, weighted ones are more successful due to the details they forward. In the case of Istanbul, shopping malls have problems with meeting some of the significant prerequisites. Therefore, using both the prerequisite regarded and disregarded weighted techniques is recommended to discover the prerequisite based failure levels and identify the properties to upgrade.
This study scrutinizes the generation of a quick to implement a pre-evaluation tool. This tool is expected to be both for the benefit of new up to construct projects and the already constructed ones to upgrade the sustainability levels.
Street art and graffiti in former communist Albania from 2010 to 2022
Authors: Muharremi Ilir Hivzi , Krasniqi Albana
Published: January 2025

This paper deals with graffiti in the streets of Albania, a former communist state which in the time of communism had every modern motif banned, except the art of propaganda that was under the service of the party. Graffiti on the walls of buildings in different cities of Albania since 2010 has social, political, economic, psychological, social, and personal motives. It shows the development of murals, the freedom of expression of artists, and positive propaganda through this art. In Albania, artists are now free to express all their artistic ideas, and graffiti is used as public art which reflects any current events occurring. Color is the main element that distinguishes mural artists, as well as motive and figuration.
Editorial
Authors: Neves Pedro Soares
Published: January 2025

Liminality is the quality of ambiguity or disorientation that occurs in the middle stage of a rite of passage, when participants no longer hold their pre-ritual status but have not yet begun the transition to the status they will hold when the rite is complete.
Arnold van Gennep’s in “Les Rites de Passage” (1908), introduced the term into the field of anthropology. Van Gennep drew the attention to liminality, as a new abbreviated form of an individual´s deliberate and voluntary transition into a disoriented, intermediate state – through time amidst a ritual.
Since CIAM (Congrès Internationaux d’Architecture Moderne) in 1959 Van Eyck was anthropologizing architecture into in- betweenness. Van Eyck thusly marked the beginning of ‘architectural structuralism’ and stated an attempt to reunite spatial and temporal polarities, to evoke a sense of place.
Since the 1950´s, Victor Turner, a cultural anthropologist, on the other hand, reintroduced liminality into anthropology in his essay, “Liminal to Liminoid, in Play, Flow, and Ritual” (1974)
Public Art Practices in Urban Space: The Case of Istanbul
Authors: Kucukali Ufuk Fatih
Published: January 2025

In addition to revealing the relationship of public art with the city, which is the intersection of space and human life, the relationship between public space and art has been researched, the concept of public art has been examined, and its development processes in the world and in Turkey have been emphasized. The social, cultural, economic and physical effects of public art on the city were investigated. The relations between the effects of public art on the space and the city were questioned and evaluated with the examples examined within the scope of the article. An approach to researching and examining the resulting relationships and the effects of public art on urban spaces is presented, and the relationship of public art with a city with historical sites such as Istanbul is presented.
regulations for street music in Spain lead urban musicians to break the law?
Authors: Ospina Gallego Crismary , Lloret Romero Maria Nuria , Betancur Santa Héctor Yovanny
Published: January 2025

Do the regulations for street music in Spain lead urban musicians to break the law?
 
This study focuses on street musicians who sing or play musical instruments in a public space for donations/tips. Currently most of their needs are not covered in the laws relating to of street musicians in Spain, several cities do not have this profession regulated and in the localities that do, they prohibit amplification, the sale of their own music (CDs etc.), limit free movement and the instruments that they can use. These are rules that musicians must break in order to work, leaving the buskers who perform in a legal gap or limbo, without defense against the authorities.
This study addresses 3 parts: the first is an observational exercise from the perspective of the street musician which seeks to find out the basic needs of workers in their busking experience; the second area analyzes how the Spanish regulations behave based on the needs that these performers have; and the third element contrasts the personal view of the researcher with the opinions of other street musicians and groups found in the media.
Analysis of Location According to Suitable Criteria for Earthquake Park in Van/Turkiye City Scale
Authors: ASUR Feran - , Baskın Ajar
Published: January 2025

After disasters, it's critical to attend to people's basic requirements. In addition to serving the city's recreational requirements on a regular basis, open green spaces in cities can be crucial in providing for residents' basic needs, particularly during emergencies like earthquakes. Site selection is crucial in this situation to prevent earthquake parks from becoming a secondary threat in the event of a disaster.
The study aims to determine the parks that can be earthquake parks in Van's/Turkiye İpekyolu, Tusba and Edremit districts and to choose the most suitable area. The AFAD (Disaster and Emergency Management Presidency)-designated emergency assembly, evacuation, and shelter areas as well as additional parks that satisfy the required requirements were discussed in these districts. These areas were evaluated with the integrated study of MCDM (Multi-Criteria Decision Making) Methodologies AHP (Analytical Hierarchy Process) and TOPSIS (Technique for Order Preference by Similarity to Ideal Solutions) methods in site selection for the earthquake park. The top factors to consider when choosing an earthquake park's location were chosen. The power of each area was graded using these standards. For the creation of an earthquake park in Van, a total of six ideal alternative park locations, two in each district, were identified. Atatürk Park, located in İpekyolu Neighborhood, has been suggested as the most suitable park to be converted into an earthquake park, with its justifications.
In future studies on earthquake-oriented urban planning, the method used for site selection of earthquake parks is believed to offer substantial benefits to the relevant stakeholders.
Development of Albanian visual art during XVI – XVIII centuries
Authors: Zeneli Fidan
Published: January 2025

