bluuebunny/crossref_metadata_2025 huggingface dataset:
Alienated City in 21st Century Cinema
Authors: García López Javier
Published: January 2025

This paper delves into the cinematic representation of the decaying city in contemporary cinema. The main objective is to understand how contemporary cinema reflects and comments on the complex dynamics of urban life in the 21st century, as well as its potential to inspire social and political changes towards a fairer, more sustainable, and habitable city. Through a socio-critical approach, employing the method of discursive analysis, a selection of films exploring urban realities marked by decay, social marginalization, alienation, and environmental crisis is examined. This representation is framed within the current socio-historical context, characterized by globalization, economic inequality, and massive urbanization. The analysis focuses on how these films offer a sharp critique of urban dynamics and the social, political, and environmental problems affecting contemporary cities. Themes such as gentrification, racial and economic segregation, urban environmental degradation, infrastructure collapse, and interpersonal disconnection in hyper-connected urban environments are explored. Additionally, the role of cinema as a tool for awareness and social activism is examined, highlighting how these cinematic representations not only serve as a mirror of urban reality but also as calls to action and critical reflection on the transformation and future of our cities.
Graffiti's Spatial Contestation
Authors: Monika C Arockia Licy
Published: January 2025

Graffiti in India – what does it mean? The graffiti scenario in India is something that is measuring grounds. However, what exactly is happening with the diverse forms of graffiti in India? Graffiti in the West and Europe are recognised as cultural movement of their own. Does such impactful street and public art create cultural impact in India? Though research indicates the trajectory of graffiti artists is to have their art up-ended into museum and gallery spaces from streets and public spaces, the movement began in public spaces. In India there are studio spaces and galleries for Graffiti however, the public and street art of the same is rarely seen in its authenticity. The essentiality of graffiti is being transformed from a rebellious and daring self-expression within a public space to a more institutionalized, tailored and commodified essentiality of private spaces. Can this enclosed art space aid or create something of cultural impact? This paper aims to analyse tags in church street in Bangalore, Karnataka to be creating a spatial contestation, through its different types of graffiti present within its spread of 750 meters. By using Lefebvre's theory of The Production of Space, this article aims to understand the spatial relevance of Graffiti and tags in Church street, Bangalore, India. This spatial approach to understanding the graffiti and tags in church street helps in understanding the art practice better for spatial analysis exposes their essentiality.
Migration and Urban Culture in East Germany. Representing Localities in Birgit Weyhe’s Graphic Novel Madgermanes.
Authors: Muranyi Kata
Published: January 2025

The representation of the aesthetic and political dimensions of the city in the case of comics as a medium touches on a range of issues, from the relationship between comics and street art as well as the representation of urban space and popular culture as identity-shaping factors. Birgit Weyhe’s graphic novel Madgermanes (2016) shows us a specific historical context: after the construction of the Berlin Wall in 1961, a labor force was also needed in East Berlin, as a result of which the leadership invited cheap manpower from communist-oriented countries such as Vietnam, Cuba, Angola, or Mozambique. A total of around 15,000 guest worker immigrants arrived from the latter country in East Berlin within a decade. Three of them are the protagonists of the examined graphic novel, where their stories of integration difficulties, coping practices about finding a home, and rootlessness are told. In the case of the process of acculturation narrated in the medium of comics, the visual representation focuses on the contrast between cultures and the crisis of identity. In this particular graphic novel, this cultural shock is present through the popular and urban culture of the 1970s and 1980s. In this paper, we examine how this graphic novel intersects representations of locality, everyday life, and urban space with the perceptions and experiences of interculturality and media culture.
The hands behind the cans
Authors: Willcocks Marcus , Thorpe Adam , Toylan Gamze , Clavell Gemma Galdon , Moliner Liliana Arroyo
Published: January 2025

Nowadays, walking around any city is a guarantee of seeing graffiti, while the public transportation are still a good canvas for writers. It is a well-established social phenomenon and has catch the attention of ethnographers, academic artists and other scholars that have entered the worlds of graffiti writers to explain their origins, trajectories, motivations, their identity construction, their conception of the self and their role and relation with society at large. However, still there is no synthetic effort of categorisation that provides understandable and communicable approaches to graffiti in the real world. From some sectors graffiti is still something to “deal with”. Generally speaking, authorities and dutyholders consider graffiti as threat a security and safety issue, turning it into something that needs to be addressed. For social workers, for instance, graffiti can be a means of communication with certain youth sectors or even a tool for social cohesion generation. Departing from this perspective, Graffolution was designed: an EC funded project for generating awareness and advance in the provision of best practices for tackling graffiti in Austria, Germany, Spain and the United Kingdom. The first rule encountered is no-one-size-fits-all and referring to graffiti and graffiti writers, this requires a complex understanding of the phenomenon, their trajectories as well as individual and collective dispositions. The aim of this paper is to provide a consistent typology of graffiti writers, offering a comprehensive picture of whose are the hands behind the graffiti cans. This serves a double level purpose: advancing at the theoretical level putting forward the sociocultural approaches to careers and social backgrounds provided by ethnographic approaches, as well as capturing the complexity of the phenomenon to serve as an operative conceptual basis for practitioners, professionals and decision makers. In doing so, the analysis is made on the transcripts obtained for 22 semi-structured interviews, carried out in the four participating countries. The transcripts have been analysed according to the “persona” methodology, which constitutes a systematic and novel approach and a qualitative technique for clustering information. As a result, three main categories have been defined according to important ambitions, challenges and stages of typical ‘journeys’ or ‘pathways’ of actors. These findings contribute to form a basis of a) highlight the misconceptions around graffiti as a petty crime, and b) offer a guide to understand graffiti writers under a socio-cultural perspective.
The dialectics of graffiti studies
Authors: Jacobson Malcolm
Published: January 2025

