writers connection

Dalla pagina http://people.freenet.de/graffitiforschung.de/OBTRU.htm

GRAFFITI/WRITING:

-AN "OBTRUSIVE" ART-"

Published for the Hip-Hop Project of "Forum Kultur" at Poznan and Opalenica,October 2003

C:Copyright by.A.THIEL (2003)

URL of these pages:

http://people.freenet.de/graffitiforschung.de/OBTRU.htm

IN MEMORIAM ET HONOREM OF:Erik ROTHEIM (Norway) and Edward H.SEYMOUR (US) that triggered "creative avalanches" by their invention and adaption of spraycans.

Special thanks to Bernard ZOLYNAK for the invitation.

INTRODUCTION:

Since 30 years we can track the developement and growth of a GLOBAL HIP-HOP,creating chances to come to know each other and meet,in order to mutually discuss today`s state of being,future chances,so to say a summing up of psycho-social state of the arts,the analysis of the environment and possible psycho-toxic influences threatening mankind with extinction.That young people dare to express themselves causes much irritation and despite all repressive tries (so far) the only outcome has been the creation of a sector of "graffiti-as-business" already selling an annual $ 50 billion,with rising tendency since 30 years despite all threats "to definitely put an end to the visual vandalism" up to statements calling graffiti "visual terrorism" and the rest of psychological warfare against "writers" globally.Please also note US "billion" equals European "Milliarde".

OBTRUSION (1):

Wort with Latin origin="obtrudere",meaning forcing you and your activities onto someone,gaining and desiring other person`s attention,acceptance by various means also against other persons desire.

OBTRUSION (2):

All arts work by "obtrusion" via all of your senses (remember I said we have much more than 5……...) once you come within the very art`s reach,realm of influence,you may be moved,maybe even without your notice influencing also our unconscious.

DEFINITION:

Art that works as obtrusion uses specific techniques.Many of them never are being reflected by us,like architecture and town-planning.The way a house is being built-size,material etc.- and the outlines of a community OBTRUDE on you even if you never think about the forms being used here.If you ever have been in a palace or a governmental building,in most cases sheer size and the masses of material being aimed at creating a feeling of inferiority,intimitating people.The "German Fuehrer`s" headquarters at Berlin were of such planning,you had to walk miles before even coming closer to him.But all that because already being integral part of cultures is seldom considered as OBTRUSION,it is the "newcomers" in the art-sector (also because the old parts do not want to share power and influence) that must use lots of energy,spectacular Activities and aggressive techniques to also become an attractor,eyecatcher and being taken notice of.

WRITING/GRAFFITI AS OBTRUSIVE ART:

Having explained at various parts that graffiti always also developed along the axis of technical innovations,meaning new Signing,writing techniques and tools also permitted the re-invention of graffiti various ways and permit a cultural adaption,last developemental step here was the use of the (1926 by Erik Rotheim,Norway) invented SPRAYCAN,that in 1949 was adopted in the US (Edward H.Seymour) staring with aluminum-color,triggering a "color-revolution" that,around 1965 caused the "explosion of graffiti" in urban slum and ghetto areas known now as "WRITING (AMERICAN STYLE)" along with several other SOCIAL INVENTIONS RAP and BREAKDANCE fusing new (now already global) youth culture known as HIP-HOP.Young people (writing is a male way of expression,99%) such as therefore take their liberties and use already existing walls as their roaming spaces and playgrounds get scarcer all the time,offering them little other real challenges."WRITING" today has-globally-become the accepted SYMBOLIC AGGRESSIVE (color,form,outline and content) technique within known TRANSITIONAL RITES during COMING OF AGE,where young people in all countries and cultures have to undergo specific exams,transgression of some rules included and also expected to finally gain manhood and become accepted adults.

