Leadership for place-making: towards a

solidarity economy stimulating surplus

labour value into an economic market

Case Study of Graffiti in Sassari: The possibility of

opening up meaningful spaces and generating

economic agents

Stuart Copeland CEO

Leadership Coach & Consultant

Mushroomtopia Ltd: Consultantopia Division (www.mushroomtopia.co.uk)

In association with: & Latte Dolce (Sassari)

In association with:

1st Iteration was funded and worked on, in association with:

1) Caritas (Via Seminario, Sassari, Italy), and

2) Official Statistics (2010 and 2011) supplied by Sassari job centre (Latte Dolce, Via

Bottego, Sassari).

All the research, market testing, and analysis was undertaken by Stuart Copeland as a

Radical Market Research consultancy project.

All intellectual copyright remains with the author and commercial copyright with

Mushroomtopia Ltd.

A further 2nd and 3rd Iteration of research, to develop and refine the theory is proposed for

the possibilities for leadership for place-making: towards a solidarity economy in stimulating

surplus labour value into an economic market.

What is a case-study?

This is a case-study of Graffiti in the case-site of Sassari. The research design is iterative, and has three iterations of methdological enquiry into possibilities of surplus labour value developing a capital market. It employs a quantitative framework of leadership, economic, and social theory propositions tested and developed from qualitative data. The desired outcome is for creative labour power of young people to be realised in economic activity of the consumer city. This research is considered an acceptable case study methodology (Campbell, 1975: 191).

This presentation will outline:

> Leadership for place-making (Copeland et al. 2009), and what we missed!

> Work Theory and (Abstract7Creative) Surplus Labour

> Solidarity Economy and Stimulating and Exploiting Agency

> Marketing and Policy Recommendations

> Recommendations PEST and SWOT Analysis

> Summary of findings

Why Sassari?

Sassari is a City in Sardinia, Sardinia is part of Italy. Central Sassari is of a size that can be easily strolled around and encounters with its inhabitants are easily established and can be frequent. Sassari is one of the oldest cities in Sardinia, and second largest. Sassari is reported to be rich in art, culture and history. It is significant in terms of culture, tourism, commerce and politics. Sassari is home to French Artist ?? who is famous for changing road signs, and has seen the likes of Blu visit on his graffiti tours. It also has a Group called URBANLAB part of the Occupy movement, who promote neo-urban art. Also Sassari in being part of Italy is part of my purposive sampling strategy of what Mandarini identifies as there being Italian processes and practices that are transformational. He argues that Italian “reformism of capital” is the way capital appropriates and puts to people work, and finds its roots in Article One of the Italian Constitution:

> Italy is a Democratic Republic, founded on work”

Italian philosopher Negri et al argues surplus labour capital invents the social and productive forms that capital will be forced to adopt in the future” (2000, p.268).

This case-study, and therefore the case-site through Ethnographic field work may be pattern matched to leadership, economic, and social theory for the purposes of theory testing and development. Thus working towards a new strategic leadership for place-making (Copeland, et al 2009) during times of economic crisis and mass unemployment, where “consumer power has now become more crucial than labour power within cybenetic capitalism” (Baudrillard, 1975). Whilst I was a DJ and Graffiti Writer my reading of Baudrillard inspired me to call to action Graffiti Writers and Djs to get off their computers and into the streets to find a market audience (www.last.fm/user/Danger_Stu).

Why Sassari?

Statistics from Latte Dolce (Job Centre) Via Bottego, Sassari

Province of Sassari Total Population (National Institute of Statistics 2010-2011):

337237

Why Sassari?

2010 Worked Before Never Worked Total

d'eta M F Total M F Total M F Total

<18 19 12 31 84 56 140 103 68 171

18-24 2897 2265 5162 1823 1866 3689 4720 4131 8851

25-29 2916 2733 5649 1045 1265 2310 3961 3998 7959

30-34 3100 3168 6268 774 1184 1958 3874 4352 8226

35-44 6210 6779 12989 1124 2822 3946 7334 9601 16935

45-54 4316 4609 8925 851 3267 4118 5167 7876 13043

55-64 3382 2078 5460 941 2702 3643 4323 4780 9103

>64 1558 448 2006 629 1156 1785 2187 1604 3791

Total 24398 22092 46490 7271 14318 21589 31669 36410 68079

Why Sassari?