There is an abundance of books, magazines, films and internet-forums dedicated to graffiti. How this documentation has influenced and been a part of the graffiti subculture has not been studied much. Drawing on personal experiences, as a documentarian and publisher of graffiti media over 27 years, Malcolm Jacobson recollects how the positions of participant and observer incessantly have twisted around each other. This has been mediated through development in media technology as well as by the coming of age of graffiti and its practitioners.
Keith Haring - a Street Artist?
Authors: Blanché Ulrich
Published: January 2025

Since about 2000 Street Art is an art movement. Before that only a handful of artists did what we call Street Art in 2016. One of them was Keith Haring. But to what extent is Keith Haring in retrospect a Street Artist? Using the example of Haring’s subway chalk drawings (ca. 1980-85) and one of his public murals, called “Crack is Wack” (1986), I discuss concepts such as Street Art, Graffiti and Public Art. Some of Keith Haring’s works are Street Art because he carried them out in a performative way, without permission, in public spaces. They might be called Street Art because those works explicitly refer to this public space, they were indeed often tailor-made for their location, and because as a result of their illegality and their union with each location they were ephemeral, not conceived in time permanently. “Crack is Wack,” however, became a public art mural. It changed its status from an illegal, Graffiti-inspired, self-authorized work of Street Art to long lasting Public Art.
Public space, urban art and social inclusion:
Authors: Matray Lucas
Published: January 2025

The association “La rue est vers l’art” – literally translated as “The street leads to the art” – is a group created in November 2015 by six young people between 22 and 27 years old. All of us are studying cultural management in a joint master’s degree at Sciences Po and at the Institute of Public Management in Aix-en-Provence. We came from different academic backgrounds and from three different countries, but we were brought together by our shared passion for urban art. After having realized that the opportunities to discover Street Art in Aix were both rare and isolated, we decided to get involved and to set up the project “Légendes Urbaines”.
Creativity and territory:
Authors: Klein Ricardo
Published: January 2025

This article aims to analyze the meaning of the dynamics of artwork production that graffiti and street art artists currently do from its conception of territorial centers and peripheries. The city is seen as a place of conflict and the territory as the local space where it manifests itself. For graffiti writers and street art artists the city stands symbolically as the largest street of all, as a large canvas production. These are visions that respond to processes that the members of graffiti and street art respect and legitimate. The city is the great goal to win (its places, its physiognomy, but also its symbolic spaces), it is a space of resistance and construction of citizenship, a place of belonging to be marked and delineated as a symbolic space of territorial appropriation. The present document takes the PhD research developed by the author under the PhD in Cultural Management and Heritage at the University of Barcelona. It seeks to approach the creative processes of analysis, legitimacy and valorization in graffiti and street art and, as a case of analysis, the researcher has chosen the cities of Barcelona (Spain) and Montevideo (Uruguay). It was established, as empirical domain of analysis, discourses from 44 graffiti writers and street art artists of the mentioned cities, taking into account some relevant dimensions of their practices: valorization, legitimacy, recognition, professionalization and technical specialization, among others.
Caring for creative possibility:
Authors: Wiórko Agata
Published: January 2025

This paper addresses the problem of how to articulate the notions of heritage and locality, while looking at accessible public space as the ground for the awareness of its possibilities. Acknowledging the importance of scattered creative and co-creative experiments – spatial and political practices which are seen as proposals with great cultural value – what is proposed is a challenge: to look at neighborhoods as players in a more densely connected urban narrative. The way heritage is reinterpreted appears then as a citizenly contribution for a more diverse urban sensescape, where values such as vicinity or provocation can become operative. A major conclusion is that an ethics of the curatorial – as implied in the concept by Irit Rogoff – is the basis for a pragmatics of the urban realm where heritage can have a futurant sense.
Heritales:
Authors: Schiavottiello Nicola , Montes Zozaya
Published: January 2025