This very much conflicts with the also existing negative developemental trends to keep people in a permanent and perpetual state of "petrified adolescence",the creation of a ongoing state of needs feeding the global capitalist system anabling the sale of also goods not really helpful and necessary,the many gadgets of a "surplus-production" bent on the creation of er-satz-needs of all kinds permanently promising something wonderful never fulfilling the promise causing a "thirst" that never can and will be quenched.Now young people normally being very much aware what is being done to them "smell that rat" and start counter-measures expressing discontent via writing,rap and breakdance.

OBTRUSION VS.PERMISSION:

One of the most cited statements:"Only graffiti done by permission can be considered art" sounds very "natural" but if you take a short pause and think about it you also may come to notice that IF that would be true art only created by permission MOST art would never have been created at all.It would miss the slightly chaotic aspect of art being a little rebellious and coming into existance also as a counter-reaction to "normality" if that "normality" becomes "dead",boring and/or even psycho-toxic like we know from dictatorships and police-states.Then we have a "Social Realism" where pictures and statues done during 3.Reich and those from Russia under Stalin`s rule look so much alike.This means arts without liberties Decay into lick-spittling and propaganda.This means now we already may know arts always have to RE-INVENT and RE-CREATE themselves,adopting and adjusting to chances in societies still being able to indicate the "hot-spots" of their Times.Modern graffiti,known as "writing" is one of the artistic answeres to actual problems of our environment.No wonder They cause so much controversies and resistance from any by the "establishement".

SPECIFICS:

Central question being HOW COME an international cohort of young males being so dedicated on OBTRUDING reflecting psycho-social goings on of and in modern,complex societies.a society,and the answer is we see via graffiti/writing a MIRRORING PROCESSNONE ASKS persons being MARGINALISED,so no wonder such persons (and others from other societal background=classes being afraid to face comparable "futures") do what they do WITHOUT ASKING (permission),doing to rest of society what they experienced before.A tiny international cohort manipulating the  GLOBALIZATION selects millions of persons meaning throwing them onto the "unemployment piles".This input invites a feedback,and now surfacing on outer walls,those manipulating "reality" start complaining.

OBTRUSION AS COUNTEREFFECT TO MARGINALISATION:

If you feel you`re being marginalized,your behavior may become obtrusive,or even must.We should not forget where "writing" originated in the ghettos and slums of urban spaces of US megacities,where a "silenced mayority" being psycho-socially already aborted.must survive.We also should keep in mind some of first "writers" statements understanding their desperate situation:"IF we want to become 20 and survive,where guns are cheap and easy to get,we must create a competitive system,where only personal ability counts,and exchange weapons for art!"

Or,as one German "writer" From Munich later said:

"I want to give something back,and feel as a servant to society".

That much to the accusations writers would be "visual terrorists" and "vandals".

We watch in all modern,complex societies a growth of persons without jobs/work,and at same time also a lessening of free roaming spaces for young persons and children,a lack in playgrounds where next generation may be among themselves by a process to sell all available public space and thus turn it into PRIVATE PROPERTY.None seems to care Where children now may play……This aspect of an experienced reality of an INIMICAL ENVIRONMENT shows an aspect of a process of PSYCHO-SOCIAL ABORTION seldom discussed about,and contains a dangerous aspect,the PSYCHO-TOXICITY of these MARGINALIZING processes.To be made an "UN-PERSON" can be deadly like We already know that UNEMPLOYMENT also kills-in the long run-via realizing that you are NOT NEEDED/WANTED ANY MORE.No human being can live this way……

LITTERATURE:

ANONYMUS:"Hip-Hop Lexikon",AT:

http://www.beepworld.de/members4/godfather151984/index.htm 2003

ART CRIMES: http://www.graffiti.org 2003

BOSMANS,B./THIEL,A.:"Guide to graffiti-research",Gent 1995,ISBN90-802903-1-9

JACOBSON,S.:"International dictionary of aerosol art",AT:

http://www.djingis.se/memb/ovre/aerosolart/aerosolart 2003

KESAB(Eds.):"Graffiti-research project",AT:

