The post-Soviet history of Republic of Moldova is tantamount to the history of Chisinau. With almost 800 600 inhabitants, that is 22% of the total population of the Republic of Moldova, the city of ...Chisinau stands out not only as the major urban contributor to Republic of Moldova's economy (almost 60 percent of the GDP), but also as the site of the most intense symbolic clashes and protest marches, the latter being organized by both political parties and retired people, war veterans, public clerks, journalists, students etc. Starting with the "Twitter Revolution" (Apr 7-9, 2009) one could easily notice that the "identity battle" has reached a new level: from a collective and public level, coordinated by the state, to an individual level. The authors have argue that, once the parades are over, fanfare silences, and public celebrations come to an end the graffiti message still keeps on the public agenda the following identity dilemma: "Who are we"?
The form of graffiti writing on trains and walls is not accidental. Nor is its absence on cars and houses. Employing a particular style of letters, choosing which walls and trains to write on, ...copying another writer, altering or destroying another writer’s work: these acts are regulated within the graffiti subculture. Copyright Beyond Law presents findings from empirical research undertaken into the graffiti subculture to show that graffiti writers informally regulate their creativity through a system of norms that are remarkably similar to copyright. The ‘graffiti rules’ and their copyright law parallels include: the requirement of writing letters (subject matter) and appropriate placement (public policy and morality exceptions for copyright subsistence and the enforcement of copyright), originality and the prohibition of copying (originality and infringement by reproduction), and the prohibition of damage to another writer’s works (the moral right of integrity). The intersection between the ‘graffiti rules’ and copyright law sheds light on the creation of subculture-specific commons and the limits of copyright law in incentivising and regulating the production and location of creativity.
•The most used graffiti spray paints were investigated.•The performance of antigraffiti coatings was investigated.•A critical approach to the graffiti cleaning methods is addressed.•The impact of ...graffiti on differente lithotypes was evaluated.
Graffiti paintings, as an act of vandalism, are one of the most severe threats to stone applied in Cultural Heritage. Their cleaning is expensive and in most of the cases, also induce stone damage, such as chemical contamination, by-products and physical changes. In the recent years, the application of anti-graffiti products has been carried out in order to preserve the valuable substrate. Despite the research lines have been focused on the evaluation of cleaning procedures and anti-graffiti products, it is necessary to lead a critical study of the recently reported results, considering the type of stone and the composition of the other key stakeholders, namely the anti-graffiti protective coatings, the paints and the cleaning agents. A brief description of the composition of the most common spray paints used by graffiti-writers in Cultural Heritage stones is also presented.
The protective effectiveness of anti-graffiti coatings and the most remarkable findings on stone graffiti cleaning methods are listed and discussed. Anti-graffiti coatings may facilitate the removal of graffiti compared to untreated surfaces, however this efficacy may be compromised on more porous substrates. Moreover, in almost all of the analysed scientific papers, it was possible to remove graffiti without inducing any damage to the substrate.
This review paper will allow to help conservator-restores to achieve the optimization of the graffiti cleaning procedures on stones in Cultural Heritage. Finally, some futures research lines are pointed out.
The research titled (Cultural Symbols in Graffiti art between Iraq and Italy - A Comparative Study) deals with the diversity of cultural symbols, their metaphors, and methods of expressing them for ...each people and is divided into four chapters. The first represents the methodological framework and includes the research problem, its importance, purpose, limits, and definition of terms. The second includes the theoretical framework and includes three topics: an intellectual introduction to culture and its relationships, the historical and conceptual root of Graffiti art, and the symbolic representations of culture in Graffiti art. The third chapter included research procedures and analysis of its sample, which included three drawings from each country. The researcher concluded a number of results such as. 1. Cultural symbols In Iraqi Graffiti art are characterized by specific metaphors and are limited to concrete isolation walls. While in Rome Cultural symbols are subject to a wide field of reference and are spread throughout most of the city’s spaces. 2. Most cultural symbols In Iraqi Graffiti art are characterized by iconic shapes and descriptive colors. While in Rome Most of the symbols are written and symbolic forms and conventional colors based on the concept of difference, breaking expectations, and achieving shock. 3. Cultural symbols In Iraqi Graffiti art establish decorative formations that perform a recreational function that do not reveal awareness of the cultural role of the system. While in Rome Cultural symbols establish aesthetic formations that perform a cultural expressive function and are aware of the cultural role of the system. Which were discussed and conclusions drawn.
This article describes characteristics of graffiti and street art in Riga. The aim of the article is to present features of street art and graffiti phenomenon, as well as to highlight portrait of a ...typical urban Riga artist by analysing types of activities, motivation and other characterizing aspects of graffiti writers and street artists. The author of the article introduces general street art and graffiti phenomenon, highlighting differences between these forms of art, following analysis of such topics as manifestation of street art and graffiti in Riga, the most common forms of street art and graffiti in urban environment of Riga. The author of the article also provides analysis of street art and graffiti artists’ motivation of their activities and describes street artist’s one-night run that was studied during conducted inclusive observation thus allowing understanding the characteristics of typical Riga urban environment artist.
In this work, the CO0.5Ni0.5Fe2O4 nanoparticles modified by phosphoric acid and NCO groups were prepared as flame‐retardants and cross‐linking centers. After modification, the dispersibility and ...flame‐retardant properties of the nanoparticles were effectively improved. On this basis, a kind of two‐component polyester‐based anti‐smudge and flame retardant hybrid coating in situ polymerization was prepared by using dihydroxy mono‐terminated PDMS to provide low surface energy, dipentaerythritol (Di‐PE) as a charring agent to provide sufficient cross‐linking sites. Water, ink, pump oil, and cooking oil could slide off the coated surface without leaving any traces. These novel hybrid coatings exhibit excellent anti‐graffiti properties and corrosion resistance even with 2 wt% PDMS and 3 wt% modified nanoparticles content. Moreover, Si, P, and CO0.5Ni0.5Fe2O4 all resulted in the formation of a char protective layer during burning. The thermal properties and flame retardant properties of the hybrid coatings were significantly improved. The peak heat release rate (PHRR) curves and the smoke production rate (PSPR) of hybrid coatings (3 wt% modified CO0.5Ni0.5Fe2O4) decreased by 44.2%, 55.7%, respectively, compared with pure composites. Besides, the hybrid coatings can be applied to a variety of substrates, including glass, steel, and fabric.