The International Heritage Film Festival “Heritales” took place in the city of Évora, during the 30th anniversary of its declaration of World Heritage site by UNESCO. It was developed especially for this symbolic event, during the months of its commemoration: between September and October 2016. The festival was born with the purpose of disseminating narratives of filmic, digital and graphic nature that deal with Cultural Heritage. Its objectives were to project cinema in public spaces, as well as within the cultural facilities of the city such as churches and cultural associations. This aspect, framed in a community outreach strategy, have brought a stage of exchange and sharing between the academia, the local community and the international visitors to the city of Evora. The program had different forms of action: screening sessions with subsequent debates with the presence of the directors, parallel activities such as workshops, conferences, and other type of narrative forms through exhibitions and historical table games.
Lisbon Street Art and Urban Creativity International Conference 2017
Authors: Honrado Miguel
Published: January 2025

In the context of Lisbon Street Art & Urban Creativity International Conference 2017, I would like to congratulate the organization of the 4th Edition of this event; the Faculty of Fine Arts of the University of Lisbon for hosting once again this initiative; the other partners of this meeting. It is with great pleasure that the Ministry of Culture, through the Directorate-General for the Arts, supports this Conference.
Considering the intense programme announced for these three days of work, it is easy to confirm the relevance that this subject, connected with graffiti and street art, has come to gain as an object of study, for a very diverse academic environment, including several scientific areas, which I would classify as a multinational one, taking into account the origins of the participating researchers.
Power of paint:
Authors: Tolonen Jonna
Published: January 2025

In the context of Spain’s economic crisis, waves of protests have transformed the streets of Spanish cities into sites of place-specific spatial activism. City space has been shaped through protest, marches, squatting and street art. During Spain’s austerity years, street art has become an important part of political participation. Based on artists’ interviews and on my visual ethnographic research in the Spanish cities of Madrid (2013–2016) and Valencia (2016), this paper seeks to illuminate how political street art forms a part of social expression toward the authorities. Street art is a media through which artists can question decision-makers and challenge policies made by statesmen. The examples of political street art highlight how creative contestations become barometers of dissatisfaction and how street art confronts institutional power. Ultimately, political street art is argued in Spicca and Perdue’s (2014) term as ‘spatial citizenship’ producing more polyphonic space.
Graffiti or “getting–up”:
Authors: Cardoso Maria da Luz Nolasco
Published: January 2025

Leitemotive - Aveiro, a Portuguese coastal city, has these marks of our contemporaneity idealized under an apex of thought and artistic graffiti gestures that cover walls, tunnels, viaducts, ceilings, arches, carriages and clusters dispersed and that carry colors and “signs” difficult to decipher, but, graffiti is also the reflection of the active life of our city. It is important to clarify the connections between public art and the artistic dimensions of graffiti in the current era of globalization. What is the discourse of public art in cyberspace and virtual territory, understood as an act resulting from digital manipulation, especially in Web 2.0. Thus, aiming to interpret urban artistic alterities, graffiti as a marginal art in relation to its forms of artistic production, even more alternating and alternative (Canclini, 2005 Cit. By Andrade, 2010: 50). It is our proposal to cross the action and the explosion of graffiti in the media and social networks. Objectively, we seek to know what has changed in graffiti with the activity generated on the Web and what the results of this kinetic visual and imaginary universe that the Web allows. This online and digital platform has made graffiti come out of its territorial isolation, moving graffiti - as an ephemeral and artistic manifestation - from a site-specific attitude, in style and painting, to a more competitive and revealing attitude towards a new statute, the dematerialization of the image, its preservation and virtual dissemination.
Comparing mural art policies and regulations (MAPRs):
Authors: Shwartz Eynat Mendelson , Mualam Nir
Published: January 2025

In recent decades, public murals have become a common phenomenon in urban landscapes around the world. This has encouraged local governments to establish Mural Art Policies and Regulations (MAPRs) that employ murals as an acceptable (and even desired) element in the municipal toolkit, while balancing a variety of interests. This paper discusses why and how municipalities regulate and facilitate the creation of murals. It advocates a better understanding of mural art strategies, through comparative analysis of mural policies in different cities. To facilitate comparison, we argue that a conceptual framework is essential. Such a framework enables practitioners, policy-analysts, and decision-makers to identify, compare, and understand different features in mural art policies adopted by different cities around the globe.
Graffiti and street art: Reading, writing and representing the city
Authors: Neves Pedro Soares
Published: January 2025

Graffiti and Street Art: Reading, Writing and Representing the City. Edited by Konstantinos Avramidis, Myrto Tsilimpounidi. ISBN: 978-1-4724-7333-2, Routledge NY, 2017
Approaching the White Cube or Approximating the Streets
Authors: Kuttner Theodore
Published: January 2025