http://www.kesab.asn.au/graffiti 2002

KREUZER,P.:"Das Graffiti-Lexikon",Muenchen 1986,ISBN 3-453-35068-5

http://www.heyne.de

LONDON ASSEMBLY GRAFFITI INVESTIGATIVE COMMITTEE:"Graffiti in London",London 2002,ISBN 1-85261-366-1,AT:

http://www.london.gov.uk/aproot/assembly/index.jsp 2003

PHILLIPS,S.A.:"Wallbangin`,graffiti and gangs in L.A."Chicago 1999,ISBN 0-226-66772-3

http://www.press-uchicago.edu

THIEL,A.:"Einfuehrung in die Grafitti-Forschung/introduction to graffiti-research",Kassel 1977 ff (34 parts),CONTENT OVERVIEW",AT:

http://users.aol.com/archive1 1995

THIEL,A.:"London:graffiti-prevention",AT:

http://people.freenet.de/graffitiforschung.de/LONDON.doc 2001

THIEL,A.:"London Asssembly;graffiti in London,a critique",AT:

http://people.freenet.de/graffitiforschung.de/london.htm 2002

THIEL,A.:"Modern iconoclasm:destruction of graffiti/writing",AT:

http://people.freenet.de/graffitiforschung.de/ICONOCLASM.htm 2002

THIEL,A.:"An internet-textbook of graffiti-research",AT:

http://people.freenet.de/graffitiforschung.de/KSurl.htm 2003

THIEL,A.:"Urban graffiti:the social background indicators (for:LONDON ASSEMBLY)",AT:

http://people.freenet.de/graffitiforschung.de/LOND-ENVIR.htm 2003

THIEL,A.:"Keyword-overview (15 parts of "Vocabulary of graffiti-research)",AT:

http://people.freenet.de/graffitiforschung.de/KEYwd.htm 2003

VAN TREECK,B.:"Das Grosse Graffiti-Lexikon",Berlin 2001,ISBN 3-89602-292-X

http://www.schwarzkopf-schwarzkopf.de

INFORMATIONS:

You may contact me anytime:

Axel THIEL Dipl.Supervisor,Dipl.Sozialpaedagoge

Bluecherstr.5 Intl.work-group on graffiti-research

D-34123 KASSEL ARCHIVE1@aol.com

Germany

Tel:0561-55642 Cellular phone:0177-5083847

KASSEL GRAFFITI-ARCHIVE:100 000 documents

BIBLIOGRAPHY(4.): 32 000 entries

STUDENTS may use KASSEL GRAFFITI-ARCHIVE for FREE,but must donate a copy of their exam-products to Archive to help next students.So far 2 000 contacted me (and another 8000 persons and institutions) during 28 years.Make an appointment before you come to be shure I am present.

Altre pagine a proposito del graffiti writing all'indirizzo

http://freenet-homepage.de/graffitiforschung.de/Ksurl_l.htm

*WHAT IS GRAFFITI?*

*The word "graffiti" is derived from the Latin word "graphium," which
means "to write". It was originally used by archaeologists to describe
drawings and writings found on ancient buildings and monuments in
Pompeii, Egypt and in the Roman catacombs.
The most basic definition of the term "graffiti" is "inscriptions or
drawings scribbled, scratched, or sprayed on a surface, originally as
inscribed on ancient walls."

*THE HISTORY OF GRAFFITI*

*Although it has been proven that graffiti evolved during ancient times,
it did not play a significant role in society until the mid-1960's.
Therefore, it will be easier to comprehend the history of graffiti by
separating certain time era's dating from 1966 to the present time.

*1966-1971- The Evolution Begins*

Graffiti made a huge impact in society, when it was used by political
activists to rebel against their country's government.  However, it also
made an impact in Philadelphia, Pennsylvania, where many argue it
originated.  Gangs would use graffiti as a way of marking their
territory in many communities.  As time progressed, graffiti expanded to
other American cities, most notably in New York City.  This is where
graffiti artists began to be recognized individually, and not through
the gang or crew they were associated with.  Cornbread and Cool Earl
were the first artists to be known in New York City.       
        
