Art Crimes Front Page
An inquiry into motivational matrix of human behaviour indirectly documented via graffiti-research, by Axel Thiel
With regards to Mr.BREDE, Kassel police department, June 1997
I once saw a boy - aged 8 or 9 - come to show his father some drawings he did, proudly presenting to his dad what he had done and father looking at them with but one glace, saying "Nice "and tearing them apart and throwing into wastepaper basket.
The visit of a policeman interviewing me about graffiti and writers in general brought about question as how the PSYCHOLOGICAL MATRIX of a person could look like that might start writing. You only understand some behaviour IN RELATION to world this person is living in. So we also know that graffiti are RELATIONAL TOOLS, with them as communication you may effect certain things, invite reactions, trigger discussion: in short MOVE PEOPLE.So graffiti-research is being established as part of communications-research in general and needs comparative methods to understand what it all might be about.
Graffiti-research is being done since 200 years and till ca.1968 name of graffiti only being know to some experts.Forerunners having been famous ANTHROPOPHYTEIA of F.S.KRAUSS that were ended ca.1915, so rebirth of systematical research on a BROAD base started at end of 1960ties..... Then some change took place and now we have a much larger base of documents that might all be summed up as graffiti which might put up question "how come" that this change took place at all. Since 1969 we do graffiti-research now on a GLOBAL base via internet communication and by having established our INTERNATIONAL WORK-GROUP ON GRAFFITI-RESEARCH with specific publications that offer broadest base and central sources of information available to all persons/institutions. We actively invite cooperation with all that are willing to really find out what is happening here and are willing to have some second looks at matters before coming to some (prejudiced) decision.
We have five sources for analysis:
My approach will be some COMPARATIVE one, this means I'm going to take writers material (interviews, graffiti) as FOREGROUND and take adverse side (repression) as BACKGROUND and then compare material. This is like taking two slides one above another and look through looking for DISCREPANCIES and CONTRADICTIONS. I also am convinced we are able to look at some important aspect in human life: the expression of things that move man.Via graffiti people are able to COMMUNICATE parts of their CONSCIOUS/UNCONSCIOUS to other persons. From other fields of sciences we know mankind sharing some basic symbols that indicate at some collective shared signs. The financial aspect of graffiti/writing (cleaning etc.) that is globally a booming BUSINESS should be looked at very carefully as questions remains if it is not them in many cases that escalate problems as they vote for strict measures (also via COUNTER-propaganda...) to increase their profits.
I state we are here being confronted with basic human ability to be CREATIVE and invent new ways of expression that are of relevance for life. My approach here is being influenced by Erika LANDAU (Tel-Aviv). In order to survive you have to KNOW what is happening (being done) to you. ONE way is gaining some DISTANCE (graffiti) to be able to step back and look at matters with some second view.... This means the translation of PSYCHOLOGICAL aspects (also: unconscious) into VISUALIZED documents on the SURFACE of matters (paper, walls etc.).
Now you may ask how come I am able to speak about unconscious aspects as this is - per definition - not directly "visible"? The answer is very simple: Writers TELL us about their motives. And ONE aspect that stuck to my mind because I found that very often is sentences like: "I JUST CAN'T STOP IT! "... even knowing it is dangerous (writers got killed...) and forbidden by society. I know of very few expressions that so clearly show the enormous FORCE and POWER that hides behind these plain words that move a person to extremes: taking risks, doing expert planning, going out at night, racking spraycans, almost having to become an acrobat. This means he is - like in some neurosis (anancastic cases...) - moved like some "puppet on strings "and this aspect of some INVISIBLE INFLUENCE (Socrates spoke about some "god" here....) generating some COMPULSION is enough for me to know we have to deal with UNCONSCIOUS aspects of greatest importance. Say we are being confronted by COLLECTIVE UNCONSCIOUS... wouldn't that be something?!
I strictly state that LEGAL questions here do NOT only NOT SOLVE problems but help create NEW ONES (escalation).