The work of OSGEMEOS is used to shed light on the issues arising from the intersection between the realms of street art and high art. The paradox of displacing street art into a gallery or museum setting is discussed, with a particular focus on the transitional period for OSGEMEOS from 2005 to 2010, during which they established their position as artists spanning the gap between the street art scene and the institutional art world. In the rst section, the critical discourse surrounding three of their exhibitions within gallery settings are analyzed in this context, alongside pertinent statements made by the artists. In the second section, the focus shifts to the highest pro le commissioned work for these artists during this phase in their careers, their 2008 mural on the façade of the Tate Modern for the exhibition titled “Street Art.” The debate surrounding the limitations concerning the displacement of street art and forces of institutionalization are presented and discussed in the context of this artwork as an attempt to gain a clearer understanding of this dilemma.
Graffiti, street art and copyright
Authors: Bonadio Enrico
Published: January 2025

This short note examines whether street and gra ti art can and should be protected by copyright. Indeed, cases where corpo- rations have used these forms of art to promote their products are increasingly common, which shows that these artworks are particularly vulnerable to misappropriation. In addition to expanding on whether tags and throw-ups can be considered original enough to attract copyright, I will focus on whether unsanctioned street and gra ti art deserve such legal protection and in general on artists and writers’ attitude towards copyright. The note also draws from semi-structured interviews I’ve recently conducted with several street artists and writers.
Walk the Line project in Genoa:
Authors: Boero Gabriele
Published: January 2025

The Walk the Line Street Art project, organized in the north-western Italian city of Genoa, starting from summer 2016 has brought a new face to the skyway of the city, mostly hated by both residents and tourists but strictly necessary for the city’s fluid control of the traffic flow. Working on the surface of the pillars of the skyway, the artists called by the curators have been participating in a project that not only wants to embellish an infrastructural element of the city, but also wants to start a dialogue and create a link between different neighborhoods, creating a sort of open-space gallery. Furthermore, the different backgrounds of the artists who have taken part in the project raise a reflection about the dialogue between Graffiti-Writing traditions that still live today and Street Art innovations in the field of public art issues. The essay has the purpose of analyzing this kind of Street Art project, evaluating its artistic and social impact on the city, comparing it to the traditions developed by the protagonists of the Writing scene in Genoa and in northern Italy during the 1990s and the 2000s and introducing various questions about terminology.
Another attempt to explore the transient nature of post-graffiti through the history of a term
Authors: Borhes Kristina
Published: January 2025

´The term post-graffiti has a history which seems to be more than long enough to manifest a stable and convenient meaning. However, from 1983 post-graffiti was proclaimed as a completely new art movement several times, which caused confusion and misunderstandings. This essay aims to explore the reasons why the meaning of post-graffiti was so shapeshifting over the time through the analysis of particular stages of its life cycle dated in New York 1980’s and Paris 2000s and how the differences in its meaning between these specific phases affected the modern perception of the term. It appeared to be that the main reason of the transient nature of post-graffiti is in the lack of attention to stylistic features. The artists representing the movement, declared as post-graffiti, were very divergent stylistically. Their artistic practices were not coherent as a whole, there was no aesthetic commitment. Consequently, it is hard to extract the essential features which could represent the movement. Through historical context this writing introduces the idea of letter construct which could be used in order to distinguish the movement stylistically.
Direzioni Coraggiose - Brave Paths
Authors: Casella Costantino , Schiavottiello Nicola
Published: January 2025

In order to renew the subversive gesture of the first writers (such as Zephyr, Lee, Taki 109,  Dondi )  it is crucial to develop the one’s practice within a constructive discourse of the common (Pani et al., 2008). Sometimes it becomes essential to intervene, to redevelop and to implement decorating paths in places where the old modules have evidently failed.
Since street art has been legally recognized, the artist-spectator relationship has become more intimate; direct, free from filters and rules imposed by society and the dominant cultures (Galal, 2009), also this can represented a great change.
Resilience and adaptability through institutionalization in graffiti art:
Authors: Brita Tania Di
Published: January 2025

The subject of this paper is the institutionalization of graffiti art. It examines the contextual and formal aesthetic shifts of graffiti within the urban space to graffiti art exhibited in art institutions. The goal of this paper is to demonstrate the adaptability and resilience of graffiti art within an institutional framework conducted by formal aesthetic shifts within the art works. Graffiti is always in the verge of the institution and seems challenging to integrate into the institutionalized framework. The significance and contextual change entering the white cube causes several effects such as neutralization, aestheticization and censorship. A formal aesthetic shift based within the art works will be demonstrated by five detailed analyses. Finally, further effects such as reduction and abstraction processes as well as aestheticization and autonomy of the art works will be observed.
A brief history of street art as a term up to 2000
Authors: Bianco Egidio Emiliano
Published: January 2025

