THE LAW IS THE LAW IS THE LAW

So many can't decide whether graffiti is art or a colourful mess that mars the senses of daily folks.  but in essences, graffiti artists are allowed to colour the urban jungle, should they wish to.  Only difference now is that that they need written permission to do so.  I have a niggly feeling that this does not sit well with graffiti artists.  Because isn't the unconventional and daring methods of painting in the dead of night, spraying dark corners of a subway and peppering unmarked walls with slogans,  a sign of one's radicalism...of being some sort of revolutionary? 

Sure, if done legally the artists will have more time to perfect their work but will it not lose some of its purity?  Will the message not lose its essence?  Will graffiti still have punch and spike or will it conform to the ideas of the ruling class, instead of speaking for those who are maimed by mainstream society ?

Just a thought...

e

Charactery Conversions

The first source I chose was a magazine article on graffiti from the New York Times:
https://www.nytimes.com/roomfordebate/2014/07/11/when-does-graffiti-become-art/legal-venues-celebrate-graffiti-as-an-art-form

This source I changed to a blog format and can be found:https://www.blogger.com/blogger.g?blogID=2718028827034264432#editor/target=post;postID=7890677869264114960;onPublishedMenu=allposts;onClosedMenu=allposts;postNum=0;src=postname

Reflection:
I had to ensure that I did not use the certain phrases as one is at times accustomed to doing. I also had to be cognizant of the message so that it remained sincere to the article.

The second source I chose was a blog on a famous graffiti photographer:
 http://www.mtn-world.com/en/blog/2017/10/25/graffiti-here-was-just-a-game-for-kids-jeosm-interview-to-henry-chalfant/


This source I changed into a powerpoint presentation:
https://www.slideshare.net/secret/7gz5T60xgYqWWV

Rflection:  The powerpoint was easy todo, but the uploading gave some issues as it failed a few times.


My third source is a youtube video that shows the viewer that graffiti artists are not just lazy kids with time on their hands but real thinkers who ponder ways to change space figuratively:
https://youtu.be/1lMcq0UdgJw

This source I changed into a tweet:
https://twitter.com/estdale/status/924273720046342144

Reflection:  I found the youtube video refreshing and enlightening as graffiti artists are always regarded in a negative light.  The tweet was easy to do and I chose to copy the link in my tweet so that people can go directly to the link and find the video themselves.

The other formats are:

Movie:  Exit Through the Gift Shop: A Banksy Film is a 2010 British documentary film, directed by street artists. It tells the story of Thierry Guetta, a French immigrant in Los Angeles, and his obsession with street art.
Find out more:  http://www.banksyfilm.com/

e-book:  A photographic collection of underground works specifically located in Southern California
http://www.ebook777.com/graffiti-art-underground/

The Value of Doodling

Graffiti has essentially been given a bad rap over the years.  For too long people regarded graffiti has an eyesore on a many a building and that the artists should be locked away without any grub or bathwater until they learn their lesson!  Hold thine horses for a New York minute and lets debate graffiti on African time.  For if we do, we will find that graffiti has been with us since our forefathers wore loincloths...notwithstanding that it gets up the noses of some hoity-toities who are chained to their archaic ideas of art.

This is a Nswatugi Cave ensconced with rock paintings.
This image was taken by Mikeflickr.com. 
Attribution:  2.0 Generic (cc by 2.0)
This image is free to share (copy, redistribute) and adapt (remix and transform for any purpose)

People have become way too judgemental about graffiti, and why its that when churches have embraced it for the longest of times.  In the middle ages graffiti was deemed acceptable.

 

 

This image was taken for as book called Medieval Graffiti of England's Churches.  This artist is unknown and is said to be a commoner to depict Mary and Child.  It can be found on arches  in a Suffolk church. 

Image found on Google and is free to share .

 

 

But  not all graffiti of the past has real meaning.  Some common folk just scratched their names on walls to solidify their existence, especially since they were without rights or power.  In essence the image below is of someone writing today on the back of a toilet door:  'so-and-so was here'

 

 

Graffiti carved into one of the walls of Bayeux Cathedral, France

Image taken by Max-12

Attribution:  2.0 Generic (cc by 2.0)
This image is free to share (copy, redistribute) and adapt (remix and transform for any purpose)

 

 

 

Of course, one's beliefs are also exemplified, shared, so that people can gawk and think there is something wrong with you.  All gods were not made equal, some are just funkier than others:

 

Artist:  Pshycox20  (mmmmm)

Some Rights Reserved

Attribution:  Non Commercia Share Alike 2.0 Generic (CC

by NC-SA 2.0

This can be shared and distributed.