We know there being one way to transform unconscious material into conscious: MAKE IT VISIBLE via writing (graffiti and/or text) and DRAWING and/or art in general. Today's writers are group of persons being able to notice certain traits in modern societies that make them become ACTIVE and CREATIVE and this way we might look at them as SAFETY VALVES of present societies. They invite us to look at things that we rather would prefer not to notice (denial, repression) but still exist and may influence collective behaviour in ways dangerous to survival of mankind. We also know being invited to look at repressed aspects invites (psychologically) RESISTANCE and no wonder society does not want to see what is there on walls.
Not all warning a society may get - see story of Cassandra in Greece's antiquity - this society may heed and pay attention to. Powers of NOT WANTING TO SEE often - for the moment - being more influential. Via SOCIATRIC THEORY OF STATE (sociatry) I have been finding ways to understand aspects of value in graffiti and recommend you to share their information. More details in our periodical "EINF HRUNG/INTRODUCTION " (see: literature)
It belongs to question of "cultural blindness "that adults do not think it possible that it may be YOUNGER generation finding something of real value to a society. The fact that AMERICAN GRAFFITI have changed global VISUAL CONSCIOUSNESS is an insult to (elder) specialists and part of negative reactions may be explained by envy.
In order to really understand impact graffiti/writing has on todays (especially: young) parts of society we have to notice that we are being confronted wit some hitherto never met experience, which means some cultural revolution. Via GRAFFITI (American style), this product of slums, CHILDREN/ADOLESCENTS have been INVENTING (social invention) something TOTALLY NEW way of HUMAN EXPRESSION that did not exist before and this fact alone is a threat and menace to experts of all kinds. This, too, is an insult (psychologically speaking) to their need to be looked at as specialists as here they can see that certain processes may also work WITHOUT them, as you also may see in COMPUTER-BUSINESS, where in general TEACHERS are YOUNGER than PUPILS. Normal tradition had it that information/abilities/craftsmanship have been HANDED DOWN from ELDER to YOUNGER generation, but here things have been turned UPSIDE DOWN and for this reason I named it a CULTURAL REVOLUTION. This is - unconsciously - the driving power behind certain irritations. It means an unencountered challenge to distributions of powers for the future. And it happened ONE GENERATION after beginning of ATOMIC-ELECTRONIC-REVOLUTION (also see: Pahner, literature) that so dramatically changed the world that still most people haven't been able to understand IMPACT of this at all.
We all know now that OUTER-WALLS (of buildings=PROPERTY) are of specific quality that I named FORCED ARCHITECTURAL MATRIX. Why such a name? Because we HAVE TO MOVE INSIDE of that matrix we generally name streets, ways, paths, allies, roads and so on as they are the ONLY places where we may move from ONE place to NEXT. Like blood-vessels in a "body "we have to follow these structures to be able to move about and since we are accustomed to that fact from our birth we generally DO NOT reflect this so it was - till I found out - impossible to see/understand that it is some SOCIAL REALITY we cannot decide on/about. It is a MUST, so I used that name to make clear the COMPULSORY element here. We may decorate walls on the inside of rooms/apartments that we rent to our likes but things are totally different with OUTSIDE WALLS. But since ways etc. are some COMPULSORY SHARED matrix I think ALL persons should have AVAILABILITY of the OUTER WALLS as well and questions of PROPERTY here - in front of that background - need a SECOND discussion. Any owner of a wall may force me (and make his profit here...) to look at any kind of advertisement, even if I would not want to. I think this will not and cannot go forever. So, of course, graffiti/writing is forcing to look at PROPERTY again. That property is a POLITICAL question may be clear and no wonder graffiti invite that much repression. To me it is obvious that this re-discussion of responsibility of property should be stop with all means possible but as SOCIAL PROBLEMS are on the rise globally we might not be able to effect that any more.