This working paper gathers the different understandings of the term “street art” found in books up to the turn of the millennium. Several opinions and theories about street art are nowadays proposed, often depending on working, cultural or geographical contexts. The idea of street art has also changed in the course of time. By a chronological analysis of the most important meanings referencing the word, the study outlines street art as a continuously changing term, with the purpose of providing an historical grounding to better frame the idea of street art today. The survey is conducted based on a literature search with the help of WorldCat (worldcat.org). The empirical material consists of printed books from 1950 to 2000 mentioning the term “street art” in their titles.
Depicting Physical And Social Fears:
Authors: Flynn Danny , Carter Marina
Published: January 2025

This short paper focuses on graffiti depicting desperate warnings over the increase in shark attacks, the threat of which has been encouraged by the idyllic feeding climate on the Indian Ocean island, and suggests a metaphorical simile of the threatening invisible and ever present malevolent force felt in the social climate of expanding inner cities through greed within capital investment.
Red Army Graffiti
Authors: Marek Roman
Published: January 2025

Without a doubt, the Reichstag Building in Berlin qualifies as a lieu de mémoire, a place vested with historical significance in popular collective memory. What is not clear, however, is how such »sites of memory« form: Does an evolutionary process slowly add layers of meaning or do sudden sparks of history ignite mass imagination? Is the development orchestrated by a central power or by spontaneous collective actions? In order to work out these questions, this article draws attention to the year 1945, when Red Army soldiers covered the interior of the Reichstag, already in ruins, with layers of graffiti. During this brief historical episode, individual acts of self-inscription merged into a collective appropriative happening where participation was more significant than leaving an attributable legible mark. Hence, the graffiti still preserved today are leftover traces of a rare performative event that endows this lieu de mémoire with new historical meaning.
From Post-Posters to Un gilet
Authors: Tremblin Mathieu
Published: January 2025

In April 2018, Antonio GALLEGO and I met in Strasbourg and talked about the way we felt about spontaneous forms of art in urban space regarding the current social movements and the celebration of May 1968. Most of institutions that have been commemorating May 1968 were evacuating the subversive nature of the collective appropriation of urban space, in favour of an iconic fetishism around L’ATELIER POPULAIRE’s posters. We agreed that the best way to “commemorate” social struggles history was not to get into nostalgic reenactment. But, instead we had to contribute with our means to the actual struggles using forms of creative and collective visual presences, di used in a viral manner during and beyond the demonstrations.
Street Art is dead. Again and again
Authors: Filippi Mauro
Published: January 2025

What do we mean today, in 2019, by the label ‘Street Art’?
Is there really anything that still associate Mexican murals, New York tags and Brazilian pichação with festivals, exhibitions, fairs and millionaire auctions? What links the political and media performances of Banksy to the silent and detailed decorations of Nespoon, the enormous and spectacular installations of Kaws to the tiny and ephemeral characters of Slinkachu, or even the powerful vandalistic actions of Brad Downey to the shining live paintings of Natalia Rak?
COVID19 & the Public Sphere
Authors: Radisich Emerson
Published: January 2025

This essay examines the multiplicity of graffiti-based reactions to COVID-19 and its resulting lockdown laws. It utilises Jill Bennett’s work, Practical Aesthetics, to examine the continuation of vigilante graffiti in Hong Kong, as well as the rise of digital street-art globally. I argue that the artform’s many responses indicate the elasticity of graffiti in times of crisis. I also discuss the willingness for communities to either adapt or continue their respective practices of ‘mark-making’ in the public place.
Craig Castleman Talk
Authors: Crumpton Alicia
Published: January 2025

Craig Castleman is the author of seminal “Getting Up: Subway Graffiti In New York” originally published by MIT press, cult book for the graffiti/street art subculture and mandatory bibliographic reference in the academic field.  Advised at Columbia University by Margaret Mead, famous anthropologist known for her work on the relationship of culture and personality and Loius Forsdale that suggested: “this isn’t the time to worry about why people write and fight graffiti, because we aren’t sure yet jus what it is that they are doing. Find that out first. People can argue about what it all means later on.” We also share the room with the organisations Contorno Urbano and Indague, who developed in 2019 with Craig the Castleman Tour: a project in Spain with 16 events, an exhibition and the launch of the book Getting Up again: 40 years later, made it possible with the support of community writers in crowdfunding strategy.
Street Art & Graffiti in Belgrade: Ecological Potentials?
Authors: Tunic Srdan
Published: January 2025

Since the emergence of the global contemporary graffiti and street art, urban spaces have become filled with a variety of techniques and art pieces, whether as a beautification method, commemorative and community art, or even activism. Ecology has also been a small part of this, with growing concern over our environment’s health (as well as our own), disappearing living species and habitats, and trying to imagine a better, less destructive humankind (see: Arrieta, 2014).
 
