Pub Date : 2022-08-08DOI: 10.1080/10350330.2022.2114726
Ronald C. Kramer
ABSTRACT This article offers an analysis of semiotic regimes that accompanied the redevelopment of 5Pointz and the ensuing civil lawsuits. Located in Queens, New York, 5Pointz was a building owned by GM Realty, who allowed Jonathan Cohen to curate graffiti works on its exterior and interior walls from 2002 through to 2013. I identify the ideological significance of three semiotic regimes generated by the 5Pointz saga. First, I treat “landed capital” (property development, growth machines) and “cultural commodification” (the art world) as observing systems that were central to constructing the meaning of the 5Pointz closure and litigation. These observational vantage points relied on a dichotomous logic involving desirable and undesirable subjectivity, but located key actors in distinct ways. Second, the legal outcome was often construed as a “major victory for artists.” However, portraying the damages awarded as an unequivocal victory normalizes hegemonic constructions of value wherein the activities of capitalism’s major players are accorded more worth than any other human activity. Finally, I focus on portraying the conflict between graffiti writers and landed capital as a “David and Goliath” battle. Signifying the conflict in such a manner (mis)construes the sovereign state as an impartial actor that adjudicates between competing rights claims.
{"title":"The battle for 5Pointz and signifying regimes: desirable subjects, hierarchies of value, and legitimizing state power","authors":"Ronald C. Kramer","doi":"10.1080/10350330.2022.2114726","DOIUrl":"https://doi.org/10.1080/10350330.2022.2114726","url":null,"abstract":"ABSTRACT This article offers an analysis of semiotic regimes that accompanied the redevelopment of 5Pointz and the ensuing civil lawsuits. Located in Queens, New York, 5Pointz was a building owned by GM Realty, who allowed Jonathan Cohen to curate graffiti works on its exterior and interior walls from 2002 through to 2013. I identify the ideological significance of three semiotic regimes generated by the 5Pointz saga. First, I treat “landed capital” (property development, growth machines) and “cultural commodification” (the art world) as observing systems that were central to constructing the meaning of the 5Pointz closure and litigation. These observational vantage points relied on a dichotomous logic involving desirable and undesirable subjectivity, but located key actors in distinct ways. Second, the legal outcome was often construed as a “major victory for artists.” However, portraying the damages awarded as an unequivocal victory normalizes hegemonic constructions of value wherein the activities of capitalism’s major players are accorded more worth than any other human activity. Finally, I focus on portraying the conflict between graffiti writers and landed capital as a “David and Goliath” battle. Signifying the conflict in such a manner (mis)construes the sovereign state as an impartial actor that adjudicates between competing rights claims.","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":"32 1","pages":"468 - 483"},"PeriodicalIF":2.0,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45445848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-08DOI: 10.1080/10350330.2022.2114731
A. Pennycook
ABSTRACT This discussion paper explores street art from the point of view of assemblages: What different elements and artefacts converge to give meaning and politics to art works? How do we understand the interactions of artworks, streets, viewers, politics, and discourse that render a work of art a happening rather than an object? Processes of artification depend on material, contextual and symbolic relations that bring together style, place, artists, viewers, city tours and city ordinances into a semiotic assemblage of art in the street. To arrive at a critical understanding of street art, we need to avoid assumptions about transgression, complicity, gentrification, or commodification, and focus instead on assemblages of art, viewers, and economic, political, and urban interests in specific locations. The question is how different elements – ownership and rights to space, capitalist expansion and appropriation, rebellion, and transgression – become entangled in semiotic assemblages that enable us to see the interactions of street art dynamics.
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Pub Date : 2022-08-08DOI: 10.1080/10350330.2022.2114725
Davida Fernández-Barkan
ABSTRACT This article highlights the “performative” aspect of graffiti on Russian trains during the late 1990s and early 2000s. “Performative” here refers to Judith Butler’s understanding of performance as comprised of repeated acts without an essential "core." Graffiti on trains proliferated in Russia at the turn of the millennium through Russian writers’ repetition of imagery from books, magazines, and videos from the United States. This recurrent mimicry is shared with the history of public art in Russia, which was also characterized by collective and programmatic transnational performance. Drawing on archival material including books, magazines, films, photographs, and interviews with former writers, the article charts the history of art on trains in Russia over the past century. I argue that performativity links graffiti, street art, and public art in Russia in a manner that renders these categories mutually informing and inextricable.