*1971-1974- Competition Through Tags*

During this time, more and more people were becoming aware of graffiti
in New York City.  Once Cornbread and Cool Earl made their names known,
many other artists began to break through.  TAKI 183 was one the first
artists to write motion tags on subways.  His real name was Demetrium,
but had adapted the title Taki in his neighbourhood.  He lived on 183rd
Street, and was a messenger who used the subway frequently.  As a result
of his unusual tags, and the street name he acquired, he gained much
popularity throughout the city, even being featured in a New York Times
article.          
        
TAKI 183 is credited as being the one who began the competition among
graffiti artists.  CAY 161, JOE 136, JULIO 204, and FRANK 207, and TREE
127 were just some of the many artists who competed in NYC.  Since their
tags were being seen by almost everyone, their individual goal was to
have the most tags on the subways, trains, cars, and buildings in the
city.  They also tried to make their tags as unique as possible, so they
could stand out from the rest.

*1975-1977- 'Throw Ups' Are Created*

"For the most part innovation in writing hit a plateau after 1974.  All
the standards had been set and a new school was about to reap the
benefits of artistic foundations established by prior generations and a
city in the midst of a fiscal crisis."  The 'throw up' style was a way
of making a letter.  It was outlined, though barely filled in.  01, 167,
IN, IZ, DY, FL, PI, and TEE were best known for their 'throw ups'.  This
breakthrough added to the already aggressive competition that was
established within the art of graffiti.     
                
*1978-1981- Graffiti Expands to Overseas*

At this point, the competition between graffiti artists was at its
peak.  It just so happened, that also during this time, the Metropolitan
Transit Authority began to enforce the elimination of all graffiti
throughout New York City.  In the early 1980's, American graffiti
artists began to head overseas, where graffiti was now becoming better
known, and not yet illegal.
    
*1982-1985- The Implementation of Laws*

Due to the growing rate of drugs, guns, and violence in the streets,
laws were being implemented to make cities become more safe.  One such
law was to restrict the selling of paint to all minors.  Also, train
yards and lay-ups were being more heavily watched, since they were known
to be the 'ideal' graffiti areas.  The concept of graffiti removal was
also put into place, which eventually led to the decrease in graffiti
artists.

*1985-1989- Graffiti's Darkest Era*

By mid-1986, the Metropolitan Transit Authority took full control, by
having full-time security on the subway system.  This had a positive
effect on society, in that the violence decreased, but it also led to a
drastic decrease in the amount of graffiti artists left.

*1989-Present Time- The Clean Train Movement*

"On May 12, 1989, the MTA 'declared a victory over graffiti.'  They
effectively removed all marked cars from running, activity which became
known as the Clean Train Movement.  Many writers believed that tagging
on trains meant that you were a 'real' writer, which tagging on walls,
freights, and scraps meant you were 'fake.'"
More recently, graffiti artists have been gaining more recognition for
their work, as much as the criticism is still in effect.  Graffiti is
being featured throughout various media sources, and continues to be a
popular artform in urban culture.        
        
*VIRTUAL COMMUNITIES*

Due to the consistent growing population of the internet, graffiti has
become more and more recognized by society.  Since graffiti is a complex
art form, most internet sites depict a specific genre dealing with
graffiti.  Such genres include websites pertaining to *graffiti crews*,
*graffiti equipment*, *the history of graffiti*, and *graffiti writers*.

*Graffiti Crews: *These sites are the homepages of various graffiti
writer crews.  Sites differ depending on the crew, but most include a
brief history of the formation of the crew, biographies of its members,
and photo galleries of their work.*

*"*Disruptiv.com* <http://www.disruptiv.com/>* *is a site which
showcases the work of members of the Disruptiv collectiv.  It features
New Zealand based artists, and also features collaborative works with
Daim, Can2, Loomit, Tasek, Seak and many others.

*VMD70S.com* <http://vmd70s.com/> is the official site of the VMD70S
crew from Milan, Italy.  It contains hundreds of photos, as well as
several videos and links (Directory, 2003)."