2011 Worked Before Never Worked Total

d'eta M F Total M F Total M F Total

<18 44 30 74 279 204 483 323 234 557

18-24 3456 2669 6125 2391 2491 4882 5847 5160 11007

25-29 3455 3139 6594 1106 1382 2488 4561 4521 9082

30-34 3637 3665 7302 819 1245 2064 4456 4910 9366

35-44 7281 7663 14944 1185 2937 4122 8466 10600 19066

45-54 5093 5065 10158 936 3361 4297 6029 8426 14455

55-64 3847 2231 6078 999 2765 3764 4846 4996 9842

>64 1578 454 2032 630 1157 1787 2208 1611 3819

Total 28391 24916 53307 8345 15542 23887 36736 40458 77194

Employment Stat's Analysis

2010 – WB 2010 – NW 2011 – WB 2011 – NW 2010 Total 2011 Total 10–11 Increase

<18 0,01% 0,04% 0,02% 0,14% 0,05% 0,17% 0,12%

18-24 1,53% 1,09% 1,82% 1,45% 2,62% 3,26% 0,64%

25-29 1,68% 0,68% 1,96% 0,74% 2,36% 2,69% 0,33%

30-34 1,86% 0,58% 2,17% 0,61% 2,44% 2,78% 0,34%

35-44 3,85% 1,17% 4,43% 1,22% 5,02% 5,65% 0,63%

45-54 2,65% 1,22% 3,01% 1,27% 3,87% 4,29% 0,42%

55-64 1,62% 1,08% 1,80% 1,12% 2,70% 2,92% 0,22%

>64 0,59% 0,53% 0,60% 0,53% 1,12% 1,13% 0,01%

Totale 13,79% 6,40% 15,81% 7,08% 20,19% 22,89% 2,70%

Paired t test results

P value and statistical significance: The two-tailed P value equals 0.0021 By conventional criteria, this difference is considered to be very statistically significant. Confidence interval: The mean of Group One minus Group Two equals -1298.14 95% confidence interval of this difference: From -1911.95 to -684.34 Intermediate values used in calculations: t = 5.1750 df = 6 standard error of difference = 250.849

Why Sassari?

Sassari Sassari

Sassari with an ageing population and a major problem with employment:

> younger people aged 0 – 29 1.09% increase between years 2010 and 2011.

Coupled with:

> 1.62% increase of people aged 30+ between 2010 and 2011

This demonstrates an urgent need to find employment for younger people. Reports

suggest there is a growing trend of younger people immigrating to foreign

employment markets to find employment causing concern.

Making Sardinia more attractive to younger people to stay and work is essential,

and stimulating the skills and exploiting existing talent in the current market and to

nuture emerging markets is essential to grow the economy and drive change in

wealth from Globalisation in attracting tourists to the “walkable city” (Subuorg 2007)

and “creative city” (Copeland et al 2009).

Leadership of place-making for

an economy “ought” to be: “21 Century Leadership for place-making”

• Collaborative/relational

• Composite/interdisciplinary

• Intergrated vision for place

• Brings together diverse networks

• Time extensive

• Holistic

• Focus on people and on creativity

• Open/inclusive

(Copeland et al. 2009 findings from Birmingham City Technology Belt Case Study, and Copeland 2008 CRESC Conference at University of Manchester)

What we missed in 2009?

• The article was based on the findings of the experience of the leadership of the Birmingham City Technology belt (Copeland, et al 2009). My epistemological break repositions the focus from leaders bias for consumer power to focus of “agitators” and “strugglers” as surplus labour power. The BCT case study looked for new leadership in the wrong place, as Tronti argued that capital increasingly subsumes society in a modernist agenda to the model of factory organisation for a “factory society” that only exploits, but forgets the struggle that it Capital depends on for development (1971, p.46).

• Keynesian economics based on the principle of manipulations of the “supply side” by intervening directly in “demand side” consumption, ie, through “leadership for place-making stimulating and exploitating” (Copeland, et al 2009) demand and consumerism which we can read from Mandarini would perpetuate the stagnation of the market in reducing “new needs and demands arising from struggle” (2005, p.197). Graffiti artists should be supported to make for self, with backing of law, policies, and market for meaningful spaces.

• Italian philosopher Negri who reconfiguration of judicial theory and practice goes hand in hand with transformations of capitalism (Mandarini, 2005, p.198). Law is subordinated to administration, turning class conflict into a moment of intergration and consent of capitalist development acting as a and a unifying force.