But, how can this art - based mostly on aerosol spray cans and thus not very eco-friendly - in urban spaces contribute to ecological awareness? Do nature, animal and plant motifs pave a way towards understanding the environment, or simply serve as aesthetic statements? This paper will examine these questions with the example of Belgrade, Serbia, and several local (but also global) practices. This text is based on ongoing research as part of Street Art Walks Belgrade project (STAW BLGRD) and interviews with a group of artists.
On Urban Creativity in Argentina Over Time
Authors: Dos Santos María Laura
Published: January 2025

Argentinian academic research and production on urban creativity is not recent; the field has developed through a combination of different disciplines and perspectives. But what is remarkable is the shift in interest on the subject since the arrival of the New York Style Graffiti Writing in the late ‘90s, which made new theoretical frameworks for the phenomena possible. Considering all these multiple approaches to the subject matter, the lack of consensus and systematic research is even more noteworthy, as it generates a heterogeneous panorama in terms of research proposals and frameworks.
In this article, we will examine the way in which a field of studies on graffiti and urban art emerged in Argentina -retracing the frameworks that structured the understanding of urban creativity through lineages or inheritances-, and we will show a continuation of interest in the subject matter, reshaped as a result of the arrival of new research perspectives.
Graffiti friendships and existential visual sociology
Authors: Jacobson Malcolm
Published: January 2025

The aim of this paper is to utilize photographs to investigate existential aspects of graffiti that are theoretically underdeveloped such as how the subculture offers foundation for life-long friendships. Previous literature on the life of graffiti writers has often emphasized aspects of hyper masculinity such as competition, bravery, law breaking and risk behavior and neglected how boundaries concerning space and generations are negotiated through graffiti writing.
(Un)making Femininity on the Walls of Tehran
Authors: Zojaji Negar
Published: January 2025

This article explores how a series of street art in Tehran that address the restriction of the right of women to stadium, challenge the official discourse of femininity in the semiotic landscape of Tehran. It investigates how through techniques of carnivalistic satire, these imageries subvert the gender orders that dominate the official visual discourse of femininity in the urban space. The article proposes that the function of this street art series as a form of resistance, is enacted both by their internal generic structure, and in relation to the official mural landscape of the city.
Preface
Authors: Yücel Caymaz Gokcen Firdevs
Published: January 2025

The issue focuses on philosophies and designs that shape our cities on a broader scale; exploring different approaches between architecture, built environment, and nature;  from material to medicinal plants, from plant scale to urban and social sciences. The issue examines the natural and built environment in Istanbul through the relationship between urban planning, urban space, architecture, and landscape architecture. It focuses on designs made in different parts of Istanbul between natural areas and built areas in the city.
The ex post analysis and perspectives of an Urban Creativity program between artistic requalification and social regeneration
Authors: Scardapane Silvia , Mongelli Monica
Published: January 2025

In 2015 INWARD - National Observatory on Urban Creativity started the project “Parco dei Murales”, a process of artistic requalification and social regeneration in the Ponticelli district, the eastern part of the great city of Naples. Four years after the completion of the pictorial works, questions regarding the influence of the creative program on the urban area arise: how did these interventions generate a change in the neighborhood? What impact did they have had on the community?
Many inhabitants perceive the eastern outskirts of Naples as a marginal space of the metropolis of Southern Italy, a “liminal” area not only geographically but also socially if we think about the exposure of some segments of the population to situations of the uncertainty of the social and economic condition.   It is noted that this area manifests an evident lack of services that can allow a transformation towards a condition of certainty. The artistic and social experience in the “Parco dei Murales”, was born to subvert all this and allow the external public to enter an inhabited space previously considered repulsive.
In relation to three macro-categories as Art, Social, and Promotion, we will try to answer the initial questions to investigate the positive and negative aspects of a collective program.
Through data related to the work experience collected from 2015 to 2021, to the elaboration of surveys, outputs submitted to the community, and comparisons with similar realities in Italy, we have reached a liminal moment of the work that is a moment of waiting between what has been achieved and the transformation in progress.  What are future evolutions? How to envisage the extension of an urban creativity program for the social in a creative territorial system?
Drawing the Line: A Legal Geography of Street Art in the London Borough of Tower Hamlets
Authors: Ward Tom
Published: January 2025

This article presents the findings of a small study that examines how and why the London Borough of Tower Hamlets introduced a policy in 2019 to distinguish between graffiti and street art. In doing so, this study adopts the theoretical vocabulary of legal geography to intervene in debates concerning the distinction between graffiti and street art. The research begins by outlining East London as a site of empirical interest, before defining several concepts in legal geography that are argued to be of analytical use for graffiti and street art scholars. The methodology of the study is presented before describing the results: that street art is selectively retained in Tower Hamlets because it valorises and decorates property where graffiti is considered to threaten the dominance of property in the spatial imagination of the law. As such, legal geography is presented as a critical tool to interrogate the instrumentalisation of policies, like that in Tower Hamlets, that seek to regulate what can be termed street art.
Geometric prehistoric motifs in the mural art of Kosovo
Authors: Baraliu Sedat , Muharremi Ilir Hivzi
Published: January 2025

