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Environment-Behaviour Proceedings Journal
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6 pages
1 file
The effects of the epidemic of COVID-19 can be seen in the natural deterioration of the roads. Self-isolation and curfews during the pandemic further exacerbate the mental health problem. Through this project, the researchers hoped to convey the negative impression of the pothole-strewn streets through an art installation. Using an artistic medium is one way to counteract the negative perception people have of potholes. In this project, freshly picked flowers, with only stems and no branches, were placed in the pothole. In this way, actual activity can be recorded based on the design of potholes.
urbancreativity.org ; AP 2 - Associação para a Participação Pública, 2016
2020
With the decline in international tourism and a decrease in visitation to indoor cultural institutions due to the COVID-19 pandemic, street art has gained increased relevance among travelers, as well as employees in the tourism and cultural sectors. Furthermore, its significance is expected to grow for urban planners in the days to come. This trend is driven by a simple yet crucial factor: a lower risk of virus transmission. Additionally, the appeal lies in the fact that visitors or local art enthusiasts do not have to wear masks while enjoying art on the streets. Moreover, the accessibility of street art to all layers of society without admission fees further contributes to its popularity.
Journal of Urban Cultural Studies, 2016
Her explorations of the horizontal builtscape and the marks made upon it are documented in a number of publications as well as her Pavement Graffiti blog and her online gallery of photographs, Pavement Appreciation.
2020
Kamusal kentsel mekânlar, kuresellesme surecinde durmadan donusmeye devam etmektedir. Sanatin yukselen degeri de sehirdeki kamusal alanlardaki ambiyans ve duyumsamayi arttirmaktadir. Onayli sokak sanatlarinin kentsel mekânlarla butunlestirilmesi, basarili fiziksel ve sosyal cevreler olusturulmasini saglamaya yardimci unsurlardandir. Gunumuz cagdas sanat dunyasinda, onayli sokak sanatlari kullanimi onemli bir adim olarak one cikmaktadir. Yetkilendirilen sanatsal uretimlerin kamusal acik alanlardaki stratejik yerlesimleri ise gorsel olarak estetik ve duyumsal olarak anlamli yerler olusturulmasini saglayabilir. Bu inceleme, kentsel alanlardaki onayli sokak sanatlarinin fiziksel ve sosyal mekâna etkilerini, kentsel dokuyla butunlesmesini, izleyici ile karsilikli etkilesimi ve sanatci ile otoriteler arasindaki iliskiler uzerinden calismak, arastirmak ve aciklamayi amaclamaktadir. Inceleme, geleneksel grafiti islerinin modern sokak sanati uygulamalarina donusumu ve dunya capinda mesrulast...
: Concrete Jungle: A Green Wall for Growing Ideas consisted of a graphic treatment combined with a growing landscape installed on a large temporary construction hoarding, a 'meanwhile' project in a busy urban centre in Ultimo, Sydney. The installation showcased the potential of green walls as part of urban solutions for sustainability with a graphic promoting the importance of localised food systems, urban agriculture, and systems thinking in the development of sustainable futures.
PLANTS, PEOPLE, PLANET
This is an open access article under the terms of the Creat ive Commo ns Attri bution License, which permits use, distribution and reproduction in any medium, provided the original work is properly cited.
