Showing papers on "Graffiti published in 2002"
TL;DR: The authors explored various sociocultural aspects of graffiti, and examined municipal administrative responses to its occurrence, arguing that the diversity of graffiti poses a number of problems for agencies attempting in the first instance to classify graffiti (as "crime" or "art") and in the second to control its occurrence (whether to 'eradicate' or 'permit' graffiti).
Abstract: This article explores various sociocultural aspects of graffiti, and examines municipal administrative responses to its occurrence. It is argued that the diversity of graffiti — in terms of its authors, styles and significance — poses a number of problems for agencies attempting in the first instance to classify graffiti (as “crime” or “art”) and in the second to control its occurrence (whether to “eradicate” or “permit”). Drawing on discussions with local council representatives and on interviews with graffiti artists themselves, the article challenges the stereotypical view of graffiti artists as immersed in cycles of vandalism and/or gang violence. Instead, the article brings to light the complex and creative aspects of graffiti culture and suggests that it is possible (indeed necessary) for regulatory bodies to engage with and promote graffiti culture and that, further, such engagement and promotion need not be seen as authorising a profusion of graffiti related activity across communities.
107 citations
Book•
28 Feb 2002
TL;DR: The Structure of Hip-Hop Culture The Interviews Community Collaboration and Dialogue Performance in a Public Space, Place, and Change Implications for Teaching Bibliography as mentioned in this paper, and the Interviews
Abstract: Introduction The Structure of Hip-Hop Culture The Interviews Community Collaboration and Dialogue Performance in a Public Space, Place, and Change Implications for Teaching Bibliography
61 citations
TL;DR: Wallbangin' Graffiti and Gangs in L.A. as discussed by the authors, by Susan A. Phillips. Chicago: University of Chicago Press, 1999. 383 pp., illustrations, photographs, notes, references, index.
Abstract: Wallbangin': Graffiti and Gangs in L.A. Susan A. Phillips. Chicago: University of Chicago Press, 1999. ix. 383 pp., illustrations, photographs, notes, references, index.
61 citations
01 Sep 2002
TL;DR: The handheld organizer or personal digital assistant (PDA) is rapidly becoming a popular organizational tool, and there is a need for evaluation of alphanumeric character entry on these devices, and character entry rates are evaluated with respect to some theoretical limitations.
Abstract: The handheld organizer or personal digital assistant (PDA) is rapidly becoming a popular organizational tool, and there is a need for evaluation of alphanumeric character entry on these devices. The Palm operating system, the most common PDA operating system on the market, uses two methods for character entry, an on-screen virtual keyboard and a single-character handwriting recognition system called Graffiti. An initial experiment was conducted to investigate the character entry rates of novice and expert users of the device for the two methods of input. Experts were found to reach an average rate of 21 words per minute (wpm) using Graffiti and 18 wpm using the virtual keyboard. Novices were able to use Graffiti at a rate of 7 wpm and the virtual keyboard at 16 wpm. These character entry rates are evaluated with respect to some theoretical limitations, a predicted rate of entry based on Fitts' and the Hick-Hyman laws for the virtual keyboard, and pen and paper printing for Graffiti. The potential gain for...
55 citations
41 citations
TL;DR: An empirical comparison of two common gesture recognition techniques indicates that participants using Jot completed the tasks significantly faster than those using Graffiti, and a detailed analysis of the PoD provides insights regarding the definition and use of the inherent accuracy metric.
40 citations
Book Chapter•
01 Jan 2002
28 citations
TL;DR: Fleming as mentioned in this paper argued that wall-writing was a commonplace activity in early modern England, not only because it participated in collective, aphoristic conceptions of authorship, evidenced in such productions as posies in the guise of rings or entwined in human hair.
Abstract: In her recent study of the writing arts in early modern England, Juliet Fleming has provided a thought-provoking treatment of graffiti. Exploring a range of practices from tattooing to the making of pots, her work challenges the founding division in literary studies between the sensible and the intelligible, positing “a historical moment when the distinction between the letter and the spirit could be differently understood.”1 Fleming persuasively exposes a conceptual space within sixteenth-century culture inhabited by “writing that is not seeking apotheosis as a text.” The paradigmatic example of this is the posy, whose defining feature is the significance accorded to its material embodiment such that it “cannot exist as text in the abstract.”2 In this viewpoint, the scene of writing is decentered, moving beyond the limits of the page to an engagement with different materials and methods, and it is from this perspective that the subject of graffiti is approached. Tracking early modern habits in the textual embellishment of domestic interiors, be it through the painting up of self-reflexive, improving phrases or, in a papershort society, as quite simply “the primary scene of writing in early modern England,” Fleming’s argument confronts the reductive reading of writing on walls as being by definition transgressive. In place of the notion of trespass, Fleming argues that wall-writing was a commonplace activity. Not only was it widespread but it participated in collective, aphoristic conceptions of authorship, evidenced in such productions as posies in the guise of rings or entwined in human hair.3 My own work on graffiti builds on Fleming’s insights but approaches the subject from a different direction. As Fleming points out, “graffiti in its modern sense is an effect of categorization.”4 To my mind, her work suggests the factors that render the term graffiti ineffective for analysis of the period and my aim is to supply another context for understanding early
21 citations
Journal Article•
TL;DR: Knowledge Management in the SocioTechnical World The Graffiti Continues (Book Review) and Knowledge Management inThe Socio technical world The Gra graffiti Continues.