– Normative values find origin in a set of real, social forces expressed

in law while the constitutionalization of (abstract) labour ensures that

the intergration of labour no longer stops at the gates of the factory

(Negri, 1994 pp.80-81)

What are “agitators” and “strugglers”

as surplus labour power? • Similar to the article setting out the time-sensitive and urgent economic crisis to stimulate a new leadership for place-making

(Copeland, et al 2009), some Sardinian thinkers are making the same mistakes making demands of an exhausted and stagnated “leadership for place-making”. For example:

– La Storia Di Un'Idea Di Lavoro Vincente (Riccardo Sanna, Librando, No 73-74 Gennaio-Dicembre 2011-

2012)

• “technical-scientific classes,... Universities,... to make a productive collaboration of public and

private in financing through political administration natural processes of mediation” (Front

Page)

• Matteo Mandarini reading of Operaismo Filosfia (Workerist Theorists) posits that:

– He problematises “mediation” resolves conflict over labour value for unity of the system (SEE EMAILs

ABOUT WANT MORE MONEY). Labour must realise its centrality and its own antagonistic character

demonstrating both initative and capacity for its own organisation. (2005, p.194)

– Technical Class composition is best understood in relation to differing, historical specific valorization

regimes. the varying intensity of the rate of capital into means of production employed and mass labour

necessary for their employemnt, changes in variable capital dicated by the different historical determined

needs of production and valorization processes, changing ratios of constant to variable capital dependent

upon the conditions necessary for their reporduction and so on. Each of these elements – and their

precise interrelation – is determined by the level of struggle at anyone time. (2005, p.195)

• The Graffiti Literature identifes Graffiti Writers as “Bombing”, which I frame using workerist theorists as the agency of “agitators” and “strugglers”. The agency of “Bombing” is from a Constructivist paradigm of thinking (Burrell). This could be framed as a “raw creative resource” of “surplus labour” demanding creative labour as a backlash against econmic stagnation. Mandarini posits it is possible to interlink spontaneous economic demands with political ones, which must involve juridical processes (2005). Using Burrell's Structuralist paradigm of thinking, which in terms of Juridical Theory can “deposition” the normative “position” of Graffiti as vandalism to be eradicated, and “reposition” the normative of Graffiti as Surplus Labour for a “Solidarity Economy” to have “meaningful spaces” supporting an emerging economic market. Matteo identifies from historical analysis that “taylorism” and “fordism” is designed to create a technical class that will block this interlinking. The interlinking ought to be the demand for capital from surplus labour finding a network of leadership that stimulates a supply of capital to the demand, with state leadership intervening in markets to induce capital markets demand for surplus labour and relax restrictions on the network of leadership that can supply.

Work Theory: Stimulation and

Explotation for a Solidaity Economy

Leadership of Creativity and Knowledge to stimulate and exploit for a Sassari solidarity economy requires:

raw creative resources (inputs) available for market, marketable as a labour of goods and services (outputs)

policies and marketing to generate meaningful spaces for these goods and services to find commerce and capital markets (outcomes).

Solidarity Economy: Sassari Graffiti

Theorising the Solidarity Economy for the case-study of opening up meaningful spaces and a sense of collectivity:

1) Social exchange

• ie dialogue between Graffiti Artist and

Shop Owner

2) Creative interaction

• ie Shop Shutters Graffiti Adverts

3) Commercial activity and more

• Fee for art and design work, legal spaces

provided, and respect of community and

private property

Surborg 2007 (Theorising for the Case-Study)

Research Design Method: Mixed-Method Research (Bryman, 2007) Graffiti in Sassari

> Iteration 1. Qualitative Data: Photo Elicitation Interviews (Clark-IbaNez, 2004) - The Graffiti in Sassari's

Urban Space, and possibility of finding a market

– Non-Probability Sampling (Saunders, 2009): Everyday Encounters

– Purposive Sample of focus groups

– Purposive Sampling (Saunders, 2009): Shopkeepers

• High-end and upper market shops. Sales people and shop owners in a

creative and vibrant organised street. Free wifi.

– www.surbito.it Advert for purposes sample of demand for work for graffiti.

