Graffiti, Calliglyphs and Markers in the UK

Abstract

________________________________________________________________Graffiti is a commonplace in the modern world but it is easy to project the concept of illegal graffiti into the past. Writing on walls in previous historical periods is discussed and as most was not illegal the concept of 'calliglyphs' is introduced to allow historic writing or drawings on walls or objects to be studied in context. The article then proposes the word 'marker' as a concept to define wider forms of personal expression and the human imprint in the late twentieth/early twenty-first century landscapes. A framework for markers is outlined based upon the concepts of permission and tolerance. ________________________________________________________________Résumé: Le graffiti est chose courante dans le monde moderne mais il est facile de projeter le concept de graffiti illégal dans le passé. L'écriture sur les murs au cours des périodes historiques précédentes fait l'objet d'une discussion et comme elle n'était pas en général illégale, le concept de 'calliglyphes' est introduit pour permettre une étude en contexte de l'écriture ou des dessins historiques sur les murs ou objets. L'article propose ensuite le terme 'marqueur' à titre de concept pour définir des formes plus vastes d'expression personnelle ainsi que d'empreinte humaine au sein des paysages de la fin du 20 è me et du début du 21 è me siècle. Un cadre pour les marqueurs est élaboré sur la base des concepts de permission et de tolérance. ________________________________________________________________

Proof of Life: Mark-Making Practices on the Island of Alderney

“…Illicit marks include graffiti, which could include names, numbers, symbols, drawings, slogans, artwork, instructions, and a variety of other mark types. The line between sanctioned and illicit graffiti may not always be clear to the observer unless the permission status is known (Daniell, 2011). Additionally, scholars have moved beyond the negative connotation of graffiti creation as the illicit daubing of public or private spaces, towards an understanding of its value as an ethnographic source (Daniell, 2011).…”

Keeping it real? Subcultural graffiti, street art, heritage and authenticity

“…It is also categorised differently by various academic disciplines. Criminological studies position it as an ideological form of vandalism (Wilson 1987), while historical and archaeological studies place it in a continuum of human environmental interventions that involve 'mark-making practices' that are analogous to historic and prehistoric phenomena such as rock art (Frederick 2009;Oliver and Neal 2010;Daniell 2011). Gomez distinguishes between 'graffiti art' and 'graffiti vandalism' in order to acknowledge that totally equating graffiti to vandalism negates its creative attributes (Halsey and Young 2002).…”

O corpo que me aprisiona: identidade e autorreferências no mundo prisional da Ilha Anchieta (1942-1960)

“…Atesta-se que a diferenciação entre grafites sancionados e ilícitos nem sempre é clara para o pesquisador, a menos que o status da permissão seja conhecido (Daniell, 2011). No entanto, de acordo com Fernando Oliva (2018), considera-se que o estudo dessas expressões gráficas contemporâneas pode ser proferido por meio de pelo menos três abordagens hipotéticas:…”

“…(Gallo Jr. et al, 2016). Muitos estudiosos têm destacado, recentemente, os desafios em traçar metodologias apropriadas para investigação arqueológica de grafites frente às diversas variações de tipos e detalhes estilísticos (Arribas, 2016;Daniell, 2011;Frederick E Clarke, 2014;Ralph, 2014;Ross et al, 2017;Valent et al, 2020).…”