{"title":"Russian train graffiti: a history of performance","authors":"Davida Fernández-Barkan","doi":"10.1080/10350330.2022.2114725","DOIUrl":"https://doi.org/10.1080/10350330.2022.2114725","url":null,"abstract":"ABSTRACT This article highlights the “performative” aspect of graffiti on Russian trains during the late 1990s and early 2000s. “Performative” here refers to Judith Butler’s understanding of performance as comprised of repeated acts without an essential \"core.\" Graffiti on trains proliferated in Russia at the turn of the millennium through Russian writers’ repetition of imagery from books, magazines, and videos from the United States. This recurrent mimicry is shared with the history of public art in Russia, which was also characterized by collective and programmatic transnational performance. Drawing on archival material including books, magazines, films, photographs, and interviews with former writers, the article charts the history of art on trains in Russia over the past century. I argue that performativity links graffiti, street art, and public art in Russia in a manner that renders these categories mutually informing and inextricable.","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":"32 1","pages":"444 - 467"},"PeriodicalIF":2.0,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47973723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-08DOI: 10.1080/10350330.2022.2114730
Tommaso M. Milani
ABSTRACT This article offers a critical semiotic analysis of the media discourses about Banksy’s Walled Off Hotel in Bethlehem. Unlike the existing burgeoning scholarship on this tourist initiative, the article focuses less on the space of the hotel itself and the street art therein than on their mediatization. With the help of the notion of mediatization, the article offers a granular account of the discursive circulation of Banksy’s street art assemblage, with the concomitant processes of social value formation as well as the ambivalent array of moral and affective components involved in such valorization. The mediatization of Banksy’s street art in Palestine interpellates visitors by affectively and morally enticing them to have a first-hand experience of the Israeli/Palestinian conflict, namely consuming its mediatized object par excellence, the graffitied wall and/or its reproduction. Less enthusiastic uptakes instead take issue with the affective logic upon which such mediatization seems to be built.
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Pub Date : 2022-08-08DOI: 10.1080/10350330.2022.2114729
Kellie Gonçalves
ABSTRACT This study explores street art's changing symbolic value and emplacement, the latter of which is reaching beyond the city limits and so-called 'public' space, where commissioned practices are being carried out on individuals' private homes and elite households in non-urban spaces. In this paper I focus on the process of “street fetish”, which has resulted from street art's contemporary institutionalization and shaped by complex socio-cultural, political, and economic process including de-subculturalization and artification. These microprocesses are intertwined with the convergence of authenticity and commercialization, and inseparable from practical, symbolic, organizational, discursive, and semiotic shifts taking place within the (street) art world concerning its market value, which are shaped by and simultaneously shape the field of cultural production and highly influenced by global capitalism. My investigation focuses on the work of one Brazilian street artist, RDO SAMP and his commissioned street art on a private home in the beach town resort of Jurerê International (Florianópolis, Santa Catarina), one of the most affluent towns in the country, which was designed by the world renowned, Brazilian architect Oscar Niemeyer and a place, where class distinctions center on enculturated symbolic and material economies.