AWAITING FURTHER FUNDING FOR NEXT TWO ITERATIONS

> Iteration 2. Qualitative and Quantitative Data: Survey (O'Connell Davidson, et al 1994)

– Cluster Sampling (Saunders, 2009): Customers of the only Central Sassari Graffiti

Material Distributor in a week = an average of 100 customers a week over a 52 week

period

– Sample Size (deVaus, D, 2002): minimum sample size is 90 Graffiti Artists customers to

ensure 90% certainty in confidence of representation, and a margin of error is within

5% + and – of Graffiti Artists customers making it representative sample

Iteration 3. Qualitative Data: Ethnographic Fieldwork

Degrees of Freedom: Testing

Propositions

The theoretical model informing the case-study methodology will consist of an outline set of

theoretical postulations, which when applied to a case study methodology is known as the

degree-of-freedom analysis (DFA) (Wilson and Woodside, 1999). This case-study method

can be identified as being between both a “case studies used to interrogate or test a

theory” (Lijphart, 1971:691-693) and “theory-creating case studies” (Van Evera, 1997: 55).

DFA allows for “generalizing case data to theory versus the inappropriate attempt to

generalize such data to a population” (Yin, 1994). It employs a quantitative framework to

gain insight and understanding about case study rich qualitative collected data, and is

considered and acceptable case study methodology (Campbell, 1975: 191). The essence

of the technique is the idea of matching patterns between empirical observations

(qualitative) and theoretical postulations (quantitative). Therefore, DFA can be seen as

postpositivism, in that “postpositivism relies on multiple methods as a way of capturing as

much of reality as possible… the emphasis is placed on the discovery and verification of

theories... Traditional evaluation criteria, such as internal and external validity, are stressed,

as is the use of qualitative procedures that lend themselves to structured (sometimes

statistical) analyses” (Denzin, et al 1994: 5). The previous slides provide the theoretical

premise for constructing theoretical postulations in a prediction matrix, this is analogous to

mini-hypotheses in the sense of traditional statistical hypothesis testing (Wilson and

Woodside, 1999).

Iteration 1: Photo Elicitation

Iteration 2: Survey

Iteration 3: Ethnographic Participant Observation

Photo Elicitation: Testing Propositions

COMMERCIALLY SENSITIVE

INTELLECTUALLY SENSITIVE

Photo Elicitation: Testing Propositions

COMMERCIALLY SENSITIVE

INTELLECTUALLY SENSITIVE

Photo Elicitation Interviews > Non-Probability Sampling (Saunders, 2009): Opportunistic Sample of everyday encounters

– Taking photos on a evening stroll and conversation around Sassari with three Sassari Residents. I provided the framing for

the style and types of Graffiti (“Wild Style”, “Bubble”, “Stencil Art”, “Tags” & “Etching”, and “Freehand” Lewisohn 2009) and

they provided passing comments.

– Time-series of photographs of Graffiti in the early morning, a person on his way to work looked at the wall. Seperatley the

three Sassari participants after stroll were asked about Graffiti photos.

– Deconstructing the Graffiti photo my own thoughts elicited as a participant in the sample and discussions with the three

Sassari participants seperatley after the stroll.

– Shop-Keeper Photos and shopkeeper comments. Also three Sassari participants after stroll were asked about Graffiti

photos.

Everyday Encounter Participants 5 male and 5 female to minimise gender bias from photo elicitation interviews)

P1) Female Bookshop/Library Worker, approached me at Sassari Train station (30-35)

P2) Female Postgraduate Linguistic Student, approached me in Sassari Library (25 – 30)

P3) Female Law Degree Student, approached me in Universita Library (20 – 25)

P9) Femal Architect student 20-30 lives in Sassari white corcassion

P10) Female linguistic student 20-30 Sassari white cocassion

P4) Male Mission Volunteer and Works as an Interpreter, introduced at Volunteer Centre (20 – 25)

P5) Male Cabinari 30-40 Italian white corcassion walks the streets of central Sassari

P6) Male Bar owner 30-40 Itlain white corcassion moved to Sassari to open a bar

P7) Male Market stall owner 40-50 Indian came to sassari looking for work

Focus Groups: Purposive Sampling

5 Females 2 at 20-30 (uni students), 1 at 30-40 (office worker), 1 at 40-50 (hotel owner), and 1 at 50+ (volunteer)

5 Males 1 at 20-30 (bar man), 2 at 30-40 (retail worker and office worker), 40-50 (1 unemployed), and 50+ (retired)

Walking around with a Sassari resident:

Wild Style

Bubble Style

Comments: P1) “Vandalism” P2) “Not sure correct,

trains should be clean” P3) P4) Indifferent, would not

like to see on trains. But not really bothered P5) I like it

is beautiful but illegal P6) When it looks good it is ok.