Writers in general are YOUNG, owners of PROPERTY older. First generally being rather poor, latter rich. Sprayer being kids and/or adolescents, owners of property members of elder generation. This implies some totally ASSYMETRICAL relation and this also means to one side helplessness and needs, and the other not knowing what to do with riches any more. Looking at some of their lives we can see that POWER very often has CRUSHING consequences and it always has been youth that had to resist here and try to find their ways in to their futures. Only question is what if there are less and less FUTURES? We remember around 1968 famous slogan NO FUTURE... what if we now live in those times that then still were ahead of them?!..... We are being confronted here with questions how means (money, knowledge, influence etc.) may influence lives and what a LACK here might imply (surplus life). Looking at graffiti/writing also invites, no: forces us to look at RELATIONAL MATRIX of "modern "societies and how has what kind of POSSIBILITIES, and what will those have to do that LACK THEM?!..... This means graffiti-research being a POLITICAL analysis and wanting to find out what is going on here needs some scrutinizing questioning of distribution of possibilities and look at processes of MONOPOLIZATIONS.
Coping with situation being born a surplus life, a person state doesn't need any more (automated industry) and lacking in many cases means (in largest extent) we are being confronted with products from SLUMS and this starting point (New York, Taki 183) tells us some background information. I name inimical territory some space where people HAVE to live but would not if they could decide (1.) lacking means (poverty, welfare) (2.) in a society that is going to be more and more automated (3.) and thus cohorts of general populace being transformed into surplus lives (4.) Being housed in "housing projects " (5.) that do not offer those qualities that make a home (6.) meaning that your life is some constant state of distress (7.) that invites hate (8.) that invites destruction (9.) to be outward (10.) directed (aggression) and/or turning into suicidal (11.) behaviour. This means that basic needs (12.) for survival (13.) are being denied (14.) =psycho-social abortion of parts of populace.
First we may not forget we deal with KIDS and/or ADOLESCENTS............ From certain information I have been noticing (Rammelzee as "speaker ") I state writers (or those to become one) are persons that have some "open eye "to PROBLEMS IN COMMUNICATIONS. In other words I say writers being sensitive persons to certain (also: subliminal) processes of change in social environments (social worlds) and it is no chance they named themselves WRITERS which has some MULTIPLE MEANING.
If I speak about "sensitivity "I am not talking about "softies "but about young persons that have a FEELING for what might be happening... Next I say they have a non-average amount of ENERGY and DEDICATION to ART/EXPRESSION even if at school they may be silent. And in some world that is more and more becoming ANONYMOUS they ave to make sure that they, too, are being RECOGNIZED as persons that have needs (social problems/costs!) this also includes abilities (high!) in sector SOCIAL PROBLEMS (RELATIONS), which doesn't mean they have to big talkers, what I think might be outstanding could be knowledge/understanding of SOCIAL QUESTIONS.
Moving about in their different "social worlds " (school, city, sports etc.) they also feel what is happening there, that their space is being FENCED IN which means the transformation of available space in some kind of "invisible prison "where crowding must generate HATE. To such disastrous developmental processes they REACT directly with REOCCUPATION of some of their ESTRANGED SOCIAL TERRITORY via WRITING, which ATTRACTS attentions of onlookers. Here they become via their graffiti SOCIAL INDICATORS because they direct our attention to SOCIOLOGICAL CHANGES that - otherwise - might pass UNNOTICED.
We should remember that MENETEKELS have been WARNINGS in history and if we do not heed these information/warnings and just react with DENIAL and REPRESSION....look for rest of this information in your BIBLE (Moses).
Please note I said I am looking at their UNCONSCIOUS abilities and you'll find many writers that would deny what I say. Since they must be able - in order to survive - COMPLEX situations (planning etc.) this showing MANAGERIAL abilities some real manager would wish to have....In comparison to what normally is being named "vandalism" (which is not a correct scientific term but some PREJUDICE...) if we consider that to be the destruction of material (broken glass, torn trees, broken lamps, windows, antennas, cut tires etc.) writers displaying SOCIAL RESPONSIBILITY NOT working at this level. This is being generally OVERLOOKED. Looking at their PRODUCTS (whole-cars etc.) you can see their highly developed abilities to VISUALIZE MOST COMPLEX structures and from brain-research we know their brains will be similarly developed. This means they can see things you cannot. And it needs some ability to find, detect things rest of society cannot (yet), to be able to do that makes them a group with very specific VISUAL abilities.