In the second part of the 16th century, Albanian urban society reached a high point of development. Foreign trade flourished to the extent that major Albanian merchants had their agencies in Ragusa, Venice and other medieval urban centers. This prosperity encouraged the development of education and art. Therefore, this paper elaborates some significant features for the Albanian cultural history of the XVI-XVIII centuries. The works of painters and art masters were observed to give a more complete mirror of culture as an integral component of spiritual life, as well as of Albanian history of the XVI-XVIII centuries in general. This paper uses a comprehensive and chronological perspective. This approach with contemporary literature offers us a literal interpretation of cultural or artistic developments from the field of visual art.
Editorial Note
Authors: Tunali Tijen
Published: January 2025

This special issue delves into the profound and transformative influence of a variety of artworks within urban environments characterized by political contention, with a particular emphasis on their capacity to facilitate activist engagement and dialogue. By challenging prevailing power structures, advocating for inclusivity, and reshaping the dynamics of public spaces, street art emerges as a potent political force in the process of democratizing public spheres. These unconventional modes of artistic expression, when situated in the public domain, serve as influential platforms for amplifying the voices of marginalized communities, thereby promoting civic engagement and reimagining the contours of the public sphere. Through an in-depth exploration of the communicative, participatory and political potential of street art this thematic issue entitled Street Art and Political Aesthetics in the Contested Urban Contexts seeks to shed light on the intricate interplay among. art, urban culture and civic rebellion. This exploration delves into the unique capacity of art to thrive within urban spaces that are perpetually fraught with uncertainty, challenges, and political instabilities. It encompasses discussions pertaining to the critical domains of freedom of expression, public protests, social critique, political engagement, aesthetic tactics, and urban commons in the realm of street art. These discussions underscore the remarkable ability of street art to nurture the aesthetic foundations of political and social actions within the public sphere.
Linguistic Landscape of Hong Kong 2019-20 Protests: A mediated Discourse Analysis of Political Graffiti
Authors: Moskovljevic Milos
Published: January 2025

From 2019 to 2020, Hong Kong faced public unrest due to the Anti-Extradition Bill Movement. Political graffiti became a prevalent way to express dissent and different perspectives. This study uses linguistic landscape theory to examine the sociolinguistic and political characteristics of the graffiti that emerged during the protests. The goal is to highlight the counter-narratives that developed during this time. The findings, based on primary data (photos of graffiti) and secondary data (newspaper reports and social media posts on graffiti) collected from August 2019 to February 2020, suggest that protesters aimed to push forward the discourse on Hong Kong as a global economic hub that is succumbing to ‘mainlandization.’ As a result, much of the graffiti was written in English and other global languages. Although many of these messages were insightful and timely, some promoted radical ideas.
Planting Commons through Art ?
Authors: Schwarz Mareike
Published: January 2025

This paper analyses the intersection of urban art and community gardens to explore whether commons can emerge from this collaboration. Through a comparative study of two community garden projects in Berlin and Dakar, the research examines the impact of funding structures, accessibility, artistic concepts and design on commoning. It is motivated by the popular use of the term ‘commons’ in contemporary art discourse that raises concerns of potential ‘commons-washing.’ The findings reveal that the two projects differ significantly in their development context and underlying structures, which affects their ability to function as commons. While central Berlin lacks non-consumer, ecological spaces for inclusive interactions due to its gentrification, Dakar’s open spaces neglected by the city are in need of being reclaimed by the local community. The analysis highlights the challenges of limited accessibility connected to such city contexts. Furthermore, the paper argues, that the dependency of artistic involvement on third-party funding contradicts the principles of commoning. The two projects share a common goal of unlearning exploitative practices and promoting eco-socially cohesive communities. For the artistic forms, materials, and strategies employed in both projects contribute to intercultural dialogue and conflict negotiation at eye level within the communal setting. The paper concludes by emphasizing the need to explore alternative funding models and question traditional processes of art to ensure the genuine realization of urban commons. The integration of artistic imagination with the collective mentality of community gardens holds promise for the emergence of future commons that prioritize shared resources and equal participation.