Most of the time it looks bad and dirty. I pay lots of tax

for trains and it is used to clean this off them. So need

to think should it be allowed for good artists. P7) Do not

like trains should be clean P8) I like it it looks good on

trains. P9) I like it sometimes, depends on quality. P10)

I like it but do not see it very much, it looks nice.

Comments: P1) “Just no” P2) “way to show off

self, wants to get noticed. Not fiar on owner of

property unless person wants it. Should have own

space for it. P3) P4) I would not want on my

house. P5) Beautiful but it is illegal. Should be

allowed in places. P6) I do not like only if the

owner of the house likes it. P7) Beautiful style of

signature but not on my house P8) I like it and

would like it on my house if I knew it would be

good though. I live in a bad area with thievs and

this would brighten up area and have people

around watching out for my area. P9) Dont mind

on abandoned building, but not on someones

house. Not on my house anyway it ruins it. P10) I

like the look and it is trendy like I saw when in

Berlin. You should go to Orgosolo Nuoro.

Walking around with a Sassari resident:

Freehand

Stencil Art Tags

&

Etch

Comments: P1) “Political” P2) “Other ways of expressing

politics, they just follow a group and probably lost in

themselves” P3) P4) I do not like politics sprayed on the

walls. These people probably do not know the meaning and

just copy symbols. P5) If I see these people I would arrest

them immediatley. It is bad artwork and it is illegal. No to

extreame politics. P6)Politics is a business, business is

politics, this shows no sense and is idealism reminding me

of past. Perhaps because today politics is not delivering. P7)

Politics is shit, I am a politica. P8) I think both look bad. Just

no. P9) If it is political for ideas of revolution like in Ciaro

then it is interesting. But these are symbols of persecution.

P10) I do not like these. Do not want to talk about them.

Comments: P1) “better than others” P2) “cool, i like

stencils” P3) P4) Nicer and more artistic than the others we

have seen. But not bothered. P5) Its a gun. It is bad and

illegal. P6) This is graffiti as art and not just scribbles. P7) I

like stencil art, and big stencils are realy good. P8) This is

good I like to see more of this in my City. P9) I like P10)

Like, but what is it saying about the area. Is it a gang

graffiti?

Comments: P1) “prefer clean

public space, it looks dirty.

They should have spaces for

it”. P2) “Not ok”. P3) P4) Not

bothered, not a concern P5) Its

ok. P6) Not bothered as I do

not see it. Its on a seat bench.

P7) Iyou do not see it as on a

seat, it is not in your sight. P8)

Good if thats what they wat to

do. P9) Find it childish. Old

fashioned like etching name

into tree. P10) Not bothered it

is without any sense.

Graffiti turns heads. Useful for

advertising and marketing?

Freehand Graffiti

Passer by

P1) “Could be something in that. The mans face looks like he is in prisioner stripes. It is on the side of the prision or at least near to

it”

P2) “Maybe, but what market should Graffiti be used for. I mean it should say something give a meaning for an advert to work.

P3)

P4) Can see the usefulness f graffiti for an advert.

P5) Always possible for an advert

P6) Id like to have you design an advert for my bar, then spray it.

P7) Would work wel, I could do something like that and I know some people I will pass on your details.

P8) Possible for adverts and marketing. Yes.

P9) Yes

P10) I agree with that. Yes.

Graffiti Artists Are Educated

P1) I think they are probably educated, they are probably like me in that they finish University without prospect of a job

and become distant from what they ought to be doing if they cant afford to get out of the country.

P2) Its interesting as it says a walk in the asylum shows faith does not mean anything. I think Nietzsche was mental

anyway. But I am not sticking in Italy. I will move to UK for work.

P4) Do not agree that these people are educated. These people lack discipine.

P5) No comment, Shrugged shoulders.

P6) Yes.

P7) Yeah we are educated not all in art. Passion from when we are young.

P8) Educated yes, but I not like them. (Again comment does not link to comment about good in his neighbourhood)

P9) If it insipires, being educated is not important it has to be interesting.

