We began our journey through this blogging adventure by taking on the rather contentious topic of the role of media in regards to the cholera epidemic in Haiti, moved our way down to attempting to decipher William Mazzarella’s mindboggling views on globalization and remediation, proceeded with tackling the cultural implications of you tube renditions of “Jai Ho” and then, proving to be the most interesting for most, addressing the cultural significance and themes around examples of Vancouver graffiti. Blogs by Larissa Dziubenko and Gloria Wong focus on the key issues of surrounding graffiti in regards to anonymity, agency and assertions of identity.
Beginning with Larissa Dziubenko’s “The Writing on the Stall”, she centered her discussion around examples of graffiti scribbled on the sides of bathroom stalls. She argued that that artist is given basically free reign to voice their opinion because it is occurring in such a private place and also that the artist can remain anonymous because they can just scribble down their opinion and leave like nothing ever happened. Essentially, people almost feel the urge or need to voice their opinion because there will be no repercussions; the only downfall is that it may be washed away by a disgruntled janitor. Addressing similar issues brought forth by Dziubenko is an article by Sam Whiting and Veronica Koller titled “Dialogues in Solitude: The Discursive Structures and Social Functions of Male Toilet Graffiti” which argues that bathroom stall graffiti becomes almost a silent dialogue between participants. Furthermore, they claim that “anonymity does play a key role…” (12) and that “isolation and subsequent anonymity makes toilet graffiti distinct from other genres in as far as participants mostly do not know the producers of audience of a text” (37). Elaborating even further upon the Dziubenko’s notions of anonymity are Amardo Rodrigues and Robin Patric Clair in their article titled “Graffiti as Communication: Exploring the Discursive Tension of Anonymous Texts”. In their article they argue that the bathroom stall is an open forum for the marginalized to expresses their opinions. Both Rodriguez and Clair claim that “graffiti represents a communicative opportunity to gather insight into the discursive tension associated with how individuals treat each other through anonymous text” (2), also; that “graffiti allows the key benefit of anonymity, that is, protection against any form retribution” (12). Thusly, the material provided above supports Dziubenko’s theory regarding anonymity and the need to voice ones opinion in a private space. Furthermore, the bathroom stall is essentially a liminal space by which people have unlimited freedom to express one’s opinion.
Continuing to focus on graffiti, Gloria Wong in her blog titled “Graffiti: Agency through Anonymity, Accessibility, and Artistry” focuses on graffiti as a means of leaving your mark on the world and asserting one’s place within the larger public sphere. Also, how graffiti is used by the artist as a vehicle to voice one’s opinions regarding larger cultural and societal issues all while retaining anonymity. Furthermore, how the artist is empowered with a new form of agency and how this reflects in a greater importance and impact in the artist’s message. Lastly, because the artist remains anonymous, the artist has the ability to inscribe their message anywhere in the public sphere. Rafael Schacter addresses similar issues regarding graffiti and agency in his article titled “An Ethnography of Iconoclash: An Investigation into the Production, Consumption and Destruction of Street Art in London”. Schacter argues that graffiti are potent embodiments of the artist and their personality as well as being multifaceted forms of agency. Furthermore, Schacter claims that graffiti is the “altering of space for the citizens discrete intentions” (18), as well as, that graffiti was “indexes of social agency” (12). Thusly, Schacter also addresses themes of anonymity and agency in works of graffiti thereby supporting Wong’s claims. Furthermore, graffiti can also be viewed as the artists imprint on the public sphere of society, thereby leaving their mark and allowing their message to be here. Unfortunately, graffiti can also be viewed as an exceedingly ephemeral art because most perceive it as an ear soar and defacement to public property, so most opinions expressed by the artists are short lived.
Gloria Wong: http://wgloria.wordpress.com/
Larissa Dziubenko: http://cultureandmedia378.blogspot.com
Sam Whiting and Veronika Koller article: http://eprints.lancs.ac.uk/26682/2007/1/clsl26.pdf
Rodriguez, Amardo and Robin Patric Clair
1999 Graffiti as Communication: Exploring the Discursive Tension of Anonymous
Texts. Southern Communication Journal 65(5): 1-15.
Schacter, Rafael
2008 An Ethnography of Iconoclash: An Investigation into the Production,
Consumption and Destruction of Street Art in London. Journal of Material
Culture 13(35): 1-28.
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