additions to "Graffiti as Art"
first It is therefore understood as communication with graffiti aestheticized, visual alignment. In this case, the impetus and the goal of communication within a particular environment or a specific group. Signs and symbols get their meaning only through context-specific knowledge, which is a particular form of coding, so to speak, in a sense a kind of secret knowledge to decode The required contents are relatively marginal, ranging from simply "That's me" or "Here was I," or "we, etc." an emphasis on absolute freedom of choice against bans respectively. Laws or societal norms to pure protest. Grundimpetus is therefore still the communication itself, as indeed exercised when participating in a discourse, that of the character set as the main part of the character.
second Graffiti as art moves the Handlungsimpetus inasmuch as no longer simply be perceived-in itself is central, but the focus shifted solely to the specific aesthetic. Not the painted image as a sign of participation in the discourse is the goal of the (design) act, but the further development and the reflection of the aesthetics in a variety of approaches. If you like this is no longer graffiti since there is not communication in itself, but quotation of graffiti, because only the aesthetic remains the original impetus. Expanded, however, the reflexive level, which discusses, first, those origins, that is, therefore, introduces the reflective layer and the other is the aesthetic with established design and marketing principles (in the sense of earning painting by a living, not how often accused of: Sale brings together). Result is thus a double form of reflection, with respect to the origin, the original graffiti, and, secondarily, to the destination, the art system that graffiti be described as art making as a form of double-garde (in Bourdieu's sense, ie from the moment of motion ago), with the aim of creating new design principles.
third Legal graffiti on Hall of Fame is in this respect somewhere in between, depending on the exporter collected reference. In the case of the reference point Underground is an empty citation, which is only committed to the acquisition of rare beauty and characterized by reflection, ie only a certain idea of culture with mainly social objectives and maintains the aesthetics repeatedly reproduced. In the case of the art, the road to the intended issue and thus to the marketing area. The overlap of these interests are often predominant reason for the conflict.
4th Graffiti as art is therefore to change including the addressee.
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