32. Traveller’s Tales: Streetart into cyberspace ........ and back again
47. It is the tangle of physicality and symbolism, the sedimentation of various histories, the mingling of imagining and experience that constitute the urban . ...... The city as jungle, as labyrinth, body, network, unconscious, crimescene, phantasmagoria and so on are not just literary devices, they constitute part of the material out of which we experience the urban. And they have a history. (Highmore, 2005 : 5)
53. the texts we produce in the space start to constitute the space Production of space- lefebrve
55. The urban space of the street is a place for talk, given over as much to the exchange of words and signs as it is to the exchange of things. A place where speech becomes writing. A place where speech can become ‘savage’ and, by escaping rules and institutions, inscribe itself on walls. Lefebrve
56. Streetart is ubiquitous; multimodal in its form it covers environmental surfaces worldwide. Streetart impacts variously upon urban settings but is now being reincarnated in digital online spaces , acquiring new meanings in these new contexts. On the street, this work fades, corrodes, is erased or even celebrated by city custodians. The relocation of streetart to online spaces showcases such evolutionary processes of decay or vandalism; but digital images also breathe new meanings into the art, captured both within the online space but also impacting back to the art as it lives on in the streets. I discuss how new technologies affect streetart and streetartists and how online social-networking affords new possibilities for narrative within it. Taking Walker's notion of 'distributed narratives' and the concept of provenance I elucidate a new way of understanding street art as narrative distributed across spaces and time, in many modes and by many authors.