*Graffiti Equipment*: These sites are of webpages the sell graffiti
equipment to the public, directly over the internet.

"*Graffsupply.com* <http://graffsupply.com/main.asp> is a site selling
graff supplies (caps, videos & magazines).  They also sport a graffiti
picture database consisting of over 3413 pictures from 642 writers.

*BeatBreaks.com* <http://beatbreaks.com/index2.html> is a very large
net-store selling almost everything from battle records and videos to
graffiti supplies and books (Directory, 2003)."

*The History of Graffiti*: These sites focus on a detailed overview of
the history of graffiti, which dates back to the mid-1960's.

"*at149st.com* <http://www.at149st.com/history.html> focuses on the
period of 1976-1981 in the New York City graffiti scene.  On this site,
you can find a writer's list, a crew list, and a historical overview
with photos.

*HipHop-Network.com*
<http://www.hiphop-network.com/articles/graffitiarticles/historyofgraff-arpone.asp>
is an all-around site focusing on all four elements of hip hop
culture.through the medium of video.  This site also contains an
excellent archive on written material on the history of DJing, MCing,
graffiti writing, and b-boying (Directory, 2003)."

*Graffiti Writers*: These sites display the works and talents of
individual graffiti writers.

*Loomit.de* <http://www.loomit.de/> is the website of the very talented
graffiti writer, Loomit.  It displays his creations on walls and
canvases, as well as the creations of his favourite graffiti writers.

*Daim.org* <http://www.daim.org/> is another graffiti writer website,
which displays his various styles, murals, canvases, sculptures,
etchings, animations, sketches (both colour and black & white), glasses,
and photos.  It also features a brief biography, including interviews
and newspaper articles.  

*GRAFFITI AND INTERACTIVITY*

Dating back to the 1960's, when graffiti first began to make a scene in
society, only those who were directly associated with it (ie. graffiti
crews and writers), could interact with eachother.  However, the
internet has used the art of graffiti to give all online users a chance
to interact with eachother.

One such way that graffiti and interactivity co-exist is through
"*Graffiti Boards*."  Many online sites have used graffiti boards as a
way of having their site's guests interact with them, as well as
eachother.  Graffiti boards are simply a place where users have the
oppertunity to  give their opinion on a particular topic.  They have the
chance to relate their opinions to other user's postings, or even with
regards to supporting or arguing against what has been said on the
actual website.

One example of a popular graffiti board, which is online, is seen *here*
<http://www.pbs.org/art21/edu/student>.  This particular site is where
users have the chance to state whether or not they feel graffiti is art
or vandalism.

Another way in which graffiti has become interactive is by having
graffiti writers and crews compete in offically sanctioned *Graffiti
Competitions*.  Such competitions are done to give artists the chance to
expose their talents to other artists, and compete for brags as to who
is the best.  Contestants have the choice of working on walls or
canvas.  For most competitions, the winning contestants are able to
showcase their finished graffiti pieces  over the internet.  They have
become very popular across Europe, and are only now spreading over to
some North American cities.     
        
*HOW IS GRAFFITI AFFECTING TECHNOLOGY?*

Graffiti is constantly affecting breakthroughs in technology through
various forms.  Some were mentioned above, under the headings *VIRTUAL
COMMUNITIES *and *GRAFFITI AND INTERACTIVITY*.  Just to summarize, the
affects that graffiti has had on technology are seen through websites
that give online users a chance to purchase graffiti equipment over the
internet, as well as through graffiti boards, which have taken websites
by storm.

However, graffiti has also affected technology by initiating
breakthrough inventions for the purpose of destroying actual graffiti.
Two examples of such inventions are given below:

*The Anti-Graffiti Painting Vehicle*
<http://www.nyc.gov/html/nograffiti/html/technology.html>
"The New York City Department of Sanitation has designed and developed
in-house a self contained mobile anti-graffiti unit.  This unit is
utilized by the department to battle the widespread problem of graffiti
throughout the city, it has the ability to clean, prepare, and custom
paint the site to its original color (Vehicle, 2003)."

