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Roger examines how developments in new media technologies, such as the internet, blogs, camera/video phones, have fundamentally altered the way in which governments, militaries, terrorists, NGOs, and citizens engage with images. He argues that there has been a paradigm shift from techno-war to image warfare, which emerged on 9/11.
Since the 2011 Arab Spring street art has been a vehicle for political discourse in the Middle East, and has generated much discussion in both the popular media and academia. Yet, this conversation has generalised street art and identified it as a singular form with identical styles and objectives throughout the region. Street art's purpose is, however, defined by the socio-cultural circumstances of its production. Middle Eastern artists thus adopt distinctive methods in creating their individual work and responding to their individual environments. Here, in this new book, Sabrina De Turk employs rigorous visual analysis to explore the diversity of Middle Eastern street art and uses case studies of countries as varied as Egypt, Tunisia, Lebanon, Palestine, Bahrain and Oman to illustrate how geographic specifics impact upon its function and aesthetic. Her book will be of significant interest to scholars specialising in art from the Middle East and North Africa and those who bring an interdisciplinary perspective to Middle East studies.
Drawing on critical geopolitics and related strands of social theory, this book combines new case studies with theoretical and methodological reflections on the geographical analysis of security and insecurity. It brings together a mixture of early career and more established scholars and interprets security and the war on terror across a number of domains, including: international law, religion, migration, development, diaspora, art, nature and social movements. At a time when powerful projects of globalization and security continue to extend their reach over an increasingly wide circle of people and places, the book demonstrates the relevance of critical geographical imaginations to an interrogation of the present.
Graffiti and street art images are ubiquitous, and they enjoy a very special place in collective imaginary due to their ambiguous nature. Sometimes enigmatic in meaning, often stylistically crude and aesthetically aggressive, yet always visually arresting, they fill our field of vision with texts and images that no one can escape. As they take place on surfaces and travel through various channels, they provide viewers an entry point to the subtext of the cities we live in, while questioning how we read, write and represent them. This book is structured around these three distinct, albeit by definition interwoven, key frames. The contributors of this volume critically investigate underexplored urban contexts in which graffiti and street art appear, shed light on previously unexamined aspects of these practices, and introduce innovative methodologies regarding the treatment of these images. Throughout, the focus is on the relationship of graffiti and street art with urban space, and the various manifestations of these idiosyncratic meetings. In this book, the emphasis is shifted from what the physical texts say to what these practices and their produced images do in different contexts. All chapters are original and come from experts in various fields, such as Architecture, Urban Studies, Sociology, Criminology, Anthropology and Visual Cultures, as well as scholars that transcend traditional disciplinary frameworks. This exciting new collection is essential reading for advanced undergraduates as well as postgraduates and academics interested in the subject matter. It is also accessible to a non-academic audience, such as art practitioners and policymakers alike, or anyone keen on deepening their knowledge on how graffiti and street art affect the ways urban environments are experienced, understood and envisioned.
Presents a collection of anti-war graffiti images from around the world.
Debate has long raged over whether graffiti can be considered an art form. Its illegal nature has caused many people to denounce it, while others contend that a work does not have to be legal to be art. The heart of the question is, what defines art? Informative text discusses competing views on the issue, presenting all sides of the debate to help readers form their own opinions. Engaging sidebars spotlight graffiti artists such as the famous Banksy, while eye-catching photographs provide examples of some of the most original graffiti designs.
Pop Culture Goes to War, by Geoff Martin and Erin Steuter, explores the persistence of and opposition to militarism in American life. It provides a comprehensive overview of the role of toys, video games, music, television and movies in supporting contemporary militarism. Resistance to militarism is highlighted through the traditional mediums of music and movies, and increasingly through the arts, 'culture jamming,' and the satire of The Daily Show, The Onion, The Simpsons, The Colbert Report, and South Park.
This book explores the processes by which, in the 20 years after 9/11, the practices of urban security and counter-terrorism have impacted the everyday experiences of the Western city. Highlighting the localised urban responses to new security challenges, it reflects critically upon the historical trajectory of techniques of territorialisation and physical protection, urban surveillance and the increasing need for cities to enhance resilience and prepare for anticipated future attacks and unpacks the practices and impacts of the intensification of recent urban security practices in the name of countering terrorism. Drawing on over 25 years of research and practical experience, the author utilises a range of international case studies, framed by conceptual ideas drawn from critical security, political and geographical theory. The book will be of interest to students and scholars of politics, war studies, urban studies, geography, sociology, criminology, and the growing market of security and resilience professionals, as well as non-academic audiences seeking to understand responses to terrorist risk.
A cultural imaginary is a structuring space through which collective understandings of cultural and society phenomena are formed, reproduced, and accepted as the norm. Reading the Walls of Bogotá uses graffiti and street art to explore the urban imaginaries of violence in Bogotá, Colombia. These artistic forms are produced and received in different ways in different areas of the city and offer an insight into citizens’ everyday experiences and perceptions of violence from the political, to the personal, to that of structural inequality. Through graffiti, in which critiques of memory, space, politics, and aesthetics are embedded, artists and their viewers form vernacular theories through which they interpret the world and the spaces they inhabit. By focusing on creative expression, Alba Griffin shows how Bogotá’s residents respond to imaginaries of violence, how they critique the norms, how they appropriate space to challenge or negotiate violence, and how they push back against inequality.
The chapters in this volume examine the racial and ethnic landscape of Britain in a contemporary era of neoliberalism and financial crisis. A key aspect of neoliberal thought is the belief that we live in a ‘post-racial’ in which the problems of racism and xenophobia have been overcome. However, cultural retrenchment and coded xenophobia have been sweeping the political terrain, accompanied by ‘new racisms’ and ‘new racial subjects’ that only close contextual analysis can unpick. The scholarship contained in this collection challenges those who suggest that we live in a post-racial time. By focusing on particular locations in Britain at a particular moment, the volume explores local stories of ‘race’ and racism across changing sociopolitical ground. This book is essential reading for scholars and students of race, racism, diaspora, multiculturalism, post-colonialism, transnationalism and post-race. This book was originally published as a special issue of Ethnic and Racial Studies.