This paper addresses prehistoric murals content in the Balkans with special emphasis those in the territory of Kosovo. In Kosovo, murals are located in town of Ferizaj. The dominant figures in this mural are: the Goddess sitting on the Throne, Urns, anthropomorphic masks of the Neolithic period, geometric shapes in vases and various objects, e. The authors have made an interweaving between the figures and the compositional alignment, while the colors are completely independent of the figures. The purpose is to show the importance of prehistory as inspiration for modern artists. The murals that were taken for consideration are those, which artists have taken prehistoric onomastic elements. The paper examined the spiral, zigzag lines used mostly as elements in this mural. It is known that murals and graffiti have been illegal arts that were used to protest and express the revolt of a people. The main emphasis in this paper is also gender equality in Kosovo, because it deals with the figure of Queen Teuta, who was a very brave, independent woman. The goddess sitting on the throne is also presented, which represents the important prehistoric period of the Neolithic era where man had the will to become the God of nature.
Graffiti Applications in an Interdisciplinary Context
Authors: Kucukali Ufuk Fatih
Published: January 2025

Cities, which are environments of social encounter, have versatile effects on our lives as dense living spaces. One of the most important communication tools of the social environment is the street walls, which are now the public spaces of cities. This phenomenon, which belongs to the city and emerges within the framework of the city's own cycles, expresses a protest stance that reveals a new perspective with its styles, techniques, figures and conceptual dimension. In the article, the concepts of public space and art in public spaces are discussed, and graffiti, which establishes connections between different art disciplines, is defined. While the reflections of this old form of art in the contemporary world were determined, an attempt was made to understand the point reached in the evolution of graffiti as a form of expression. In particular, by examining the emergence and development processes of graffiti after 1960 and its related post-graffiti art, the most important styles, figures and techniques of graffiti have been researched, and in this context, the interdisciplinary practices of Add Fuel (Diogo Machado), Shepard Fairey, Peeta, Hozoi, Nancy Kubale, Examples of works by artists such as Zedz, Zvi Belling and Prowla, Jan Wöllert and Jörg Miedza, and Roberto Lugo are given.
Primary morbidity in the population of the Republic Sakha (Yakutia) for the period 2005-2021
Authors:   MD, Professor of the Department of Organization and Preventive Medicine of the Medical Institute M.K. Ammosov NEFU Yakutsk, Timofeev L.F. , Timofeev A.L. ,   Deputy Chief physician of the State Autonomous Institution RS (Ya) Medical Center of Yakutsk
Published: January 2025

The article presents an analysis of the primary morbidity of the population in the Republic of Sakha (Yakutia). The purpose of the study was to conduct a comparative assessment of primary morbidity indicators for the entire population of the Republic of Sakha (Yakutia) by disease class with similar average Russian indicators. At the same time, the morbidity rate for the period 2005-2021 was analyzed. The percentile method was used to determine morbidity levels. As a result, classes of diseases were identified that had high levels throughout the Russian Federation during the period under review. In this regard, the following classes of diseases are distinguished: diseases of the nervous system, eyes and its appendages, diseases of the respiratory and digestive organs, diseases of the skin and subcutaneous tissue, injuries, poisoning and some other consequences of external causes. The points for applying the efforts and resources of health care authorities and medical organizations of the republic to improve public health indicators are becoming obvious.
Keywords: primary morbidity, primary morbidity by disease class, Republic of Sakha (Yakutia), morbidity in the population of the Russian Federation.
Assessment of carbohydrate-lipid balance in people undergone COVID-19 among the residents of Yakutsk city
Authors:   Yakut Science Centre of Complex Medical Problems (YSC CMP), Yakutsk, Ru, Yakovleva A.I. , Olesova L.D. ,   Yakut Science Centre of Complex Medical Problems (YSC CMP), Yakutsk, Ru, Okhlopkova E.D. ,   Yakut Science Centre of Complex Medical Problems (YSC CMP), Yakutsk, Ru, Konstantinova L.I. ,   Yakut Science Centre of Complex Medical Problems (YSC CMP), Yakutsk, Ru, Mironova G.E. ,   D.B. Sciences, Professor of the Department of IEN FSAOU HE NEFU “named after. M.K. Ammosova"
Published: January 2025