*The Anti-Graffiti Powerwashing Vehicle*
<http://www.nyc.gov/html/nograffiti/html/technology.html>
"The New York City Department of Sanitation has developed a
self-contained mobile graffiti removal unit.  This vehicle is used by
the Department to chemically remove the widespread problem of graffiti
throughout the City (Vehicle, 2003)."     
        
*HOW IS TECHNOLOGY AFFECTING GRAFFITI?*

Technology should be given much credit to the dramatic increase of
exposure that graffiti was given, after the internet was developed.
Some examples of how technology has affected graffiti are stated above,
under the heading *VIRTUAL COMMUNITIES*.  To recap, the internet has
given graffiti crews and writers the oppertunity to expose their talents
to the world through the internet.  Also, more and more people have
become aware of the history of graffiti through many websites on the
internet.

Another way that technology has affected graffiti is through spreading
more awareness of controversies surrounding graffiti.  One such
controversy that has caught the eye of many internet users is the debate
as to whether graffiti is art or vandalism.  Thousands of sites use
message boards to obtain the opinions of online users with regards to
this debate.  One such site was given under the heading *GRAFFITI AND
INTERACTIVITY*, which can be seen *here*
<http://www.pbs.org/art21/edu/student/>.  Another graffiti board
pertaining to the debate is seen *here*
<http://pub137.ezboard.com/fyouthexpressions10240frm9.showMessage?topicID=27.topic>.

This controversy has also led to being a feature story on many
television programs/stations.  An example of this is seen on *CNN.com*
<http://www.cnn.com/US/9603/graffiti_art/>.  Also, many editorials by
various jounalists, have been written, including an article *here*
<http://www.abbotsfordtimes.com/113202/news/113202nn8.html>, written by
Christina Toth.

Another way in which technology has affected graffiti through the
internet, is by allowing anti-graffiti program's/organization's sites to
be created.  This has led to more people becoming aware of the supposed
down-falls that graffiti exhibits.  They are usually formed by the
government of a particular city, and are extremely common in most US
cities.  Some examples of such websites are given below:     
    *Anti-Graffiti Program
City of San Jose* <http://www.ci.san-jose.ca.us/antigraf/Program.html>     
    *Mayor's Anti-Graffiti
Task Force* <http://www.nyc.gov/html/nograffiti/home.html>         
            *DNS Anti-Graffiti Program*
<http://www.ci.mil.wi.us/citygov/dns/main/sections/antigraffiti/antigraffitiprogram.html>
    
*BACK TO HOMEPAGE* <http://www.geocities.com/laeeque1650/>     

Rammellzee
Intervista di Maurizio Torrealta
testo tratto da Frigidaire N.38 – Gennaio 1984

Con Rammellzee l’intervista si è rivelata parecchio difficile: la sua ricerca sulla grafia ha influenzato anche il suo linguaggio quotidiano, producendo una catena di associazioni fonetiche e invenzioni gergali “letteralmente” impossibili da tradurre.

Forse in questo ha giocato anche la sua esperienza di cantante “rap”, ed ha avuto senz’altro un certo peso la sua appartenenza alla setta islamica dei “Five Per Cent”, che lo ha influenzato a tal punto da divenire un enigma vivente, una sorta di rebus parlante (ovviamente non ci prendiamo la responsabilita’ di una traduzione letterale di quello che verra’ detto da Rammellzee).

Come hai deciso di cambiare il tuo nome di battesimo in Rammellzee? (Rammellzee è figlio di padre italiano e madre nera)

“Rammellzee è una equazione, una equazione militare, Ramm più l’elevazione di x alla z, io sono un dio, un dio divino” (i membri del gruppo musulmano “Five Per Cent” usano definirsi come dei divini, ndr).

Puoi descriverci il tuo lavoro artistico?