In case of escalations IF they should exchange the rather harmless SPRAY-PAINT-CAN for REAL GUNS you will remember my words.
So we may look at writers as being some HIGHLY SENSIBLE/MOTIVATED (socially) part of populace that might be able to act as SPEAKERS for a whole COHORT. No wonder that graffiti/rap/hip-hop have been developed along identical lines. They help to express certain important (to youth at least) information and if we stop communication here it is comparable to closing some "safety valve".
Certain persons - at ALL times - as far as it is known to us - have become SPEAKERS of their generation, even against their wills. Due to their SOCIAL ABILITIES it is WRITERS that have some "open ear" to changes that are of importance to all society... if they are willing to LISTEN. We should not forget that this HIGH MOTIVATION helped to create a NEW JOB: writer, with specific TERMINOLOGY and possibilities to "make a living" at times where jobs/work is getting scarce.
This means writers are PIONEERING personalities and should be treated with respect. With what they did they have been OPENING new ways in artistic sectors that haven't existed BEFORE they - writers - created/invented them. So they are SOCIAL INVENTORS in best sense of phrase. It would have been almost impossible for a single person to INVENT such a matter so COLLECTIVE PROCESS (all writers in their totality generated this invention...and still develop it) is important here.
Never forget that PAINT is of another quality compared to WEAPONS, even though at certain times (riots, revolutions etc.) graffiti also may become weapons. So I think they also have a feeling for HONOUR and RESPECT (dedication from one writer to another) and should be treated with utmost care. We can see they accept GROUP-RULES ("crews") and this displaying SOCIAL ABILITIES once more. And transgressions here (abuse of power etc.) because to intimidate other writers by sentences (5 years: Simon Sunderland, GB) might result in ADVERSE reaction and you'd have more and new problems.
Graffiti/writing is a GAME (game/play-theory!) following RULES. Police not accepting rules would be something to study! A summing up showing we deal with persons that are able, motivated and/or even gifted that display all abilities any society could use and should invite. Living at times when surplus lives are becoming "normal" we shouldn't accuse them of being "criminals" if they try to get on somehow in their lives as society cannot offer help here any more. And in fact often DOES NOT, even though acting AS IF....
We all know about importance of PEER-CREWS and - having to do with adolescents (eldest writer I read about (US) being ca. 45...) no wonder writers have specific needs to start crews by their own to exchange information on writing and encourage/mutual assist each other. Since the legal situation forces them into SECRECY they have to live DOUBLE LIVES (acting as if... theatre....) going as far as trying to develop two STYLES: one legal the other "real" in case they want to sell their products.
Policy of CRACKDOWN makes their lives stressful but this is necessary to stand tests that belong to coming of age. I see the possibility of becoming addicted to "danger" (flow/adrenaline) which would and could shorten a life and therefore I'd vote against and intensification of persecutive measures. Surviving in a complex world IS difficult enough... and doesn't need any intensification any more.
ADOLESCENCE. We have to keep in the backs of our minds that cohort we are looking at may be found between the 10th and 17th years of their lives in average. This means we are looking at specifics of ADOLESCENCE (more and/or less) and this needs not to forget what this might include: The transgression of rules. A time when testing, experimenting is important to - finally - find YOUR place in a society.... IF that society still wants/needs you. Which is not so sure any more if we look at RISING SOCIAL PROBLEMS in "modern" (Western) societies. Relations among their peer-groups being of importance here. TESTING REALITIES is of vital importance to select a role that might help them know what they may want to do with their lives.
We know for sure there being only THREE ways to - one way or another - to come to some agreement with society you HAVE TO LIVE WITH:
Since tags and graffiti (writing) come from slum-districts of large cities they reflect a lack of roles and document the need to invent (social invention) new ones that may be executable with little means (poverty, unemployment etc.). It must be taken as sure that a life of some SURPLUS LIFE (psycho-social abortion, unwanted children etc.) can by NO MEANS be accepted by any next generation=children=future. This would equal PROLONGED SUICIDE (drugs, etc.)
