Papers by Caram Kapp
During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.
The rapid spread of the street art outside of its local context warrants an examination of the differences in reception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.
In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.
Events starting in January 2011 will
hopefully drastically reshape the
glimpses of an image of th... more Events starting in January 2011 will
hopefully drastically reshape the
glimpses of an image of the Middle
East collected from students of
Arabic at the FU Berlin.
The views presented herein capture
the region as observed by
Germans and Arabs in November
and December 2010, just as
events that would eventually lead
to widespread protests across the
Middle East were beginning.
The main topic of this paper, branding
and advertising, connected as
it is to political events in the region,
will be affected deeply by the
long- term effects of reform and a
shift in cultural self-perception beyond
celebratory trends.
In this, I present the insights I
gained through Interviews with
eight European students of Islamic
Studies and Arabic, aged between
20 and 24, and their Arab teachers.
The student’s familiarity with
the Arabic language and cultures
ranged from beginners who had
not yet visited an Arab country to
advanced learners who had spent
a minimum of three months in an
Arabic-speaking country.
We will explore the modern, global
relationship formed through
brands and type between cultures
Oriental and Occidental.
How are the inhabitants of the
Middle East viewed by them
shortly before a revolution? What
methods do companies desiring to
establish a culturally credible image
employ? How is the shape of
Arabic type affected by standardisation
and adaptations to Latin
fonts? How is Arabic taught to
people from a very different cultural
background?
These are but a few of the questions
I asked during that series of
interviews. The answers to them
and many others are to be found
hereafter
Project texts by Caram Kapp
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Papers by Caram Kapp
The rapid spread of the street art outside of its local context warrants an examination of the differences in reception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.
In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.
hopefully drastically reshape the
glimpses of an image of the Middle
East collected from students of
Arabic at the FU Berlin.
The views presented herein capture
the region as observed by
Germans and Arabs in November
and December 2010, just as
events that would eventually lead
to widespread protests across the
Middle East were beginning.
The main topic of this paper, branding
and advertising, connected as
it is to political events in the region,
will be affected deeply by the
long- term effects of reform and a
shift in cultural self-perception beyond
celebratory trends.
In this, I present the insights I
gained through Interviews with
eight European students of Islamic
Studies and Arabic, aged between
20 and 24, and their Arab teachers.
The student’s familiarity with
the Arabic language and cultures
ranged from beginners who had
not yet visited an Arab country to
advanced learners who had spent
a minimum of three months in an
Arabic-speaking country.
We will explore the modern, global
relationship formed through
brands and type between cultures
Oriental and Occidental.
How are the inhabitants of the
Middle East viewed by them
shortly before a revolution? What
methods do companies desiring to
establish a culturally credible image
employ? How is the shape of
Arabic type affected by standardisation
and adaptations to Latin
fonts? How is Arabic taught to
people from a very different cultural
background?
These are but a few of the questions
I asked during that series of
interviews. The answers to them
and many others are to be found
hereafter
Project texts by Caram Kapp
Online info:
https://srdjantunic.wordpress.com/2013/11/09/infiltri-street-art-project-platform-and-web-archive/
http://infiltri.org/ (beta)
The rapid spread of the street art outside of its local context warrants an examination of the differences in reception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.
In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.
hopefully drastically reshape the
glimpses of an image of the Middle
East collected from students of
Arabic at the FU Berlin.
The views presented herein capture
the region as observed by
Germans and Arabs in November
and December 2010, just as
events that would eventually lead
to widespread protests across the
Middle East were beginning.
The main topic of this paper, branding
and advertising, connected as
it is to political events in the region,
will be affected deeply by the
long- term effects of reform and a
shift in cultural self-perception beyond
celebratory trends.
In this, I present the insights I
gained through Interviews with
eight European students of Islamic
Studies and Arabic, aged between
20 and 24, and their Arab teachers.
The student’s familiarity with
the Arabic language and cultures
ranged from beginners who had
not yet visited an Arab country to
advanced learners who had spent
a minimum of three months in an
Arabic-speaking country.
We will explore the modern, global
relationship formed through
brands and type between cultures
Oriental and Occidental.
How are the inhabitants of the
Middle East viewed by them
shortly before a revolution? What
methods do companies desiring to
establish a culturally credible image
employ? How is the shape of
Arabic type affected by standardisation
and adaptations to Latin
fonts? How is Arabic taught to
people from a very different cultural
background?
These are but a few of the questions
I asked during that series of
interviews. The answers to them
and many others are to be found
hereafter
Online info:
https://srdjantunic.wordpress.com/2013/11/09/infiltri-street-art-project-platform-and-web-archive/
http://infiltri.org/ (beta)