Caram Kapp - Academia.edu (original) (raw)

Papers by Caram Kapp

Memetic Murals, 2016

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.
In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.
//
This contains a brief timeline of the Egyptian uprising from 2011—2015, Sourcing and Citations for Memetic Murals.

Memetic Murals, 2016

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.

In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.

//

This section introduces the authors’ personal history and connection, motivations, as well as the theoretical framework underlying this writing.

It presents a brief, general history of graf ti and its modes of practice, as well as the shift from activist expression to artistic production.

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.

In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.

//

This section further elaborates on the con- cepts previously introduced through exam- ples and the study of key moments in the creation of the “memorial space” of Moham- mad Mahmoud street in Downtown Cairo. It further develops the difference between the way street art is “read” in its original context as opposed to a decontextualised one.

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.
In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.

//

In this section, we delve into the hegemonic mechanisms of public space in Egypt, the inspirations, in uences and methods of the graf ti and street art generated during the Egyptian Uprising, as well as modes of expression and censorship. We will also begin to explore the signi cance of online spread and global solidarity movements in street art.

Memetic Murals, 2016

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.
In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.
In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.

//
The following section delves more deeply into processes surrounding online sharing, memes as de ned online, and activism, graf- ti tactics as well as a history of street art specific to Egypt.

It will also present examples of “art” that have been adapted to a various circumstanc- es and by a number of perspectives in order to develop the argument of graf ti as an in- uence on cultural reception and the crea- tion of memory- and vice versa: the in uence of pre-exisiting visual cultures and memories as an in uence on the subjective reception of street art.

The Culture File, 2011

The views presented herein cap- ture the region as observed by Germans and Arabs in November and ... more The views presented herein cap- ture the region as observed by Germans and Arabs in November and December 2010, just as events that would eventually lead to widespread protests across the Middle East were beginning.

The main topic of this paper, brand- ing and advertising, connected as
it is to political events in the re- gion, will be affected deeply by the long- term effects of reform and a shift in cultural self-perception be- yond celebratory trends.

In this, I present the insights I gained through Interviews with eight European students of Islamic Studies and Arabic, aged between 20 and 24, and their Arab teach- ers. The student’s familiarity with the Arabic language and cultures ranged from beginners who had not yet visited an Arab country to advanced learners who had spent a minimum of three months in an Arabic-speaking country.

We will explore the modern, global relationship formed through brands and type between cultures Oriental and Occidental.

How are the inhabitants of the Middle East viewed by them shortly before a revolution? What methods do companies desiring to establish a culturally credible im- age employ? How is the shape of Arabic type affected by standardi- sation and adaptations to Latin fonts? How is Arabic taught to people from a very different cul- tural background?

These are but a few of the ques- tions I asked during that series of interviews. The answers to them and many others are to be found hereafter

Memetic Murals, 2016

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.
In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.
//
This contains a brief timeline of the Egyptian uprising from 2011—2015, Sourcing and Citations for Memetic Murals.

Memetic Murals, 2016

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.

In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.

//

This section introduces the authors’ personal history and connection, motivations, as well as the theoretical framework underlying this writing.

It presents a brief, general history of graf ti and its modes of practice, as well as the shift from activist expression to artistic production.

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.

In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.

//

This section further elaborates on the con- cepts previously introduced through exam- ples and the study of key moments in the creation of the “memorial space” of Moham- mad Mahmoud street in Downtown Cairo. It further develops the difference between the way street art is “read” in its original context as opposed to a decontextualised one.

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.
In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.

//

In this section, we delve into the hegemonic mechanisms of public space in Egypt, the inspirations, in uences and methods of the graf ti and street art generated during the Egyptian Uprising, as well as modes of expression and censorship. We will also begin to explore the signi cance of online spread and global solidarity movements in street art.

Memetic Murals, 2016

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.
In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.

During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecede... more During the Egyptian Uprising of 2011—2013, street art in and from the country gained an unprecedented visibility locally and on a global scale. It advocated causes such as gender equality, rule of law, freedom of expression and unlawful imprisonment. The period gave rise to a new generation of street artists and activists from the country, and unprecedented attention to the discourses unfolding on the walls and streets of the country.

The rapid spread of the street art outside of its local context warrant an examination of the differences in perception of activist art between the context of the Egyptian street and its global reception through social media or mediated events.
In this, we explore the perception of street art in local and global contexts, and the mechanisms that lead from activism to the art market using methods of visually grounded culture, visual anthropology and branding theory.

//
The following section delves more deeply into processes surrounding online sharing, memes as de ned online, and activism, graf- ti tactics as well as a history of street art specific to Egypt.

It will also present examples of “art” that have been adapted to a various circumstanc- es and by a number of perspectives in order to develop the argument of graf ti as an in- uence on cultural reception and the crea- tion of memory- and vice versa: the in uence of pre-exisiting visual cultures and memories as an in uence on the subjective reception of street art.

The Culture File, 2011

The views presented herein cap- ture the region as observed by Germans and Arabs in November and ... more The views presented herein cap- ture the region as observed by Germans and Arabs in November and December 2010, just as events that would eventually lead to widespread protests across the Middle East were beginning.

The main topic of this paper, brand- ing and advertising, connected as
it is to political events in the re- gion, will be affected deeply by the long- term effects of reform and a shift in cultural self-perception be- yond celebratory trends.

In this, I present the insights I gained through Interviews with eight European students of Islamic Studies and Arabic, aged between 20 and 24, and their Arab teach- ers. The student’s familiarity with the Arabic language and cultures ranged from beginners who had not yet visited an Arab country to advanced learners who had spent a minimum of three months in an Arabic-speaking country.

We will explore the modern, global relationship formed through brands and type between cultures Oriental and Occidental.

How are the inhabitants of the Middle East viewed by them shortly before a revolution? What methods do companies desiring to establish a culturally credible im- age employ? How is the shape of Arabic type affected by standardi- sation and adaptations to Latin fonts? How is Arabic taught to people from a very different cul- tural background?

These are but a few of the ques- tions I asked during that series of interviews. The answers to them and many others are to be found hereafter