In average literature - also scientific - and here especially in sector of deviance, criminology etc. we find lots of PREJUDICES that make it very difficult to look at graffiti/writing with "naive eyes" that you need to be able to find NEW ASPECTS to already known things. Here "normality" is naming writers "vandals" and declaring what they do as "criminal acts" and turning them into "dangerous terrorists" which is total nonsense IF you still have enough discriminating capacities to compare what they really do to with what terrorists may effect.
This approach of labelling, giving them some pejorative name hoping things might be solved this way is some enormous mistake only generating MORE problems. So in one first summing up I can say from the study of REPRESSIVE TECHNOLOGY that the "solution" here turned out to become the REAL PROBLEM. NO strategy whatsoever really could bring about a ceasing of writing. Just to the opposite many preventive measures INTENSIFIED problems. These facts alone should be enough to find a DIFFERENT APPROACH to graffiti/writing.
I have repeatedly shown that free available (roaming) spaces for kids/adolescents=FUTURE being lessened from day to day due to generation of PRIVATE PROPERTY that automatically means EXCLUSION of certain cohorts (poverty) of population. FREE MOVEMENT becoming more and more a matter of FINANCES as you have to pay FEES to be ADMITTED. You may proof that statement by signs that tell you to "keep off", "no trespassing", "restricted area", "access denied" and so on. Where children could play with no problems 30 years ago we now find FENCED IN places (tennis etc.) This development means an INTENSIFICATION of PSYCHO-SOCIAL (packing-experiments) PRESSURES in those streets and places. In return this invites DISTRESS which brings about breakdown of persons, a known fact from stress-research. This lessening of places also having MENTAL sides in aspects of BOREDOM (housing-areas) that mean SENSORY DEPRIVATION which intensifies distress even more. This at times of "cutting social costs" brings about some THREATENING (survival) situation to people.
I am influenced in understanding by situational analysis by Gü nther ANDERS on one side and psychoanalysis on other. The fusion of EMOTIONAL aspects and MENTAL BRILLIANCE seems to me very important as it means "flow" and brings about self-rewarding effects. I also am indebted to Victor KLEMPERER whose book LTI always has been a treasure to me. Since I am living in a country where a special sign SWASTIKA - has been used to TERRORIZE people of another creed (Jews) I am invited to take all care to document real motives of writers.
Information I have been getting via 20 years of research are being COMPARED with information that are being communicated by REPRESSIVE institutions (NGIN for example) and some comparison showing the ONE-SIDEDNESS of their information that implies INDOCTRINATION and PROPAGANDA. One has to keep in mind GRAFFITI-RESEARCH going on since 200 years already......but has been rather secluded most of the time. Change being 1968 with "youth-revolution". One generation after ATOMIC-ELECTRONIC revolution that started definitely 1945 (Hiroshima, Nagasaki). Details see my sociatric theory of state in our PERIODICAL "Einf hrung/introduction". Graffiti-research being by necessity PROPAGANDA-RESEARCH as you might understand nothing at all if you do NOT analyze historical situation that triggered the production of them in first place. In other words the fact that we - today - are being confronted by so many WRITINGS ON WALLS is an INDICATOR that could tell us about changes in societies that may pass almost unnoticed if it wasn't for writers that DOCUMENT some aspects here. We still totally lack almost all understanding - deep analysis necessary - of what is really happening here.
Asking how come that graffiti being made AS IF they were "devilish" matter (look at pseudo-religious argumentation of anti-graffiti-specialists...) and socially idiotic equations come up like GRAFFITI=HATE=CRIME? Internationally looking graffiti are - globally - a BILLION $$ business and methods here may be COMPARED with "drug-control "which is NO CONTROL at all but big business alike......And IF you know what is happening HERE you'll be able to understand why writers are being persecuted....