“Il mio lavoro artistico è l’elevazione della conoscenza dal livello di wild style al suo livello conclusivo di simboli distruttori, meccanismi armati medioevali; questa operazione deve essere conosciuta anche come PANZERISMO ICONOCLASTA o Futurismo Gotico che altro non è che il wild style corretto. Nel 1582 il tredicesimo papa fece sparire dieci giorni dal calendario, ricompariranno nell’anno duemila; dal 400 al 1974  i numeri, le lettere ed altri simboli universali della malattia culturale sono stati nelle mani dei calligrafici e si trovano in uno stadio inconscio di evoluzione panzeristica.
Lo sviluppo a bolle e lo scoppio emozionale è avvenuto dal 1974 al 1979, un periodo di guerra dove la conoscenza si formava da sola nel buio dell’UNDERGROUND. Dal 1980 al 2000 si sviluppa la separazione tra Wild Style e Panzerismo.
Ricapitolando, il bomberismo è uno stile basato su cifre e non è armato (ma potrebbe esserlo); il wild style è in parte basato su bolle a bombe, inconscia presenza del panzerismo; mentre il panzerismo iconoclasta, o futurismo gotico, basa la conoscenza in modo non emozionale e non svela nessuna identità interna, mostra complete strutture in dettagli di dettagli di lettere stilizzate come carri armati. Tutto questo PER DIMOSTRARE CHE LA VECCHIA RACCOMANDAZIONE DELLA MAMMA “LE PAROLE NON POSSONO FARTI DEL MALE” É FALSA”.

In un tuo pamphlet descrivi le trasformazioni a cui hai sottoposto le lettere del tuo alfabeto. Puoi spiegarci per quali ragioni preferisci una lettera ad un’altra?

“Le lettere sulle quali lavoro sono principalmente la K, la V, la W, la X e la M. Per queste ultime il valore dell’ informazione è cinque, infatti la V è il numero cinque romano (ancora un collegamento con il gruppo islamico “Five Per Cent”, ndr); io lavoro sulle trasformazioni della V in W, nella inversione in X, nella doppia inversione in M”.

Ci sono altri stili che si stanno affermando?

“Come tecnica pedagogica sta sopravvivendo il giurismo (attenzione: la parola in inglese viene pronunciata in modo scorretto e se a Rammellzee si chiede se vuole significare gioiellismo invece di giurismo, che nel contesto non ha molto senso, risponde “voglio significare sia gioiellismo che giurismo”, ndr). Anche le tecniche di mappe dimensionali sono uno stile che sopravvive: Futura 2000 per esempio trasforma il panzerismo in settori e quadranti disegnati su mappe. Si passa dunque dalla ornamentazione alla armamentazione, per distruggere la struttura delle formazioni dell’alfabeto romano”.

Puoi essere considerato un caposcuola?

“Certo, molti miei studenti seguono queste indicazioni. A 1 per esempio è delegato alla difesa della lettera A, B1 (anche chiamato “The Arbitraitor Koor” che significa approssimativamente “L’Arbitraditore Koor”) difende la lettera B, e C1, conosciuto come TOXIC, difende la lettera C.
Io sono un generale.

-END-

Trascritto da THX (2006)

Per approfondimenti sul futurismo gotico e il panzerismo iconoclasta:

http://www.gothicfuturism.com/

http://www.gothicfuturism.com/rammellzee/01.html  (ionic treatise)

Avevamo tutti la stessa mentalita', non cercavamo di sopraffare chi ti stava vicino, ci conoscevamo quasi tutti ed eravamo uniti. Rispetto supremo. Non permettevamo che ci fosse disunione, qualsiasi fosse il tuo gruppo

SKI 168

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Faccio tutti i tipi di stile, ma la cosa che preferisco e' fare l'impossibile, roba complicata. Non ci sono regole o limiti. Non mi interessa chi riesce a leggerlo, se riesco io. La maggior parte dei writer si limita a quello che e' gia' stato fatto. A me piace uscire con roba mai vista. Preferisco innovare piuttosto che imitare.