The aim of this paper is to study the importance of urban street art as an integral component of the city image, rather than being just defined or limited to wall graffiti, it has been extended to contain other forms of arts, compositions, sculptures, and various forms of mural arts, that were applied and integrated an applied on building walls, streets, landscape, fences, street furniture, and many other components of the built-in environment, these various forms of urban street arts represents different values of the society, and reflects various waves of development in political, cultural and socio-economic contexts. while urban street art is considered as a direct reflection of many changes that happens to a community, as the people try to express their impressions, views, anger, etc. in different forms, using street art as a documentation for such movements, and dynamics that happens, whether on the walls of buildings, railway/metro fences, underground stations, and other urban forms as mentioned above. Thus leading to a change in the built in environment features, sometimes positively by adding a more living sense & aesthetic value to it, and sometimes negatively by adding some drawings or writings that only express the feel of anger for example with no recognized aesthetic value, and a third extreme possibility of vandalism. This type of art was always relevant to a certain level of democracy, and political systems that can accept such way(s) of expressions, and in a context that creates art, appreciates arts in general, and use it in expression. While the case was different in other countries, where art wasn’t that important value, and where the political systems deprived people from expressing their views even in the most traditional ways, being involved also in an endless cycle of socio-economic complicated problems, especially in the developing countries, and the image was clearer in the under developed countries. in other words, this means that such type of art was developed in already developed countries, where urban contexts, and architecture were already well established, settled, organized, and all the channels of expression are maturely used by the communities. How this type of art represents the peoples’ culture, values, and the country’s political & economic positions are the different questions this paper is targeting to find the suitable answer, in addition to how it was integrated with the built in environment represented in architecture and urban contexts and adding a living sense to them. on the way to answer the questions of this research paper, the research will make a literature review of the various definitions of urban street art, graffiti, and other forms of street arts, in different contexts, exploring the different experiences from many countries all over the world including arab countries, with an analysis for some of these experiences leading to a further understanding in order to conclude the answers to these questions. Street art is the art on the streets, with all the components of these streets, and with all the streets can do in or for the city, accordingly it’s a very true expression and reflection of the city life, culture, economy & policy. Urban art cannot and does not exist in a vacuum, the built fabric of cities and towns provides the canvas on which street artists exhibit their creations, inextricably linking it to its environment.
Street Art & Urban Creativity, 2018
In The Practice of Everyday Life (1980), Michel de Certeau suggests the idea of a city in which there are, on one side, strategies of information, surveillance, control and infrastructure design laid out by the system and, on the other one, tactics defining the how-to-do of the users with regards to that system, that is, the operations by which they adapt them to align their own interests and needs. The texts allows us to examine the interventions of urban artists as a tactic characterized, as defined by De Certeau, as the harnessing of the system's resources (making do). This is more specifically translated into adaptability, development on a space they do not own, identification and utilization of the occasion (time) and the inventiveness of diverting time and resources (shortcut and la perruque). In this work, we will take traffic signs of restriction and prohibition as one of the urban components that highlight the normativization of public spaces through the direct message of "NO" (not doing). Many artists have, in previous years, developed an interest in the artistic and symbolic possibilities of these signs and have developed works (tactics) as their response to them. Dan Witz (Chicago, 1957), Clet (Bretagne, 1966), Brad Dowey (Louisville, 1980) or DosJotas (Madrid, 1982) are good examples of this. Key words: De Certeau, strategies, tactics, street signs, Dan Witz, Clet, Brad Dowley, DosJotas
2012
ARTand PUBLICSPACEcan be symbolized as inseparable as melody and song.Missing either would lead to a mundane and unexciting experience to users.The dearth of art in public spaces maybe traced to the fear of art which pre-program in certain professional's mind. Thisaligned with Howett(1985) statement that the positioning of human ingenuity may endanger the earth unique equilibrium. Nowadays, through various studies and high awareness of art. the ideas of how to respond to the land and to fulfil the human needs has progressively developedthe idea of no fear in binding the art in the public spaces especially in parks and landscape areas. This article describes art in public spaces and their effects on the community they are located in.
International Journal of Creative and Arts Studies, 2020
In the middle of March 2020, Indonesia declared a Covid-19 emergency. This pandemic has an impact on art activities, including the artistic world of graffiti. During this time, the activities of graffiti artists in public spaces were increasingly limited. However, this limitation does not dampen their spirit, especially in terms of organizing exhibitions. Where on May 17, 2020, they held a virtual exhibition titled "Youth Pandemics." This topic is interesting to discuss since organizing a virtual exhibition is a new thing for graffiti artists, especially in Indonesia. This research uses the descriptive qualitative method. This study's results reveal that implementing a virtual exhibition gave new alternative space for graffiti artists during a pandemic. Also, a virtual exhibition is a place to gather for graffiti artists amid their social limitations. Pameran Virtual Graffiti “Pandemic Youth” ABSTRAK Medio Maret 2020 Indonesia dinyatakan darurat Covid-19. Pandemik ini ...
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