User:June1965parias/sandbox

Origins
The birth of street art or urban art is very difficult to place in a defined temporal space. This discipline includes very diverse and interdisciplinary forms of artistic expression such as: graffiti, streets installations, prints and mural paintings. One could argue that the very first artistic expression in an urban context can be found in Vienna at the beginning of the 19th century. The author of these inscriptions was Joseph Kyselak, who used the city’ walls as an artistic medium: he wrote his name throughout the Austro-Hungarian Empire. This culture of using urban infrastructures as canvas also manifests itself in other ways throughout the 19th century, when the writer Jack London sees types of inscriptions, drawings and other types on trains in 1890. It will be confirmed later that these comes from "hobos" that marked their surnames sometimes embellished with ornaments and / or poetry. During World War II, visual urban culture continued to spread through a graffiti called 'Kilroy Was Here'. It was an inscription and a doodle that were drawn and carved on walls by soldier assigned in different areas. This practice became increasingly popular in New York especially among gangs in the 20s and 30s. Trains, cars, walls: everything becomes subject to artistic expression.

A Turning Point: The 1970s and 1980s.
It wasn't until 1970-80 that street art took a completely different turn due to the socio-political context and the reactions it aroused. It was then that street art and its revolutionary character became exponentially rooted in culture. Only then, street art and its revolutionary character became exponentially rooted in the culture. The desire to challenge power and authority, which constitutes one of the very principle of street art, then coordinates perfectly with the states of mind of the 70s and 80s.

Introduction
Artistic criticism is a discipline that allows the evaluation of artworks based on their description and appreciation. This assessment is carried out by an art critic within the framework of aesthetics or the theory of beauty. The gathering of evidence within this discipline is fundamentally tainted with subjectivity as it requires an interpretative process of the primary source: the raw material of the art being criticized from which a critical judgement has to be effectuated.

Evidence in art criticism
Each statement made about the artwork must be supported by evidences: elements within the visual material that leads to the argument. Firstly, a rigourous and objective description must be realized based on the art without any marks of subjectivity or value judgements. This constitues the primary evidence: it is objective and must be the basis of the art critic’s analysis. Even though this task requires a pure and objective description some argues that this process still employs an analytical perception forged by the individual’s experience and socio-cultural background which will necessarily transform the artwork.. There are four scales of analysis in order to deliver a conform academic critic. The description, the analysis, the interpretation and the judgement. All of these steps must be supported by evidence found inside or outside the studied artwork. .

The evaluation of Evidence
The validity of an art critic’s evidences is altered by the subjectivity of the art critic that conducts the analysis of his studies. Yet, the study of methods, theories, law and technical informations frame their perspective and helps construct the arguments. A formal analysis of the artistic use of perpective and space based, for exemple, based upon technical studies ensure the validity of an art critic’s critical thinking. .

Examining Truth in Anthropologist’s Methodology
Social anthropology is an academic discipline in which the examination of one’s society’s characteristics is performed. The concept of truth within this discipline lies in the methods employed for conducting research and producing knowledge: conducting fieldwork, ethnography, data gatherings and analysis. Some would argue that analyzing and recounting one’s social and cultural context would systematically be partial and biased. The produced knowledge is shaped by the perception of the anthropologist, his experience, his own socio-cultural background and his interest. Upon these terms, the collected objective truths of an anthropologist is automatically tainted with his own social conditions. Some would argue that to get closer to an objective form of truth, the anthropologist must “practice”. He must perform ethnographic work, which includes fieldwork, participant observation and gathering insights, as a research method to fully grasp and micro the reality of one’s subjective experience. This immersion in one’s culture would put an emphasize on the other’s culture and allow the study conductor to enter the studied culture in a realistic way. Although, once again some would claim that the worker’s positionnality automatically creates strong gaps between his perception of reality and the reality, the objective, neutral representation of a society and its culture. One school of thought promote the idea that objectivity within the field of anthropology is a crucial element for the production of a form of truth. However, one can postulate that the simple fact of verbally recounting, using words and phrases leads to the loss of objectivity. Yet the dilemma of truth and objectivity within anthropology, is one that is inevitable for a lot of anthropologists as this discipline studies social relations. Thus, by its own nature it involves a knowledge that is constructed upon intersubjectivity.

Power of identity
Fashion is by its own nature, intrinsically tied to the identity of the individual. Clothes detains a certain power: one that is of resistance, defiance, strength. It helps in the assertion of one’s identity, membership to a cause, or beliefs. Some argues that a person's choice of clothing is an important factor in how the world perceives him or her. The power that one affirms at first sight is often linked to one's self-esteem and daring choices of clothing would help in the build up of this self-esteem. One historical evidence of the power fashion displays, can be found within the traditional Indian clothing: the Khadi. Indeed, according to Emma McCledon, this clothing proclaimed a significant political statement promoting the Indian autonomy from the British influence. Thus, revealing itself as a symbol of power and conviction.

Fashion as a soft power
Fashion is a tool of great influence for a nation too. Its soft power constitutes a motif of interest for foriegners. Indeed, according to the British Council, “22% of young people in countries that are strategically important to the UK cited fashion as being something that made the UK attractive to them”. This data underscores the real importance of Fashion in broader terms than just identitary but as being crucial fro political interest. The fashion one choses to follow and adhere to, helps them formulate a statement. Feminism is a great exemple of how fashion manifests itself as a  political tool. Suffragetts used it as a symbolic emblem to manifest their ideas and convinction to empower women. Their choice of adhering to a rather masculine fashion ( for their generation ) revealed their willingness to chellegne the society’s traditional scheme.