Whether aesthetically or politically inspired, graffiti is among the oldest forms of expression in human history, one that becomes especially significant during periods of social and political upheaval. With a particular focus on the demographic, ecological, and economic crises of today, this volume provides a wide-ranging exploration of urban space and visual protest. Assembling case studies that cover topics such as gentrification in Cyprus, the convulsions of post-independence East Timor, and opposition to Donald Trump in the American capital, it reveals the diverse ways in which street artists challenge existing social orders and reimagine urban landscapes.

This handbook provides a comprehensive review of research in conflict and peace communication and offers readers a range of insights into foundational, ongoing, and emerging discussions in this field. The volume brings together peace studies, conflict studies, and communication studies to acknowledge the power of communication—both cooperative, solidarizing, and integrative as well as destructive and divisive—in constituting social relations. It features a multiplicity of authors, including academics and practitioners from all corners of the globe and from across the communicative spectrum. The handbook is divided into four parts: (1) Meta-theoretical, theoretical, and methodological approaches in conflict and peace communication research; (2) Conflict communication; (3) Peace communication; and (4) Cross-cutting and emergent themes. This handbook is essential reading for scholars, research-driven practitioners, graduate-level students, and upper-level undergraduate students in conflict and peace communication within disciplines such as communication studies, political science, international relations, security studies, and human rights.

"Beginning in October 2019, Chile was convulsed by protests and political upheaval, as what began as civil disobedience transformed into a vast resistance movement. Throughout, one of the most striking aspects of the protests was the murals, graffiti, and other political graphics that became ubiquitous in Chilean cities. In this fascinating, beautifully illustrated book, Terri Gordon-Zolov and Eric Zolov-who were in Santiago to witness and document the protests from their very beginnings -offer a vivid catalog of Chilean wall art in all its vitality, subtlety, and inventiveness, along with reflections on its artistic antecedents, the context of global protest movements, and the long shadow cast by Chile's authoritarian past"--

As an evolving and contested field, urban design has been made, unmade, and remade at the intersections of multiple disciplines and professions. It is now a decisive moment for urban design to reflect on its rigour and relevance. This handbook is an attempt to seize this moment for urban design to further develop its theoretical and methodological knowledge base and engage with the question of "what urban design can be" with a primary focus on its research. This handbook includes contributions from both established and emerging scholars across the global North and global South to provide a more field-specific entry point by introducing a range of topics and lines of inquiry and discussing how they can be explored with a focus on the related research designs and methods. The specific aim, scope, and structure of this handbook are appealing to a range of audiences interested and/or involved in shaping places and public spaces. What makes this book quite distinctive from conventional handbooks on research methods is the way it has been structured in relation to some key research topics and questions in the field of urban design regarding the issues of agency, affordance, place, informality, and performance. In addition to the introduction chapter, this handbook includes 80 contributors and 52 chapters organised into five parts. The commissioned chapters showcase a wide range of topics, research designs, and methods with references to relevant scholarly works on the related topics and methods.

Demirsu offers an engaging comparative analysis of antagonistic social actors co-existing in Verona, a mid-sized city in northeast Italy renowned as the fortress of the far-right. This rich multidimensional analysis explores the intersection of space, identity, and social movements, by delving into the evolution of competing actors and their contending positions on identity and belonging as manifested through urban spaces. While the city and its touristic heritage are promoted for a transnational identitarian network, the protracted struggles of grassroots actors demonstrate democratic potentials for the bottom-up realization of inclusive and pluralist possibilities in hostile settings. The book traces the ways in which collective identity and collective action of social actors are shaped by their relationship to the space in which they operate, with ramifications for places beyond.

Murals have been an important medium of public expression in Mexico since the Mexican Revolution, and names such as Diego Rivera, David Alfaro Siqueiros, and José Clemente Orozco will forever be linked with this revolutionary art form. Many people, however, believe that Mexico's renowned mural tradition died with these famous practitioners, and today's mural artists labor in obscurity as many of their creations are destroyed through hostility or neglect. This book traces the ongoing critical contributions of mural arts to public life in Mexico to show how postrevolutionary murals have been overshadowed both by the Mexican School and by the exclusionary nature of official public arts. By documenting a range of mural practices—from fixed-site murals to mantas (banner murals) to graffiti—Bruce Campbell evaluates the ways in which the practical and aesthetic components of revolutionary Mexican muralism have been appropriated and redeployed within the context of Mexico's ongoing economic and political crisis. Four dozen photographs illustrate the text. Blending ethnography, political science, and sociology with art history, Campbell traces the emergence of modern Mexican mural art as a composite of aesthetic, discursive, and performative elements through which collective interests and identities are shaped. He focuses on mural activists engaged combatively with the state—in barrios, unions, and street protests—to show that mural arts that are neither connected to the elite art world nor supported by the government have made significant contributions to Mexican culture. Campbell brings all previous studies of Mexican muralism up to date by revealing the wealth of art that has flourished in the shadows of official recognition. His work shows that interpretations by art historians preoccupied with contemporary high art have been incomplete—and that a rich mural tradition still survives, and thrives, in Mexico.

This study examines the waves of graffiti that occur before, during, and after a conflict—important tools of political resistance that make protest visible and material. Graffiti makes for messy politics. In film and television, it is often used to create a sense of danger or lawlessness. In bathroom stalls, it is the disembodied expression of gossip, lewdness, or confession. But it is also a resistive tool of protest, making visible the disparate voices and interests that come together to make a movement. In Conflict Graffiti, John Lennon dives into the many permutations of graffiti in conflict zones—ranging from the protest graffiti of the Black Lives Matter movement in Ferguson and the Tahrir Square demonstrations in Egypt, to the tourist-attraction murals on the Israeli Separation Wall and the street art that has rebranded Detroit and post-Katrina New Orleans. Graffiti has played a crucial role in the revolutionary movements of these locales, but as the conflict subsides a new graffiti and street art scene emerges—often one that ushers in postconflict consumerism, gentrification, militarization, and anesthetized forgetting. Graffiti has an unstable afterlife, fated to be added to, transformed, overlaid, photographed, reinterpreted, or painted over. But as Lennon concludes, when protest movements change and adapt, graffiti is also uniquely suited to shapeshift with them.