本研究探讨了街头艺术不断变化的象征价值和定位，后者正在超越城市界限和所谓的“公共”空间，在非城市空间的个人私人住宅和精英家庭中进行委托实践。“街头恋物癖”是街头艺术在当代制度化的过程中产生的，并受到复杂的社会文化、政治和经济过程的影响，包括去亚文化化和人工化。这些微过程与真实性和商业化的融合交织在一起，与(街头)艺术世界中发生的关于其市场价值的实践、象征、组织、话语和符号学转变密不可分，这些转变由文化生产领域塑造，同时也受到全球资本主义的高度影响。我的调查主要集中在巴西街头艺术家RDO SAMP的作品和他在海滨小镇度假胜地Jurerê International (Florianópolis, Santa Catarina)的私人住宅上的街头艺术，这是该国最富裕的城镇之一，由世界著名的巴西建筑师奥斯卡·尼迈耶(Oscar Niemeyer)设计，是一个阶级差异集中在文化符号和物质经济上的地方。
{"title":"Street art as “street fetish”- a new signifier of social class? The case of Brazil’s “Beverley Hills”","authors":"Kellie Gonçalves","doi":"10.1080/10350330.2022.2114729","DOIUrl":"https://doi.org/10.1080/10350330.2022.2114729","url":null,"abstract":"ABSTRACT This study explores street art's changing symbolic value and emplacement, the latter of which is reaching beyond the city limits and so-called 'public' space, where commissioned practices are being carried out on individuals' private homes and elite households in non-urban spaces. In this paper I focus on the process of “street fetish”, which has resulted from street art's contemporary institutionalization and shaped by complex socio-cultural, political, and economic process including de-subculturalization and artification. These microprocesses are intertwined with the convergence of authenticity and commercialization, and inseparable from practical, symbolic, organizational, discursive, and semiotic shifts taking place within the (street) art world concerning its market value, which are shaped by and simultaneously shape the field of cultural production and highly influenced by global capitalism. My investigation focuses on the work of one Brazilian street artist, RDO SAMP and his commissioned street art on a private home in the beach town resort of Jurerê International (Florianópolis, Santa Catarina), one of the most affluent towns in the country, which was designed by the world renowned, Brazilian architect Oscar Niemeyer and a place, where class distinctions center on enculturated symbolic and material economies.","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":"32 1","pages":"525 - 544"},"PeriodicalIF":2.0,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49051372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-08DOI: 10.1080/10350330.2022.2114728
Edward K. Snajdr, Shonna Trinch
ABSTRACT This article explores how a semiotics of the artistic aesthetics of New York City storefronts is deployed as activism against processes of gentrification and redevelopment. We examine how this creative endeavor by two local photographers compares to our own ethnographic and linguistic interventions uncovering and addressing storefront signage in gentrifying Brooklyn. We also compare this art activism to the ways in which developers and nations use art in various ways in the service of their placemaking goals. In doing so, we highlight both the innovative power of artistic framing to preserve and protect storefronts as salvage anthropology as well as the limits of this effort. We conclude with a discussion of how ethnography and activist art can yield different, yet critical mobilizations in the pursuit of maintaining multicultural communities and diversity in the neo-liberalizing city.
{"title":"To preserve and to protect vanishing signs: activism through art, ethnography, and linguistics in a gentrifying city","authors":"Edward K. Snajdr, Shonna Trinch","doi":"10.1080/10350330.2022.2114728","DOIUrl":"https://doi.org/10.1080/10350330.2022.2114728","url":null,"abstract":"ABSTRACT This article explores how a semiotics of the artistic aesthetics of New York City storefronts is deployed as activism against processes of gentrification and redevelopment. We examine how this creative endeavor by two local photographers compares to our own ethnographic and linguistic interventions uncovering and addressing storefront signage in gentrifying Brooklyn. We also compare this art activism to the ways in which developers and nations use art in various ways in the service of their placemaking goals. In doing so, we highlight both the innovative power of artistic framing to preserve and protect storefronts as salvage anthropology as well as the limits of this effort. We conclude with a discussion of how ethnography and activist art can yield different, yet critical mobilizations in the pursuit of maintaining multicultural communities and diversity in the neo-liberalizing city.","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":"32 1","pages":"502 - 524"},"PeriodicalIF":2.0,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46732159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-27DOI: 10.1080/10350330.2022.2094233
Yufeng Liu, Dechao Li
This study presents multimodal metaphors as (re)framing tools in the analysis of a 10-minute promotional video of Hubei Province produced by the Chinese government and circulated on new media platforms like YouTube, Douyin (Chinese Tik Tok) and WeChat Channels. The video introduces Hubei Province to the world in the pre-pandemic, pandemic and post-pandemic stage to erase the prejudiced “Wuhan virus” and “China virus” painted by Western media. Drawing upon MIPVU (the Metaphor Identification Procedure Vrije Universitei), multimodality of metaphors, and Critical Discourse Analysis (CDA), this study analyzes how the Chinese government attempts to reframe Hubei as a place of courage, prosperity and humanity via metaphors like WAR, BRIDGE, HAND and BACK. The benefits and drawbacks of such metaphor usage are also discussed with appropriate contextual and socio-cultural relevancies. The study provides a hands-on practice of the CDA-based analysis of multimodal metaphors and justifies the feasibility of integrating translation, metaphor and semiotic studies through the sociological theory of framing. [ FROM AUTHOR] Copyright of Social Semiotics is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)
