Graffiti

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Graffiti

Handwriting recognition software for the Newton and Zoomer which recognises symbols that aren't necessarily letters. This gives greater speed and accuracy. It was written by Berkeley Softworks.

This article is provided by FOLDOC - Free Online Dictionary of Computing (foldoc.org)

Graffiti

The designs resulting from painting words or symbols on a building, wall or other object.

The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Graffiti

dedicatory, magical, and everyday inscriptions on buildings, walls, metallic articles, vessels, and the like.

Graffiti are found in great quantity during the excavation of ancient and medieval cities and settlements in many countries of the world. They are found on almost all ancient Russian buildings; those in the cathedrals of St. Sophia in Kiev and Novgorod are especially interesting. Graffiti supplement the information gained from paleography and add to the research of the little-studied colloquial aspect of the language of an ancient people.

REFERENCES

Tolstoi, I. I. Grecheskie graffiti drevnikh gorodov Severnogo Prichernomor’ia. Moscow-Leningrad, 1953.
Vysotskii, S. A. Drevnerusskie nadpisi Sofii Kievskoi XI-XIV vv., vol. 1. Kiev, 1966.

References in periodicals archive ?

As a symbol of a marginalized masculinity that despite all odds, manages to succeed, it is an apt image for those males involved in graffiti culture. The "hustle" is actually quite destructive.

Whether actual physical violence is a part of graffiti culture is an area of contention, and no doubt where graffiti(ed) masculinities intersect with gang life, actual physical violence is bound to increase.

Successful masculinities operating in graffiti culture involve the manly cogito: I risk therefore I am.

This is similar to what happens with the formation of crews in graffiti culture. This way of becoming a man is that of an alternative to hegemonic masculinity, which asserts authority over other men while the mentor system places men in command of a body of knowledge (Faludi, 1999).

Men against the wall: graffiti(ed) masculinities

It is also important to note that although the dominant manifestation of contemporary graffiti culture (including that which is overtly politicized) is connected to its global emergence with hip-hop culture, the act of writing, painting, and posting political messages on walls predates the 1970s by millennia.

An important distinction at this contemporary moment of transnational capitalism is to distinguish between (a) the development of commercialized graffiti culture, which has transformed graffiti art into mainstream popular and high art commodities (Kinnamon, 2013), and (b) the continuing phenomenon of politicized and subversive graffiti writing that unlawfully invades cityscapes, which is the subject of this article.

The connections formed between memories of popular protest, ongoing social struggles, and messages and images covering the walls of the city produce a rhizomatic politics embedded in Cochabamba's graffiti culture.

In Cochabamba, these graffiti culture patterns manifest in a fascinating overlap with local and national sociopolitical struggles and popular mobilizations.

Rhizomatic Writings on the Wall: Graffiti and Street Art in Cochabamba, Bolivia, as Nomadic Visual Politics

Allegedly inspired by the New York graffiti culture of the 1970s and the student-led Nazi-resistance White Rose Movement, Martin (although you wouldn't know this unless somebody told you) weaves together a functional love story about two young lovers falling in and out of love and trying to stick it to the proverbial man with big, bombastic anthems.

Coldplay gets cheesy with `Mylo Xyloto'

Brian Mark, defending, said Hemmel had at the time been "obsessed" with the graffiti culture and did not see his actions as an anti-social crime.

Paul Caulfield, defending, said Kaszefko had become involved in the graffiti culture in a limited way through "boredom" more than anything else and now lived a crime-free life.