It cannot be used for commercial purposes.

If remixed or transformed, contribution must be distributed under the original license.

 

Some graffiti speaks specifically to a culture. This image below was photographed in Frankfurt 

and Mr Pharoah has gone through a transformation of sorts.  Arrrggghh!!

 

 

Artist:  Wolgang Sterneck

Art for Change - Arabic Graffiti and Egyptian Street Art in Frankfurt

Attribution:  Non Commercial Share Alike 2.0 Generic (CC

by NC-SA 2.0

Some Rights Resrved

This can be shared and distributed.

It cannot be used for commercial purposes.

If remixed or transformed, contribution must be distributed under the original license.

 

 

MEDIA

 

Graffiti is one of the four elements of the hip-hop movement.  It is an art on its own and works seamlessly with the other genres of hip-hop.

 

 

Street Painting

 

https://www.fatcap.com/videos.html

 

Title : Wire FatCap

Posted by : Vincent Morgan

Copyright © 1998-2011 Fatcap - All rights reserved

 

Top Ten Graffiti Artists

The Artists Block

  YouTube allows users to mark their videos with a Creative Commons CC BY licence. 

Attribution is automatic under the CC BY licence, meaning that any video you create using Creative Commons content will automatically show the source video titles underneath the video player. You retain your copyright and other users get to reuse your work subject to the terms of the licence.

 

 

Blogs also prove to be popular amongst the graffiti crew. From finding the tools, to how to make their own tool (read spray) there is a large following of bloggers who make it their mission to paint the internet with their thoughts as if it were walls.

 

Founding Father:  JonONe

http://156worldwide.blogspot.co.za/

In the United States, all creative works automatically fall under copyright law. Even if you make no assertions of copyright, your posts on Blogger belong to you exclusively. You hold the copyright on the text of your blog, but some parts of your content cannot be copyrighted. These include titles, phrases, ideas, methods, lists, facts and common phrases.

 

 

#thegraffitipodcast

The Graffiti Podcast is the first ever podcast of its kind.  they talk all things Graffiti and Hip Hop, bringing you exclusive interviews with people who are making waves wherever they go.

 

https://soundcloud.com/the-graffiti-podcast/episode-6-rosk

 

 

OPEN EDUCATION RESOURCES

 

Graffiti has been used as a tool for educating the young.  Because it is seen as funky and a trendy way to express oneself, they youth have taken to it easily.   Documents implemented aspects of graffiti to educate.  Dropping some heavy flavour, here are a coupla sources for you to peruse

 

 

Conditions of Use: 

Creative Commons Attribution, non Commercial- No Derve.3.0 unsupported 

 

 

 

 

The interactive activity below uses the graffiti idea and merges it with doodling.  It helps kids t visualise, thus helping with their reading.

 

 

Copyrighted materials, available under Fair Use and the TEACH Act for US-based educators, or other custom arrangements.

 

 

Graffiti artist Danny 'Dan-One' Polonco, a self-described "Alphabetical Engineer," talks about graffiti art form as a means for self-expression. 

 

 

 

Copyrighted materials, available under Fair Use and the TEACH Act for US-based educators, or other custom arrangements.

 

Below deals with the legitimacy of graffiti and the artist.  Lectures are interactive as student will be asked to find solutions to defining urban space.

Remix and Share:
 Remixing, redistributing, or making derivatives works comes with some restrictions, including how it is shared.


The artist below shows that graffiti artists determine their realms and that there are many directions in which to take graffiti art.

 Copyrighted materials, available under Fair Use and the TEACH Act for US-based educators, or other custom arrangements.

 Go to the resource provider to see their individual restrictions.

 

 

 

 

I hope this helps in terms understanding graffiti and the artists. 

Know that art comes in all forms and cannot be boxed or framed to make you feel comfortable.

 

 

           

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Dont Be Conned by Authority

Researching the life of Wolfie Kodesh

 

 

 

Background:

He was a long-time South African Communist Party member and a prominent figure in the liberation struggle who died at age 84 in Cape Town on 2 October 2002.

