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COVER:JONONE|PARIS|2009

Graffiti Analysis und Graffiti Taxonomy entwickel-ten sich aus meiner Liebe zu Graffiti. Zunächstexperimentierte ich selbst mit Schreiben, dochmir fehlten dafür sowohl der eigene Stil alsauch die obsessive Hingabe. Stattdessen wurdeich zum Graffiti-Forscher, -Technologen, -Archi-var und Tool-Entwickler. Mit meinem Ansatzüberbrücke ich nun die Kluft zwischen Hackernund Graffiti-Writern, zwei Gruppierungen also,die aus höchst kreativen und extrem engagier-ten Köpfen bestehen, und die sich bestehendeSysteme und Strukturen in an sich ungewollteraber höchst eindrucksvoller Art und Weisezunutze machen.Innerhalb der breiter gefassten Genrebegriffe„Graffiti“ und „Street Art“ liegen mir besondersTags am Herzen. Tags sind Graffitis in Rein-form. Sie sind jene Form, die in größter Fülleund Vielfalt anzutreffen ist, die Form, die amdichtesten am Puls der Zeit dran ist und dieForm, die am meisten gehasst wird. Mein Zielbei jedem einzelnen Projekt war die Verwand-lung von Graffiti-Tags in neue und unerwarteteFormen, damit die Relevanz und die Schönheitder Schriftzüge an den Wänden mit neuen Au-gen gesehen werden. Zudem wollte ich einenKontext schaffen, in dem die Graffiti-Diskussionüber die Frage „Ist es ein Verbrechen oder ist esKunst?“ hinausgehen konnte und der Betrach-ter Zeit hat, ohne abgelenkt zu werden Formund Inhalt jedes einzelnen Tags zu erforschen.

Graffiti TaxonomyFür die Graffiti Taxonomy: Paris (2009) fotogra-fierte ich vom 24. bis zum 28. April 2009 inallen 20 Pariser Arrondissements über 2.400

I created Graffiti Analysis and Graffiti Taxonomyout of a love for graffiti writing. I experimentedwith writing a bit myself, but I lacked both thehandstyle and the obsessive dedication. InsteadI became a graffiti researcher, technologist, ar-chivist and tool builder. I straddle the dividebetween hackers and graffiti writers, two groupsthat are composed of highly creative and fierce-ly dedicated people who use existing systemsand structures in unintended and impressiveways.Within the larger genre of "graffiti" and "streetart", what I love most are tags. Tags are the pu-rest form of graffiti, the form that is found inthe most abundance, the form that has the tigh-test relationship with time, and the form that ismost widely despised. My goal with each projectwas to transform graffiti tags into new and unex-pected augmented forms so that people couldlook upon the relevance and beauty of the wri-ting on the walls with fresh eyes. I wanted tocreate an environment where the conversationabout graffiti could move beyond "is it crime oris it art?" and where the viewer is free to explo-re each tag’s form and content without distrac-tions.

Graffiti TaxonomyIn Graffiti Taxonomy: Paris (2009), I photogra-phed over 2,400 graffiti tags from April 24,2009 to April 28, 2009 from each of Paris's 20districts. All photographs were then archived,tagged and sorted by letter. I selected what Isaw as the ten most commonly used letters byParisian graffiti writers for further study: A, E, I,K, N, O, R, S, T and U.

EVAN ROTH

Graffiti-Tags. Die Fotos wurden archiviert undnach Buchstaben sortiert. Für die weiteren Un-tersuchungen reduzierte ich das Sample auf dievon Pariser Graffiti-Writern am häufigsten ver-wendeten Buchstaben: A, E, I, K, N, O, R, S, Tund U.Um die Vielfalt und Bandbreite des Schrift-zeichens zu veranschaulichen, wurden für jedenBuchstaben 18 Tags isoliert. Jeder dieser Tagswurde digital ausgeschnitten und einfarbigschwarzweiß dargestellt. Der hervorgehobeneBuchstabe ist vergrößert und neben den Tagplatziert, aus dem er stammt. Weiters wurdenalle 18 Buchstaben jeder Gruppe in ein Rastergesetzt. Gemäß Edward Tuftes Konzept derSmall Multiples betont die Darstellung einesjeden Buchstabens in einer ähnlichen Spracheund in nächster Nähe die formalen Unterschie-de. Insgesamt sind es 180 Tags, jeder voneinem anderen Graffiti-Writer. Bei diesen Zu-sammenstellungen geht es jedoch nicht um die„besten“ Graffiti-Tags in Paris, vielmehr soll einSchlaglicht auf die formale Vielfalt geworfenwerden: von Großschreibung bis Kleinschrei-bung, Simplizität bis Komplexität, von Lesbar-keit bis Verschlüsselung.