Worldwide graffiti are being heavily used in industry and I know of almost no product that hasn't been brought into contact (youth-advertisement) with graffiti. So hidden by persecution (legal questions) their products (graffiti-writing) is being literally STOLEN FROM THEM and used by companies. This aspect should not be forgotten or you won't understand anything at all. If I was producer of paint I'd encourage writers to do what they do as this bringing profit AND I also might be convinced what writers do IS ART. We have lots of controversies here what they should be looked at and this decision is an IDEOLOGICAL one as there exist no "value-free" criteria of what art is and what not. What we may say is that GRAFFITI/WRITING definitely has changed our "visual landscape" on a global scale, so knowing this we also might deduct we treat with something of importance. Any definition of the kind of "..they are NOTHING BUT... " helps here nothing at all.
We live at times where the GAPS between persons, groups, classes, cohorts and people are widening at some increasing speed - industrial countries/poor countries etc. - and this is also doing something to GENERATIONS-GAP that is widening. We also know that between "poles" with distance voltage/energy is increasing so it might be useful to try to BRIDGE GAPS wherever this (still) might be possible..... People that do not know each other any more automatically invite DESTRUCTION of each other. This is a lesson history teaches us. From BIBLE we know MENETEKEL - THE WRITING ON THE WALL - some warning to some UNCARING king with known outcome.....And we also know it needs some TRANSLATOR to help people understand.
Before we have come to some real understanding what graffiti/writing may have to tell us (menetekel-function) we already are sure that it all is only "vandalism "and "criminality". "Oh Lord, throw brains from above! "..... Looking at how "modern" societies treat SOME OF THEIR CHILDREN = FUTURE might help us understand about GENERAL SITUATION of youth in those societies. This we may be able to analyze relations between different generations. It always is ELDER generation that is the influential one, NEVER children. So it is a question of RESPONSIBILITY in the end. In other words:
WRITERS ARE A MIRROR OF A SOCIETY THAT MIGHT HAVE STARTED TO FORGET SOME IMPORTANT ASPECTS OF LIFE.
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THIEL, Axel: "Einf hrung in die Grafitti-Forschung/introduction to graffiti-research", vols.1-29, Kassel 1983-97 (ISBN 3-923548-99-0)
THIEL, A./THIEL, M.M./BEYER.J.: "Spr che und Kommunikation von Damen-und Herrentoiletten", Kassel 1982 (ISBN 3-923548-01-X)
THIEL, Axel: "Eine Untersuchung von Grafitti" unter Einsatz der Technik der "freien Assoziation", no.1, Kassel 1982 (ISBN 3-923548-09-5)
THIEL, Axel: "Eine Untersuchung von Grafitti" unter Einsatz der Technik der "freien Assoziation", no.2, Kassel 1982 (ISBN 3-923548-38-9)
THIEL, Axel: "Grafitti-Bibliographie/graffiti-bibliography", (3.) Kassel 1983 (ISBN 3-923548-33-8)
THIEL, Axel: "Supervision als kreativer Prozess", Kassel 1991, ISBN 3-923548-68-0
THIEL, Axel: "Vocabulary of graffiti-research" (1.) Kassel 1996 (ISBN 3-923548-95-8)
THOMAS, Nils: "Graffiti als fusserungen von subkulturellen Jugendgruppen oder die Macht der Zeichen", (Diplomarbeit) , Dresden 1996
TOBER, Claudia: "Die Sprayer-Szene: soziologische Untersuchung einer jugendlichen Subkultur" (Diplomarbeit) M nster 1995
TOTH, Jennifer: "Tunnel-Menschen" Berlin 1994, ISBN 3-86153-079-1
VAN TREECK.Bernhard: "Graffiti Lexikon", Moers 1993, ISBN 3-924690-88-X
WILDL CHER, Daniel: "Was eine Kinderzeichnung verr nchen" 1974, ISBN 3-463-00601-4
WRIGHT, Daniel: "Graffiti from Graceland", Memphis 1996, ISBN 0-914457-75-6
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