Kodesh was one of the stalwarts of the liberation movement. He was described by those who knew him as a soldier, a patriot, an African Nationalist, a communist, a man of laughter and a father figure.

 

Discipline:

Third-Year information and library science students at UWC researching archive management.

 

Learning Outcomes:

1                     Define different types of authority, such as subject expertise (scholarship), society position (public office or title), or special experience (participating in an historic event).

2                     Use markers of authority to determine the credibility of sources.

3                     Recognise that authoritative content may be packaged formally or informally and may include audio, visual and non-print sources.

 

Materials Needed:

A             internet

B             hardware:  desktop/tablet/smartphone

 

Activities:

 

1              To prepare for their practical lesson on archiving the  personal contents of Wolfie Kodesh, the background and his activities during the apartheid struggle has to be researched so that  the  collection can be filed in a manner that is user friendly and sensible.

 

2              Students will need to access to the archives of Mail and Guardian and The Guardian newspapers to thread Wolfie Kodesh’s activities and what else has be noted of him.  They have to question the validity of the newspaper, the journalist who wrote the piece on Wolfie Kodesh and under which circumstances it was written.

Interviews with  and about Wolfie Kodesh completed by Julie Frederickse for her book The Unbreakable Thread must be analysed and her credibility verified.  In addition the students must be observant of  the light in which Wolfie Kodesh was regarded by his peers and others whom he encountered by paying close attention to tone and register while interviews were conducted.

 

3         Students will need to register and access the visual contents that SAHA (South African History Archives) has on Wolfie Kodesh and relationships that he nurtured to validate the printed documents  that they encounter in the collection that they are busy with.

 

 

 

 

Disposition:

Throughout this process students must cognizant of the voice of authority and the role it plays in the providing the information about Wolfie Kodesh so that, as far as possible, a true reflection may be displayed of such a great man.

 

Throughout the process, they must maintain an open mind and continuously address their bias as well as those authorities they are trying question/validate.

 

They must realise the importance of assessing information and validating it so that they can remain sincere to the process of archiving and as well as trying to do justice to the subject.

 

To complete the task at hand, they must realise the importance of questioning authority and being open to varying opinions and views.

 

 

 

 

E

Archival Inquiry

Research as an inquiry can be used as an effective tool to the contentious issue of the availability of archives to the public.  Public awareness of archives is important, but at what expense?  Archives are fiercely protected by collectors and curators, but this comes with a measure of discomfort as people do not feel at ease, or even that it is their right to look through documents. 

The questions put to students should addres the issue of availing archival pieces to the public by gathering and using information that  will have a positive impact on the archivist and the user.

 

Knowledge Practices:

 

1                     Determine an appropriate scope of investigation;

2                     deal with complex research by breaking complex questions into simple ones, limiting the scope of investigations;  using various research methods (survey)

3                     organise information in meaningful ways;

 

 

Activities

 

1              Students will have a discussion on the following;

                Problems  to address:

•       Do archivists keep enough data on users / study their users informational patterns;

•       archives do not receive sufficient use to justify their expense;

•       archivists do not advertise their services, rarely engage in efforts to build a client base

 

 

2      Students must conduct research by asking simple questions, so that they can limit their focus to reach a resolution.   Students can do a survey on people who have used archive material before or who would wish to, in so doing, they will gain multiple perspectives when gathering information.  Questions that can lead to further investigation:

•       Who are the users who will make use of archival material?

•       What kinds of projects they pursue / what are their information needs?

•       How do users approach records?

•       What they do with their results?

•       Does it have an impact on a community or on a personal level?

 

Students will (in groups) then identify the gaps that exist between the user and the holders of archival material, possibly look at user education so that the user will understand the terms and conditions and the holder of archival material will be more at ease about making material accessible to the public.

Students can organise their findings on user education in a meaningful way by :

•       making holdings known -- be aware of users disciplinary/professional fields and identify intellectual gaps that could be filled by repository’s holdings;

•       organise seminars on archival work or research methods

•       and investigate the digitization of material for a wider audience

 

 

This level of inquiry should then lead to more questions being asked and to further investigation so that archives remain an integral part of the historical fabric of any institution who wishes to maintain it. 