Graffiti Analysis 2.0Graffiti Analysis ist eine noch laufende, um-fangreiche Studie zur Graffiti-Bewegung. Sieumfasst im Wesentlichen eine maßgefertigteSoftware, mit der die oftmals unsichtbareSchaffung eines Tags visualisiert wird. Dieursprüngliche Version von Graffiti Analysis ent-wickelte ich 2004 im Rahmen meiner Diplom-arbeit an der Parsons The New School forDesign in New York – in Zusammenarbeit mitvier New Yorker Graffiti-Writern: HELL, AVONE,JESUS SAVES und KATSU.In Graffiti Analysis 2.0 werden Bewegungsdatenaufgezeichnet, analysiert und in einer freienund offenen Datenbank, 000000book.com,archiviert, in der sich die Writer analytischeDarstellungen ihrer Hand-Styles teilen können.Einflussreiche Graffiti-Künstler wie SEEN,TWIST, AMAZE, KETONE, JONONE und KATSU

From each letter grouping, eighteen tags wereisolated to represent the diversity and range ofthat specific character. Each of the resultingtags were digitally cropped from their surroun-dings and depicted as solid black on white. Thehighlighted letter in the tag is enlarged and pla-ced next to the tag from which it originated.All eighteen letters in each group were placedinto a grid. Stemming from Edward Tufte'snotion of small multiples, the rendering of eachcharacter in a similar language and at close pro-ximity emphasizes the differences in form.There are 180 tags in total, each by a differentgraffiti writer. These sets were not intended todisplay the "best" graffiti tags in Paris, but rat-her the aim is to highlight the diversity of formsranging from upper case to lowercase, simple tocomplex and legible to cryptic.

Graffiti Analysis 2.0Graffiti Analysis is an extensive ongoing studyinto the motion of graffiti. It involves customsoftware that visualizes the often unseen crea-tion of a tag. The original version of Graffiti Ana-lysis was developed in 2004 as part of my the-sis research at Parsons in New York City. It wasdeveloped in collaboration with four NYC basedgraffiti writers: HELL, AVONE, JESUS SAVESand KATSU.In Graffiti Analysis 2.0, motion data is recor-ded, analyzed and archived in a free and opendatabase, 000000book.com, where writers canshare analytical representations of their handstyles. Influential graffiti artists such as SEEN,TWIST, AMAZE, KETONE, JONONE and KATSUhave had their tags motion-captured using theGraffiti Analysis software. All tags created inGraffiti Analysis are saved as Graffiti MarkupLanguage (GML) files, a new digital standardused by other graffiti applications I have helpeddevelop, including Laser Tag and EyeWriter.Graffiti Analysis 2.0 is an open source projectthat is available online for free in OSX, Windowsand Linux. Graffiti writers are invited to captureand share their own tags, and computer pro-grammers are invited to create new applications

GRAFFITI ANALYSIS 2.0 INPUT DEVICE

haben bereits mit der Bewegungserfassungs-software Graffiti Analysis ihre Tags erfassen las-sen. Alle in Graffiti Analysis erzeugten Tags wer-den als Graffiti Markup Language (GML)-Dateienabgespeichert, einem neuen digitalen Standard-format, das von anderen Graffiti-Anwendungen,an deren Entwicklung ich ebenfalls beteiligt war,verwendet werden, wie Laser Tag und EyeWriter.Graffiti Analysis 2.0 ist ein Open-Source-Pro-jekt, für das für Mac OSX, Windows und Linuxkostenlose Downloads im Internet zur Verfügungstehen. Alle Graffiti-Writer sind eingeladen, ihreeigenen Tags zu erfassen und mit anderen zu tei-len, und alle Computerprogrammierer sind ein-geladen, neue Anwendungen und Visualisierun-gen der auflaufenden Daten zu entwickeln. WasMartha Cooper für die Archivierung von Graffitiauf Film getan hat und Chalfant/Silver für dieArchivierung von Graffiti auf Video getan haben,soll Graffiti Analysis für die Archivierung in Codetun. Mit diesem Projekt soll das weltgrößte Ar-chiv zum Graffiti-Gestus aufgebaut werden undzwei nur scheinbar ungleichartige Communitieszusammenführen, die ein gemeinsames Inte-resse am Hacken von Systemen haben, sei dasnun in Form von Code oder im urbanen Raum.