P10) Dont know some are and some are not. Not important for advertising if have a great idea.

Community Mural: Meaningful

Space?

P1) “Expressing worker disatisfaction at the lack of jobs on the ship yards and government cuts. Working men gather and sit

together on a wall during what should be the working day to appreciate the message in support of disatisfaction at job cuts and the

flag says the “government is not pardoned for allowing this to happen”.

P2) “This is fantastic that old men are appreciating something probably done by somone of my age group (she was between 21-30

years of age).

P3)

P4) Looks good. But government would not like it (he is smiling saying this). Should perhaps it should be avoided.

P5) Beautiful for people to enjoy a message about out life.

P6) No thoughts.

P7) No comment as his friends interrupted us and he had to go. One friend said go visit Ossi its amazing graffiti.

P8) No comment on thi. But looking at it perhaps in my neigbourhood of Vaker (again comment disconnected form last saying they

are bad people)

P9) This is very good

P10) This is in Ogarzlo. I really like it and its famous around here.

Walking around with a Sassari resident:

Crystalising (Fetterman, 2009) the conversations after a evening City Stroll

P1) “I dont notice it (the Graffiti), I just keep my head down in them areas and get to where I am going”.

P2) “Its criminal offence to do Graffiti as they should respect the City. I suspect they have nothing to do.”

P3) “??”

P4) Generally not bothered but some looks good. These people have nothing to do.

P5) Beuatiful, but it is illegal and interesting you are researching ideas about this.

P6) Id like you to deisng and graffiti for me. I think it would make Sassari more attractive. Also to have spaces

for it in the City.

P7) There is a famous Graffiti artist who changes the street signs all over Europe that lives in Sassari. I know

lots of writers who do illegal stuff but would be interested on working for money.

P8) I think the people who do this are bad people, but the art is good. (THIS GUY HAD NOT BEEN THINKING

AS SAID WOULD BE GOOD IN NEIGHBOURHOOD EARLIER)

P9) take my email and keep in touch I want to know more about Graffiti and your project

laura.posadinu@gmail.com

P10) Would yo be able to send me details of your research. I like some and want to see more pictures and

graffiti in the city.

The current framing of Graffiti in the news and official government framing is that of vandalism, the meta framing

is that of “visual articulations” (Surborg, 2007) in the City... The official framing is normative and induces fear

which excludes creating an “Urban Outcast”. This may marginalise people further from social, cultural, and

political space and thus from Economic space in finding Capital for their “abstract labour”. Barcelona has

embraced graffiti and visual articulations in their City creating the walkable vibrant city that attracts tourists and

artists from all over the world....

Focus Group – Visual Aids:

> 5 Females 2 at 20-30 (uni students), 1 at 30-40 (office worker), 1 at 40-50 (hotel owner), and 1 at 50+ (volunteer)

“Good, I like” “I like all this” “its illegal but its still art”

“Its illegal but perhaps should be legal” (2 agreed 2shook heads disagree 1 no response)

“No not good on private houses”

“Politics is bad, it is out of fashion and offends people with fashicist and communist symbols” and 1 said “I think poor him he lives in

past” all shook heads in agreement

“The stencil art looks good but I do not like the pistol”

“I like the idea of adverts in Sassari” (all agreed)

“Graffiti artists are educated, but it says something about person not education” (all agreed)

“It has to say something that gets my attention and the community”

“It can unite people it can divide” (all agreed)

> 5 Males 1 at 20-30 (bar man), 2 at 30-40 (retail worker and office worker), 40-50 (1 unemployed), and 50+ (retired)

“looks good and I can see talent” (everyone agreed)

Artistic (everyone agreed)

“Illegal not sure it would be accepted by everyone” (3 people agreed 2 disagreed)

“good but I would not want on my house” (1 person others no comment)

“would like to see a place for this in the City” (all agreed)

“I like the facist and communist symbols. I dont want to say my politics but there is no place today for it in public so take to

streets” (all agreed and 2 said they were facists. BUT 2 said “it should not be on walls” 1 said “do not care”)

“It looks good just not on my home”

“The advert looks good I think it would be good for people who do graffiti” (all agreed)

“I would like to see more but better standard” (all agreed and talked about art for 2 minutes)

“I like the clothes shop advert and the balck market advert” (all agreed)

Market Testing: Target Via Universita

Market Sampling: Purposive sample of a high-end and upper market sales persons

and shop owners in a creative and vibrantly organised street, and free wifi.