 

 

E

Planning Organised Hysteria

The Crucible – Act Three

Grade:  12
Week 4
4 – 8 September 2017

 

Aim:

The Crucible
Act Three

 

Objectives:

McCarthynism relating to Mass Hysteria

 

Duration:
Three Days

 

Learning Outcomes:

Scholarship As A Conversation
Mass Hysteria has been grasped almost every era - from people throwing stones at Jesus, to pointing fingers at so-called witches in Salem in the 1600s to todays need for ethnic cleansing.  This outcome shows that there is no one answer to the problem, that it is ongoing and will require new interpretations  before it is ever settled - if ever.
Being familiar with the text (The Crucible) and the context in which it arose (McCarthynism) the learners should be comfortable enough to enter the realm  of conversation and share their ideas and their interpretations.

1Contribute to the conversation on an appropriate level - by way of discussion and debate.
2   Consider the contributions of others to help formulate an opinion.
3   Understand how perspectives on the topic can change over time - does not remain stagnant
4 Realise there is no one scholar who dominates the conversation, that those who are interested can also give their own interpretation on the topic.

Assessment Content (Activities):

Background:

Drawing on research on the witch trials he had conducted while an undergraduate, Miller composed The Crucible in the early 1950s.

Miller wrote the play during the term of Senator Joseph McCarthy whose anti-Communism leanings propelled the United States into a dramatic anti-Communist fervor during the first tense years of the Cold War with the Soviet Union. Led by McCarthy, special congressional committees conducted highly controversial investigations intended to root out Communist sympathisers in the United States. As with the alleged witches of Salem, suspected Communists were encouraged to confess and to identify other Red sympathizers as means of escaping punishment. The policy resulted in a whirlwind of accusations. As people began to realise that they might be condemned as Communists regardless of their innocence.  Thousands of actors were affected like Charlie Chaplin who was not allowed to enter America because he was regards as a Communist sympathiser and had to reside in Switzerland. 

 

Today, similar tactics are used.  Yusuf Islam (Cat Stevens) was barred from entering the USA in 2004 for two years thereafter because he was seen as sympathetic towards ‘terrorists’.

 

 

 

Learners should have completed their first reading on Act Three and be ready for discussion.

In class, the learners should use their phones, or other mobile devices, to read about McCarthynism and what it is all about. 

1  They will then be placed in groups of 4 - 6 .  

    They have to relay their findings.  In addition the learners must touch on how people today      are victimised because of fear and intolerance.  Learners must come up with ways in which this can be combatted in our neighbourhoods.  They can create posters in their groups and it will form part of their presentation where they will summarise their findings and highlight how ordinary people can make positive changes in their community.

 

2  As a class, we will then highlight the contrasts and comparisons between the play and the actual events in the 1950’s that led to the vengeful seeking of guilt, realising the discrepancies, depending who voice was contributing to the conversation.

3  Finally a worksheet will be handed to the learners to complete in class.  The worksheet will require them to summarise what they have learnt and show how the argument has changed over time.  When they have completed the task, the learners will mark each other’s answers while the memo is on the board.

 

4 To touch on the lighter side of this task, learners will be allowed to create a skit of 2 minutes based on their interpretation of the play, The Crucible, or an imagined work, relating it to modern day politics based on McCarthynism, exemplifying what mass hysteria entails.

 (Each activity is linked by number to its learning outcome)

 

 

 

 

 

 

 

 

  

 

 

 

 

 

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Deep Conversations

Hi all

Shehaamah was dead with flu but because she wanted the conversation to carry on, I will humbly obliged.

So scholarship conversation is your contribution to a field or discipline.  To do this means that you cannot only read what is easy or what is you already know; it is about delving into different conversations and using it all to make/use your own 'voice'.  This can be difficult at times when there are voices of the established speakers that can overpower those who are entering the conversation, the debate.  Novices should not however be perturbed or allayed as their voice will bring a new dimension to the conversation.

To be a constant in a conversation, learners who want to develop their information literate abilities should look to their peers and cite their work to strengthen their own argument.  They must contribute conversations, identify barriers and critically evaluate their own as well as their peer's work so that a new avenue can be negotiated in that field.  They must remain active in developing their abilities, always questioning concepts and ideas to reach an enhanced professional understanding.

In any given workplace there are conversations going on.  It is important that people listen to each other so that new ideas can be had. 

Learners need to contribute to class conversations, read books that will challenge them and debate about topics that are unfamiliar but will lead to their intellectual growth.

All in all, no one should fear contributing to conversations.  All voices lead to conquering new dimensions and old barriers.

Later...