Keepers of Ghosts: old signs, new media and the age of archival flux

Cianci, Lisa; Schutt, Stefan

doi:10.1080/01576895.2014.886514

Cited by 3 publications

(2 citation statements)

References 6 publications

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“…An Instagram image now has its own signature look and the smooth passage of images of the Instagram feed that can be flicked through like a photo album, connecting back not only to the features of Chalfen's (1987) Kodak culture, but also to the social history of graffiti itself. The result is a 'wild archive' (Cianci and Schutt, 2014) of fleeting, repeating, self-organizing yet impermanent images, in some ways a variation on the traditional graffiti 'piece book' (MacGillivray and Curwen, 2007) that can be shared with less experienced writers to learn new techniques and skills. A graffiti writer's piece book traditionally contains sketches and ideas for tags, whereas a writer's Instagram feed generally consists of images of finished pieces rather than works in progress.…”

Section: Architectures Of Instagrammentioning

confidence: 99%

‘I’d Double Tap That!!’: street art, graffiti, and Instagram research

MacDowall

Souza

2017

Media, Culture & Society

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Recent scholarship into the uses of social media has opened up productive ways of thinking about the dynamic relationship between user-generated content and new forms of sociality and social practice. However, compared with Twitter and Facebook, the photo- and video-sharing platform Instagram has received relatively little scholarly attention. Instagram is only the latest in a complex media history that has shaped a range of social practices, including graffiti and street art. This article considers the relationship between street art, graffiti, and mobile digital technologies, in particular the ways in which the production and consumption of forms of street art and graffiti are increasingly shaped by the architectures, protocols, and uses of Instagram. Beyond thinking conceptually about how Instagram is reshaping these practices, it also considers some analytic strategies for Instagram research that can illuminate this emerging and dynamic relationship. We also suggest that thinking of Instagram simply as another tool obscures both the complex issues of using Instagram metadata for research (privacy, the definition of publication, intellectual property, archiving, and conservation) and they ways in which the platform itself is in no way distinct from the cultural formations to which it promises access.

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Section: Architectures Of Instagrammentioning

confidence: 99%

‘I’d Double Tap That!!’: street art, graffiti, and Instagram research

MacDowall

Souza

2017

Media, Culture & Society

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“…Los signos fantasmas -ghost signsuelen ser presentados como restos publicitarios desvanecidos y despintados, producidos en un tiempo pasado al de los consumidores que los ven hoy (Passikoff, 2017;Schutt et al, 2016). La inclusión del ghost sign en las investigaciones sobre memoria y gráfica popular ha permitido alejar al análisis de la perspectiva de la ausencia o el abandono territorial para acercarlo al desarrollo de la modernidad urbana, la pertenencia espacial, el retrato de la historia local y la creación -apropiación-de lugares a través de lo mercantil (Cianci y Schutt, 2014).…”

Section: Palabras Clave / Abstractunclassified

Memoria y gráfica popular en el espacio público: un acercamiento cromático desde la semiótica

Yalán Dongo

2023

CONEXION

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Este artículo analiza el rol de la memoria cultural a través de los signos plásticos cromáticos del anuncio gráfico popular peruano. El corpus o material empírico considera la producción gráfica-publicitaria que circula en el espacio público en el Centro de Lima, Perú. La reconstrucción cualitativa de las relaciones entre la memoria, el espacio y la plasticidad cromática se lleva a cabo a través de la mirada semiótica de enfoque tensivo, la cual permite apreciar el rol de la intensidad en la producción visual popular. La reflexión concluye en el contraste de la memoria de retención y protensión de colores lúdicos del ghost sign frente a una memoria de ostensión de colores funcionales de la gráfica popular urbana. Esta diferencia permite identificar isotopías económicas que promueven la erosión del arraigo espacial y político respecto a lo público.

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Excavating ghosts: Urban exploration as graffiti archaeology

Kindynis

2017

Crime, Media, Culture

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Based on several years of near-nightly excursions into London’s disused, non-public, forgotten, subterranean and infrastructural spaces, this article considers the significance of discovering years - or even decades - old surviving traces of graffiti (‘ghosts’, in graffiti parlance) in situ. The article also draws on extensive ethnographic research into London’s graffiti subculture, as well as in-depth semi-structured interviews with several generations of graffiti writers. The article proceeds in four parts. The first part reflects on three sources of methodological inspiration: unauthorised urban exploration and documentation; more-or-less formal archaeological studies of graffiti; and ‘ghost ethnography’, an emergent methodological orientation which places an emphasis on absence and the interpretation of material and atmospheric traces. The second part of the article considers recent theoretical work associated with the ‘spectral turn’. Here, ghosts and haunting provide useful conceptual metaphors for thinking about lingering material and atmospheric traces of the past. The third part of the article offers some methodological caveats and reflections. The fourth and final part of the article seeks to connect theory and method, and asks what significance can be drawn from unauthorised encounters with graffiti ‘ghosts’.

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Keepers of Ghosts: old signs, new media and the age of archival flux

Cited by 3 publications

References 6 publications

‘I’d Double Tap That!!’: street art, graffiti, and Instagram research

‘I’d Double Tap That!!’: street art, graffiti, and Instagram research

Memoria y gráfica popular en el espacio público: un acercamiento cromático desde la semiótica

Excavating ghosts: Urban exploration as graffiti archaeology

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