{"title":"Multimodal metaphor (re)framing: a critical analysis of the promotional image of China’s Hubei Province in the post-pandemic era on new media","authors":"Yufeng Liu, Dechao Li","doi":"10.1080/10350330.2022.2094233","DOIUrl":"https://doi.org/10.1080/10350330.2022.2094233","url":null,"abstract":"This study presents multimodal metaphors as (re)framing tools in the analysis of a 10-minute promotional video of Hubei Province produced by the Chinese government and circulated on new media platforms like YouTube, Douyin (Chinese Tik Tok) and WeChat Channels. The video introduces Hubei Province to the world in the pre-pandemic, pandemic and post-pandemic stage to erase the prejudiced “Wuhan virus” and “China virus” painted by Western media. Drawing upon MIPVU (the Metaphor Identification Procedure Vrije Universitei), multimodality of metaphors, and Critical Discourse Analysis (CDA), this study analyzes how the Chinese government attempts to reframe Hubei as a place of courage, prosperity and humanity via metaphors like WAR, BRIDGE, HAND and BACK. The benefits and drawbacks of such metaphor usage are also discussed with appropriate contextual and socio-cultural relevancies. The study provides a hands-on practice of the CDA-based analysis of multimodal metaphors and justifies the feasibility of integrating translation, metaphor and semiotic studies through the sociological theory of framing. [ FROM AUTHOR] Copyright of Social Semiotics is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":" ","pages":""},"PeriodicalIF":2.0,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48749043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-18DOI: 10.1080/10350330.2022.2080544
Niels Boogers, Linda Badan, Giuseppe Samo, Gaetano Fiorin
{"title":"The linear structure of narrative figures in the Saint Francis Cycle: a linguistic analysis","authors":"Niels Boogers, Linda Badan, Giuseppe Samo, Gaetano Fiorin","doi":"10.1080/10350330.2022.2080544","DOIUrl":"https://doi.org/10.1080/10350330.2022.2080544","url":null,"abstract":"","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":" ","pages":""},"PeriodicalIF":2.0,"publicationDate":"2022-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46691201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-18DOI: 10.1080/10350330.2022.2094234
Mahsa Gheisari, Omid Akbari
{"title":"A comparison of cultural representation and ideologies in the multimodal discourses of textbooks used in public and private Iranian contexts: a cross-textual study","authors":"Mahsa Gheisari, Omid Akbari","doi":"10.1080/10350330.2022.2094234","DOIUrl":"https://doi.org/10.1080/10350330.2022.2094234","url":null,"abstract":"","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":" ","pages":""},"PeriodicalIF":2.0,"publicationDate":"2022-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46303027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-27DOI: 10.1080/10350330.2022.2090832
Iris Altenberger
ABSTRACT
Residents within a council housing area in Stirling, Scotland, which is undergoing regeneration, took photos for an auto-driven photo-elicitation study. There was limited guidance on what images to capture. Residents were simply invited to focus on the neighbourhood. An unexpected finding was the significance participating residents gave to the linguistic and semiotic landscape such as signs, billboards and graffiti. Within the interview, it became apparent that the participants considered the signs as part of the expression of spatial social discourse. Therefore, the billboards and signs placed there by the powerful social actors such as developers were understood and scrutinised for their claims and the lived reality of residents. Also, graffiti was understood in context with the social-spatial dialectic of being inscribed within a community with an underlying sectarian discourse.
{"title":"Signs, billboards, and graffiti a social-spatial discourse in a regenerated council estate","authors":"Iris Altenberger","doi":"10.1080/10350330.2022.2090832","DOIUrl":"https://doi.org/10.1080/10350330.2022.2090832","url":null,"abstract":"<p><b>ABSTRACT</b></p><p>Residents within a council housing area in Stirling, Scotland, which is undergoing regeneration, took photos for an auto-driven photo-elicitation study. There was limited guidance on what images to capture. Residents were simply invited to focus on the neighbourhood. An unexpected finding was the significance participating residents gave to the linguistic and semiotic landscape such as signs, billboards and graffiti. Within the interview, it became apparent that the participants considered the signs as part of the expression of spatial social discourse. Therefore, the billboards and signs placed there by the powerful social actors such as developers were understood and scrutinised for their claims and the lived reality of residents. Also, graffiti was understood in context with the social-spatial dialectic of being inscribed within a community with an underlying sectarian discourse.</p>","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":"41 7","pages":""},"PeriodicalIF":2.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138519176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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