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This working paper will unfold the methodological design of the PhD research project, Behind The Murals – A Participative Webdocu on the Motivations and the Reclamations of Street Art, with a focus on the incident when BLU repainted his murals at Berlin’s Cuvrybrache completely black. In contrast to BLU’s strategy – to erase his art so that it can no longer be made profitable by the investor of the lot or even by Berlin’s city marketing – I aim to investigate what other strategies against the reclamation of street art are imaginable. The main methodological question is, how is it possible to carry out this research in such a way that its results support the communities (potentially) affected by gentrification/touristification to gain a voice? The experimental methods of participatory video and digital storytelling will be applied with the target of producing a participative webdocu accompanied by a locally exhibited video installation.

The phenomenon of urban art is one of the forces shaping contemporary urban spaces. Historically fought as vandalism in its “writing” component (the “black sheep” of the urban actors performing in the contemporary city), urban art has recently become more appreciated as an artistic expression, especially when regarded as a stage in the historical evolution of muralism. As several examples worldwide have shown, in the context of urban renewal, urban art can set off positive dynamics. Focusing on the Italian scene, I recognize the importance of past Italian interventions realized both in big cities, such as Rome, Turin and Bologna, and in small cities, such as Grottaglie (Taranto), Gaeta (Latina), Catanzaro, and Dozza (Bologna). In addition, the growing number of urban art festivals and public interventions seems to voice the citizens’ will to take the streets back, particularly where institutions are unable to intervene effectively in the urban domain due to political short-sightedness or lack of financial resources. The first aim of this paper is to illustrate and analyze some collective projects and informal actions through which citizens, associations, and institutions have given added value to the urban space. I will focus particularly on Turin, which has become one of the most interesting and rich urban art territories, thanks to public projects such as Murarte, Picturin, Nizzart and B.Art: Arte in Barriera. This study offers insights on how, by way of artistic deeds and apparently “weak” transformation systems, urban art may take innovative action so as to regenerate the city’s architectural heritage. The second aim of this paper is to propose a methodology for architectural surveying techniques applied to urban art. isIn current critical analysis, as well as in the representation and documentation of this type of work, the fundamental importance of the physical, architectural and urban environment in which the work is placed is often overlooked, if not completely omitted. In acknowledgment of these limitations, this paper proposes a documentation methodology that respects both the values of the process and the work itself. In this regard, painted walls must be considered as inseparable from the space in which they are located, from the material substrate supporting them, and from the time conditions in which they were realized. The process of examination and documentation therefore requires observation in situ, new digital and traditional survey techniques, and a variety of representations at different scales; with a view to understanding the reasons that led to the selection of a particular place in the city, and the way in which artistic action arises in relation to the historical environment and the social and political system that influenced its creation.

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.

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.

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.

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.

En 1990, Llorenç Barber explicaba nun programa de televisión, Sitio Distinto, como todos os seres humanos levamos un campanario na nosa memoria. O conxunto de badaladas que se produce no noso sistema neuronal e social fai que a vida teña sentido, que teña musicalidade. Porén, o conxunto de badaladas poden derivar nun ruído que deriva en confusión. Isto mesmo é extensible na hora de realizar exercicios memorísticos. Ás veces é o ruído o que non nos permite chegar a un produto que non figura no canon ou tamén nos imposibilita a manexar coa maior autonomía conceptos, ideas ou textos dende os postulados que os orixinan. Isto último é o que pretendemos acometer neste artigo. Escollemos facer memoria dun pasado moi próximo, pero á vez moi afastado por descoñecemento. Para tal finalidade, focalizamos un produto pluridisciplinario: o programa Sitio Distinto, dirixido por Antón Reixa e emitido pola Televisión de Galicia (TVG) en 1990. Con el, contemplamos atinxir dous obxectivos. O primeiro é o de describir e dar a coñecer un produto cultural que define un habitus (Bourdieu, 1992) que se desenvolveu na praxe artística do campo entre a Transición política do franquismo á democracia e o seu asentamento nos anos oitenta.

Ao acentuar a visualidade e o visionarismo das imagens verbais, ou a sua tensão e rapidez, a poesia de tradição moderna apresenta-se muitas vezes como uma espécie de cinema, uma arte na qual o fluxo das imagens desempenha um papel determinante. «O cinema extrai da pintura a acção latente de deslocação, de percurso. Tome-se um poema: não há diferença», escreveu Herberto Helder. Como pensar esta similaridade, esta convergência? Em que consiste o cinematismo da poesia? Os autores estudados neste livro encaminham-nos para algumas respostas. […] Quando são tidos em conta os diálogos da poesia com o cinema, a presença temática do universo cinematográfico é normalmente destacada, pelo que ganham especial relevância os poemas dedicados a filmes, realizadores e actores, ou os poemas que funcionam por processos ecfrásticos e por transposição narrativa. […] Há um outro tipo de relação entre a poesia e o cinema que diz respeito às cumplicidades entre duas artes que partilham uma extensa e multímoda reflexão sobre os processos de fazer imagem. Herberto Helder, Carlos de Oliveira, Luiza Neto Jorge, Al Berto, Luís Miguel Nava, Fernando Guerreiro ou Manuel Gusmão desenvolvem formas de intermedialidade situáveis nesse plano, que este livro procura apreender.

After centuries of symbolic and political oppression, Galicia has been recognized by the Spanish constitution as a historic nationality. However, despite a certain degree of political autonomy, Galician identity is threatened by increasing homogenization in the economic, social, cultural and linguistic fields. In the early 1990s the aesthetic movement Bravú constructed an aesthetic community, sustained by an ideological project, and with the aim to, on the one hand, prevent Galician culture from becoming folklore stuck in a time warp and, on the other hand, to validate Galician identity. The Bravú artists refused the historically inherited outsider position and contributed to a reinvention of Galician identity and of a political ideal within a cosmopolitan, internationalist framework and by reversing social stigmas through their works and performances.

The concept of ‘resistance' has turned into a critical tool in different areas of political, philosophical and sociological thought. At the same time, the notion seems to be as productive as it is diffuse. ‘Resistance' is used in very specific contexts in scientific or technical disciplines, and with extreme flexibility in social and cultural studies. In the latter two areas, the concept is often used without prior reflection on its characteristics and limitations. In What is Philosophy?, Deleuze provides a possible framework for conceiving cultural and political practices of resistance as positions of force, when he defines contraction as ‘a contemplation that preserves the preceding in the following'. The purpose of this article is to understand political ecologism in its activist and poetical dimensions, in light of a Deleuzian interpretation of resistance.

Street Poetry (A first experiment with augmened reality). View along the walls of Macerata. A for Augmented, R for Reality. Adam Accademia, poesia di strada in Realtà Aumentata, Macerata http://www.mobypicture.com/user/adamaccademia/map Adam Accademia, poesia di strada in Realtà Aumentata, L’Aquila http://www.mobypicture.com/user/poesiadistrada/map “Internet e la Realtà Aumentata” Il Corriere Adriatico, 16/09/2011 http://www.accademiadelleartimacerata.it/site/2011/09/sessanta-quadri-affissi-sulle-mura-ma-si-vedono-solo-con-il-cellulare-il-resto-del-carlino-16-09-11/ (25/10/2013)