and visualizations of the resulting data. WhatMartha Cooper did for archiving graffiti on film,and Chalfant/Silver did for archiving graffiti invideo, Graffiti Analysis intends to do for archi-ving graffiti in code. The project aims to buildthe world’s largest archive of graffiti motion, andbring together two seemingly disparate commu-nities that share an interest hacking systems,whether found in code or in the city.

http://evan-roth.comhttp://graffitiresearchlab.comhttp://fffff.at

TOMSTA | VIENNA | 2009

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VARIOUSTAGSCAPTUREDUSINGTHEGRAFFITIANALYSIS2.0SOFTWARE|FONDATIONCARTIER|PARIS|2009

L'ATLAS | PARIS | 2009

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GRAFFITI MARKUP LANGUAGE – SEEN | PARIS | 2009

GRAFFITI TAXONOMY | PARIS | 2009

GRAFFITI TAXONOMY | PARIS | 2009

1/08 INVADER

BACKLIST 1-10

5/09 FEFE TALAVERA

9/10 PERMANENT-UNIT

6/09 MANDARINA

10/10 BRAD DOWNEY

7/09 RIPO

2/08 KERAMIK 3/09 DOME 4/09 KRYOT

8/10 BUSK

AUSSTELLUNG | EXHIBITION: EVAN ROTH (USA) 02.10. – 02.12.2010 I STREET ART PASSAGE VIENNA, QUARTIER21 I MQ,MUSEUMSPLATZ 1, A-1070 WIEN I INFO@BETONBLUMEN.ORG I WWW.BETONBLUMEN.ORG

IMPRESSUM | IMPRINT: © BETONBLUMEN 11I2010; HERAUSGEGEBEN VON | EDITED BY WEH & NEUFELD; KONZEPT THE-MENPASSAGEN | CONCEPT THEMATIC PASSAGEWAYS VITUS WEH; KURATOREN | CURATORS JOGI NEUFELD, 401RUSH; KURA-TOR DIESER AUSGABE | CURATOR OF THIS ISSUE SYDNEY OGIDAN; TEXT EVAN ROTH; GRAFIKKONZEPT | GRAPHIC CONCEPTMANDARINA BRAUSEWETTER; VERLAG | PUBLISHER SCHLEBRÜGGE.EDITOR, WWW.SCHLEBRUEGGE.COM

BETONBLUMEN 11 ERSCHEINT IN HEFTKOOPERATION MIT STREET AND STUDIO – FROM BASQUIAT TO SÉRIPOP (KUNSTHAL-LE WIEN, 25. JUNI BIS 10. OKTOBER 2010. EINE THEMATISCHE GRUPPENAUSSTELLUNG KURATIERT VON CATHÉRINE HUGUND THOMAS MIEßGANG)

CREDITS: SOFTWARE DEVELOPMENT FOR GRAFFITI ANALYSIS 2.0 BY CHRIS SUGRUE | GRAFFITI MARKUP LANGUAGE WASCREATED IN COLLABORATION WITH JAMIE WILKINSON, THEODORE WATSON AND CHRIS SUGRUE | GRAFFITI ANALYSIS ANDGRAFFITI TAXONOMY WERE BOTH CREATED WITH SUPPORT FROM THE FONDATION CARTIER | ALL TAGS CAPTURED INVIENNA (2009) WERE DONE SO AT THE BLK RIVER FESTIVAL

In Kooperation mit | in cooperation with

ISSN 2070-3619, ISBN 978-3-85160-176-3SCHLEBRÜGGE.EDITOR

ISSN 2070-3619, ISBN 978-3-85160-176-3SCHLEBRÜGGE.EDITOR