VULCAN THE STYLE MESSIAH

 

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Graffiti
Da "SEARCH & DESTROY: Rebel Youth Culture No. 10 1978"

MAGIC MARKER: Heavy Industrial Type. Buses, restrooms, walls (interior & exterior). Good for everything. People seldom bother to paint out small areas defaced with marker, so it lasts a long time. Very safe.

SPRAY PAINT/STENCILS: spray paint/stencils made of thin-glossy cardboard. Sidewalks esp!, walls of buildings, traffic signs. Fast, Catchy – Lasts forever on sidewalks. Rarely removed Fairly safe, but a lot of equipment to handle.

SPRAY PAINT freehand: anywhere you can get away with it. Versatile – heavy adrenalin rush. Not much equipment, but time factor make it not safe.

POSTERS: poster, paint brush, wallpaper paste. Telephone & Light Poles especially. People like to peel this off. Make sure they are pasted down on edges. Night is best, to allow drying time before viewing. Relatively safe, cops don’t care unless you are obviously defacing property. Can be done in broad daylight.

DEFACING BILLBOARDS: paint-filled eggs (plastic bags don’t always burst). Any billboard you cannot reach by hand. Nice effect, long range for those hard-to-reach places. Does not really deface billboards unless you throw a lot. Fairly safe due to time factor.

COMMENTS AND TIPS

1) 3:00 to 5:00 AM Sunday thru Thursday is best time, least amount of potential observers
2) Shake your spray paint WELL BEFORE leaving the house
3) Tile walls are especially good surfaces/hard to remove graffiti from
4) Some concrete is very porous & absorbs paint quickly without showing up well. Needs several coats, not always worth it. Painted concrete is less porous
5) Stencils stick togheter after being used once. Carry a newspaper & stick them between the pages
6) Need i say – "Dress inconspicuous". A good drag is hippie street person. Looks like you belong there!
7) Groups of two people is best: one to paint & one to look-out. 3 or more looks to much like a gang
8) It’s hard to see cop cars until is too late. A good rule is, if a car comes, stop and wait. walk away, or just stand there and be cool. Graffiti is not very visible at night, and probably no one wil notice
9) Some buildings are better exposure — pre-existing graffiti is a good sign that your message will still be there tomorrow. Some locations, particularly city property (streetcar waiting stations, blue BART stations, freeway underpasses) get painted every few months and are prime spots for longlasting messages. private homes are Not a good idea. Non-residential welltrafficked areas are best if you want it to last, although Bank of America & Fox Plaza etc. are short but sweet….

SECTIONS 594 & 594.5 Of The PENAL CODE relate to vandalism & defacing of private property with spray paint. Both carry a maximum penalty of $500 and/or 6 months i jail.
    If you get caught defacing private property, it is often likely that the charges will be dropped if you agree to make Civil Restitution. This entails meeting with the owner(s) of aforementioned defaced building, and coming to some agreement about Restitution. This could be in the form of cash or painting the building yourself (most likely cash). When you appear again in court with a receipt for damages, case should be dismissed. You will have an arrest but not a conviction.

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Siamo nel ventesimo secolo e a questo punto so quello che e' diventato lo stile del writing, le cose affascinanti che vedo dipinte con le lettere e le bombole, nessuno mai nell' antica Grecia, o  Roma, o Egitto, o Arabia, nei vecchi o nei nuovi tempi, nessuno mai ha creato qualcosa che gli possa assomigliare.

PHASE 2 – 1996

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WC crew si e' formata 12 anni fa. Al momento fanno parte della crew vari writers da Firenze, Napoli, Nuoro, con propaggini a Basilea. Per 4 anni (dal 2003) ho collaborato con Wave e Edu scattando foto, dipingendo con loro, organizzando concerti, breaking battles, dj sets e convention di graffiti.

Sono lieto di far parte di WC crew.

Su questo questo blog verranno pubblicate le foto dei vari graffiti che abbiamo dipinto nel corso di questi 4 anni e che dipingeremo in seguito.

Un ringraziamento particolare allo zio Wave che mi ha insegnato lo stile e a Space. YO, men!

Peace!!!

 

 

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