An assessment was made of the biological constant, consisting of the sum of glucose and total cholesterol levels in 161 residents of Yakutsk aged 20 to 72 years who had recovered from COVID-19.
The increase in this biological constant in the post-Covid period is most acutely expressed in individuals with morbid obesity. At the same time, there was a statistically significant tendency to increase the constant, as the disease worsened. Its significant increase to 12.25 mmol/l was noted in the post-ovoid period, in the group of patients with severe lung damage. The imbalance of harmony occurs due to an increase in glucose concentration, i.e. it is associated with a violation of carbohydrate metabolism. The results of our study indicate that patients who have suffered from SARS-CoV-2 coronavirus infection are at high risk of developing cardiovascular diseases in the postcovid period.
Keywords: coronavirus infection, glucose, total cholesterol, biological constant, body mass index, fatness.
О РЕЧИ ЯКОБА ГЕРМАНА НА ВТОРОМ ОТКРЫТОМ ЗАСЕДАНИИ ПЕТЕРБУРГСКОЙ АКАДЕМИИ НАУК 1-ГО АВГУСТА 1726 ГОДА "О ПРОИСХОЖДЕНИИ И РАЗВИТИИ ГЕОМЕТРИИ"
Authors: СИНКЕВИЧ Г И.
Published: January 2025

Якоб Герман (1678-1733), швейцарский математик и механик, любимый ученик Якоба Бернулли, родственник Леонарда Эйлера, был первым профессором высшей математики Петербургской академии наук. Он прибыл в Петербург 15 (26) августа11725 г. и уже 13 ноября того же года открыл первое заседании Академии докладом «О сфероидной фигуре Земли». Как известный математик, светский и разносторонне образованный человек, самый старший из собравшихся ученых, он представлял лицо Академии. К числу его обязанностей относилась честь выступать на публичных заседаниях, на которых присутствовала императрица. 1 августа 1726 г. второе публичное заседание Академии почтила Екатерина I с семьей и свитой. Герман приготовил большую речь на латыни, но из опасения утомить императрицу и придворных, сократил свое выступление. В 1728 г. эта речь была опубликована в Петербурге. Здесь мы впервые предлагаем перевод этой речи Германа «О происхождении и развитии геометрии». Эту речь можно смело назвать программной, или, как мы сейчас бы сказали, пленарной, так как она, по словам автора, раскрывает не только «начало, развитие и торжество математики», но и дает современную к тому моменту картину состояния математики, а также обрисовывает задачи в области математики и механики, стоявшие перед молодыми академиками.

Jacob Hermann (1678-1733), Swiss mathematician and mechanic, favorite student of Jacob Bernoulli, relative of Leonhard Euler, was the first professor of the St. Petersburg Academy of Sciences, arrived in St. Petersburg on August 15 (26), 1725 and already on November 13, 1725 opened the first meeting of the Academy report "On the spheroid figure of the Earth." He considered the largest luminary and the face of the young Academy as a famous mathematician, a secular and well-educated person, an oldest of the invited scientists. The honor of speaking at public meetings attended by the Empress was among his duties. On August 1, 1726, Empress Catherine I with her family and retinue attended the second public meeting of the Academy. Herman prepared a big speech, but for fear of tiring the empress and the courtiers, he shortened his speech. In 1728, this speech published in St. Petersburg. Here we offer a first translation of Hermann's speech "On the origin and development of geometry. " According to the author, it reveals not only "the beginning, development and triumph of mathematics," but also gives a contemporary (to 1726) picture of the state of mathematics, and also outlines the challenges in mathematics and mechanics facing young academics.
Listening to the formation of polymorphs in a ball-mill
Authors: Parlier Eloïse Marie Samantha , Al Amir Kinann , Métro Thomas-Xavier , Granjon Pierre , Laurencin Danielle , Leroy César
Published: January 2025

IIn this contribution, we apply our newly developed ball-milling operando platform, which combines Raman spectroscopy, thermal (IR) imaging, as well as acoustic and high-speed optical video recordings, to the synthesis and transformation of citric acid – isonicotinamide (1 : 2) cocrystal polymorphs in transparent PMMA jars. Particularly, we demonstrate how Raman, temperature, acoustic and video data are complementary and enable to detect and connect together chemical and physical events happening during the ball-milling in a time-resolved manner. Importantly, we show that the formation of the three cocrystal polymorphs can be detected through the acoustic analyses solely. Even more impressively, the meticulous analyses of the sound data allowed subtle polymorphic transitions to be perceived in operando mode when the Raman spectroscopy was not conclusive enough. Such changes in sound signatures are greatly linked to the beads’ motions in the milling jar. A new data analysis methodology of acoustic recordings is proposed through a combination of energetical and statistical approaches, which simplifies the data analyses for potential users. The interpretation of the detected sound signals was further validated thanks to the high-speed videos recorded in synchronization with all other operando techniques. Finally, we broaden this acoustic methodology to opaque stainless-steel jars, showing the relevance of the acoustic analysis method for following cocrystal, as well as for pure substances, polymorphic transformations in any type of milling jars.