Abstract: 195 © International Forum of Educational Technology & Society (IFETS). The authors and the forum jointly retain the copyright of the articles. Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear the full citation on the first page. Copyrights for components of this work owned by others than IFETS must be honoured. Abstracting with credit is permitted. To copy otherwise, to republish, to post on servers, or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from the authors of the articles you wish to copy or kinshuk@massey.ac.nz. Knowledge Management in the SocioTechnical World The Graffiti Continues (Book Review)
19 citations
TL;DR: In this article, the use of graffiti at large and in Pre-Roman Hispania in particular is studied. And the following categories are studied: Phoenician owners graffiti, Greek owners graffiti and Greek merchants graffiti.
Abstract: After some generalities about graffiti at large and in PreRoman Hispania in particular (§ 1), the following categories are studied: Phoenician owners graffiti (§ 2), Greek owners graffiti (§§3 and 4), Phoenician merchants graffiti (§ 5), Greek merchants graffiti (§6). Finally there are some comments on the historical use of graffiti with the emphasis on economic history.
TL;DR: In this paper, the authors examine the way in which processes of signification in contemporary culture are governed by motifs of ownership, who has the right to make the right kind of meaning, whose significatory powers can be considered to be dominant, and what sorts of ethical considerations can be applied to the granting of meaning and implication.
Abstract: This article examines the way in which processes of signification in contemporary culture are governed by motifs of ownership--who has the 'right' to make the 'right' kind of signification, whose significatory powers can be considered to be dominant, and what sorts of ethical considerations can be applied to the granting of meaning and implication. By examining contemporary political graffiti, issues of globalisation and debates over the figurative term 'cunt', the article discusses the inefficacy of claims to significatory 'ownership' while making a case for contingent practices of 'fixing' signification for local political praxis.
01 Jan 2002
Proceedings Article•
01 Jan 2002
TL;DR: In this paper, the authors take a retrospective look at the problem of querying and updating location dependent data in massively distributed mobile environments and present a vision of the future dataspace -physical space enhanced with embedded digital information.
Abstract: In this paper, we take a retrospective look at the problem of querying and updating location dependent data in massively distributed mobile environments. Looking forward, we paint our vision of the future dataspace - physical space enhanced with embedded digital information. Finally we describe a few of the applications enabled by dataspace due to the availability of large scale ad-hoc sensor networks, short-range wireless communications, and fine-grain location information.
Patent•
28 Jun 2002
TL;DR: In this paper, the graffiti entered range is set in the unit of pixel values of the photographed image, and it is possible to enter the graffiti to parts where the pixel values are lower (darker) than a prescribed threshold.
Abstract: PROBLEM TO BE SOLVED: To provide an image printer that can prevent graffiti from being overlapped on e.g. a face of an object or the like, in the case of entering the graffiti to a photographed image. SOLUTION: When a user makes graffiti to a photographed image, the user selects any of selection buttons 131, 132 to select a range where the graffiti can be entered. The graffiti entered range is set in the unit of pixel values of the photographed image, and it is possible to enter the graffiti to parts where the pixel values are lower (darker) than a prescribed threshold.
DOI•
01 Jan 2002
TL;DR: This paper explored the extent to which conversational analysis and turn-taking principles may be used to examine graffiti communication and proposed a definition of graffiti and discussed some of the more important linguistic features.
Abstract: The aim of this paper is to explore the extent to which conversational analysis and turn-taking principles may be used to examine graffiti communication. It proposes a definition of graffiti and discusses some of the more important linguistic features. Cursory reference will be made to the differences between men's and women's graffiti. This paper argues that conversational analysis tools alone are not sufficient to examine graffiti, but that a framework which incorporates these is worth pursuing.
28 Mar 2002
TL;DR: In this article, a choreographed dance between a virtual graffiti artist and her evolving text is disrupted as words collide and meanings fragment, and the dancer is forced to stop the dance.
Abstract: Disrupt a choreographed dance between a virtual graffiti artist and her evolving text as words collide and meanings fragment.