Accepted author manuscript, 464 KB, PDF document
Available under license: CC BY-NC: Creative Commons Attribution-NonCommercial 4.0 International License
Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSN › Chapter
Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSN › Chapter
}
TY - CHAP
T1 - Instagraff
T2 - The Influence of Web 2.0, Social Media, and User-Created Content Upon Graffiti Culture Performed in Cyber/Space.
AU - Harding, Nicola
PY - 2019/2/17
Y1 - 2019/2/17
N2 - Instagraff, graffiti found on the social media website Instagram, examines social and technological advances that have prompted graffiti culture to appear ‘mainstream’. Recognising the birth of Web 2.0 as a key turning point, this study analyses images from social media accounts of graffiti writers, relating them to the works of Goffman (1959), Burgess (2007), and Baudrillard (1970). Its findings suggest that online representations of graffiti culture are no longer necessarily based upon sensory, deviant, risk-taking associated with urban graffiti. The use of social media by young would-be graffiti writers has created new avenues for the commercialisation of a vibrant, but deviant, subculture. Therefore, graffiti shared on social media cannot be considered a true representation of graffiti subculture, but a procession of simulacra, developing new forms of graffiti culture dislocated from graffiti’s deviant origins.
AB - Instagraff, graffiti found on the social media website Instagram, examines social and technological advances that have prompted graffiti culture to appear ‘mainstream’. Recognising the birth of Web 2.0 as a key turning point, this study analyses images from social media accounts of graffiti writers, relating them to the works of Goffman (1959), Burgess (2007), and Baudrillard (1970). Its findings suggest that online representations of graffiti culture are no longer necessarily based upon sensory, deviant, risk-taking associated with urban graffiti. The use of social media by young would-be graffiti writers has created new avenues for the commercialisation of a vibrant, but deviant, subculture. Therefore, graffiti shared on social media cannot be considered a true representation of graffiti subculture, but a procession of simulacra, developing new forms of graffiti culture dislocated from graffiti’s deviant origins.
M3 - Chapter
SN - 9783030049119
T3 - Palgrave Studies in Crime, Media and Culture
SP - 259
EP - 286
BT - Crime, Deviance and Popular Culture
A2 - Akrivos, Dimitris
A2 - Antoniou, Alexandros K.
PB - Palgrave Macmillan
ER -