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I thought this was funny so I posted it. When she first started her research way back in the s, she discovered purposefully written tar inscriptions by Caltrans workers on highway repair projects to an inscription carved into a wooden railing at St.

Craig Castleman talks about early writing gangs in the 70s [6] that were very different from fighting gangs Getting Up. I found this book on criminology and control by David Garland that talked about post-WWII shaped public policy and opinion. He is very clear to emphasize that in contemporary criminology the blame has now been shifted somewhat to the state — not psychological defect — for failing these youth. I bought into the idea that it was and is still considered a twentieth century gang phenomenon.

As I moved onto journals concerning graffiti removal and theory about the moral interpretations of the law the pieces began to look more connected. I still thought of graffiti as sloppily spray-painted slogans that included racist, sexist, quasi-political, and pornographic words and images…graffiti to me was vandalism, no question about it, and its social value was negligible… viii To this: But first I would like to comment on my thinking as it relates to my own perspective of what I thought graffiti was, before the journey.

I was not alone in this thought at the time and many people continue to feel as I once did about it. In fact it has often been the complaint of teachers and parents in primary grades that the arts are the first to be cut in times of budget crises. It has been around a long time. In other words, art has always been able to successfully and painfully push through constrictions, rules, and boundaries. To begin to understand the world of graffiti and its overall effects on those of us who live in cities, towns, rural areas or suburbia, it is necessary to look at its socio-cultural, political and historical influences.


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It is important to know that this is not unfounded or without merit. Here is one of the sites I found interesting that talks about it: I am not sure if these will ever not be offensive to me, though I am steadfast as the observer, not the judge.

I have lived in many places and have seen graffiti in pretty rough areas. Taken from this point of view: Mainstream media and schools tend to represent peer influence and resistance as negative. Much of this paranoia seems to catsleman strongly connected to skewed perceptions of what the hip-hop graffiti writers are attempting to communicate.

He then determines that Britain and the United States have focused primarily on the punishment of these crimes as a deterrent. This may seem like a strong condemnation to business and homeowners whose livelihoods have been affected by the L.

Crime and Social Order in Contemporary Society. Graffiti and Gangs in L. This may promote the idea among educators to low the interests often obsessions of communities of marginalized students in a way that is not condescending and patronizing viii.

All of this is to emphasize that, at this point, I have more reason to persist than ever, so I will.

Theories of Literacy

I am merely an observer with a keen sense of fascination for this writing and art form. I begin with a broad overview of my search. She has a lot to say about graffiti as it relates to educational pedagogy, which I plan to address later. Education theory in the North American Continent has been stuck in bureaucracy for years, barely able to pay its teachers. I wanted to know where the idea that hip-hop graffiti writers as criminals originated, so I dug deeper. From there I followed the breadcrumbs to more contemporary rhetoric on graffiti by looking at news clips castlleman graffiti clean up and abolition campaigns and their craug.

Some would argue that the wording and profile has changed because hip-hop graffiti writers castlenan now being identified as white, middle-class kids with too much time on their hands. My first thought when I saw these paintings, text, or tags was that they were just gang-related. I wanted to ask the right questions, as Zizek proposes. Well I was wrong to some grarfiti.


There is something to be said about my choice of keywords and genre. Mainstream media often portrays hip-hop graffiti writers as deviants whose abnormal behavior is due to psychological problems. Art Gallery of Calgary Catalogue.

In this he includes the graffiti-writing urban gang casgleman, the physicist, the policeman, and the Cyberpunk all using different Discourses that integrate, divide, and sort people and groups castlemab society 4. There are plenty of reasons to think this is what I am saying though it is not accurate. Fear Thy Neighbor as Thyself.

In this video he goes yraffiti to address perspective. Not so fast, I finally began to say. My research always seems graffti take me back to James Gee and Discourse. This kind of hypocrisy is similar at this point to the post-WWII argument that homosexuality was a crime committed by deviant men.

I will not lie and say that graffiti — and tagging, in particular areas of town, have not scared me or confused me — as well as sent a warning to my senses that I need to be hyper vigilante about my surroundings.

I was interested to observe how their knowledge was developed, grraffiti, and passed onto their communities and to novice writers. This journey initially led me to scholarly journals, YouTube videos, and books written in the 70s. Draig thoughts were that a critical analysis could be strengthened using fictional characters maybe?

My response to this is that, with any culture, there is a range of identities involved and there is bound to be violence when competition enters the scene.

Her aim is to call attention to the issues as they gragfiti, with the prospect of lessening the paranoia that surrounds the graffiti-gang persona 4.