A space for:

> Jewllrey shops,

> Taylor shop,

> Bakery,

> Etc

Example 1. Shop Keeper Advert

Next to Via Universita

Example 2. Shop Advert

On Via Universita

Example 3. Shops without adverts

Via Universita:

Shopkeeper 1: “Put off by graffiti advertisment as too expensive”. But if he does not

have then could be target of the above and it cost money to clean.

Shopkeeper 2: “Beautiful idea. Would have to be professional though. Will you be able

to design a man in a suit for my shop front?”

Taken a back by this question I found myself becoming a participant in my own

research. I replied yes, and estimated 50 Euros for simple design and artwork and 100

Euro more complex design and graffiti. I took on the work. (Following page).

Sartoria di Mario Campus, Via

Universita, Market testing

Design time 30 minutes. Cost of materials 15 Euros. Graffiti Artist time 1 hour. Payment recieved 50 Euros (

Could charge 100+ Euros) – 15 for materials = 35 Euros. 17.50 Euro per hour. Also offered an on call touch up

service and removal of any vandalism to the finished product once art work completed valid for a year.

Design Shop Front - Graffiti Advert

Example 4. Bizzare Workshop

Not just commerce. Meaningful space in community engagement of artists in a

solidarity economy with demonstarting graffiti stencil art to a group of PEACE

Demonstrators for their demonstration which attracted Italian Media. Need for legal

spaces to continue community engagement and generate abstract and creative surplus

labour for the City to find a market would be justice for those exluded.

Graffiti Artists: labour feelings

Bizzare: “It was simple and straight forward. It required a little imagination, but was

satisfying to meet the brief given by the shop keeper. I would not want to stop Graffiti in and

around the City just with this as my outlet of creativity and expression, as it is not as

rewarding as when you graft over your own design that has been thought behind it to make

a mark in the Urban Scene. Often my work Stays-Up for a short time and gets painted over,

removed, or something else. I would want somewhere to Graffiti and a space that is fairly

central so people can come see my work.” (Gender: Male, Age: 32, Education level:

Postgraduate, Job: Entrepenuire)

Felaps (aka Graphics 6): “Want more money for the next job. All writers in Sassari do it like

this for 100 Euro is usual price. Do not want to change the mood in Sassari for the rate we

charge. Its an easy job to get done this time though so Im happy to at least get a job out of

it. But other wirters might not be happy in future. Call me and we ca do the next job based

on the design. Also i want to put my tag in the bottom left. As soon as I have made enough

money I want to move to London to find work using my skills of graphic design. Do you

know anyone I can hook up with?” (Gender: Male Age: 30 , Education level: College, Job:

DJ, Graphic Designer, Artist)

Williams (2007) speaks of postmodernities limitation on the “ontological engagement and

creative fulfillment... [which] are dangerously... depersonalizing... where creativity and

expressivity are forfeited in the interest of instrumental, utilitarian values” (2007: pp.51-55).

In terms of this work we can see the Graffiti artist is willing to participate in economic activity

but still feels the need for a creative Urban Space for their own expression.

Example 5. Sassari Graffiti Supplier

Via Alberto, Centro Sassari, Sardinia Shopworkers “over a 52 week period till records

and stock taking shows an average of 100 customers a week”. They agreed to hand

out surveys for me for the next iteration, and one offered to resource a freehand Graffiti

Writer for the commissioned work. As I discussed with them my background is Stencil

Graffiti and Design not freehand to a drawing. The one who offered to resource for me

said he would use his friends and other contacts from word and mouth and facebook.

They asked what was the name of my Crew. Since I set-up the past Bizzare Artists

music label in 2007 (www.last.fm) with Bizzare! and DJ Andy Hepburn signed. I replied

Bizzare Artists. They showed me the Graffiti Writer materials that they can supply for

the Bizzare Artists commissioned work.

Iteration 1: Pattern Match &

Findings

COMMERCIALLY SENSITIVE

INTELLECTUALLY SENSITIVE

Iteration 2

AWAITING FUNDING TO START

Feasibility of harnessing raw

creative resource

• Voluntary Associations provide “Graffiti and Street Art”

workshops engaging local talent to tutor participants

• Sassari City Centre Designated Graffiti Spaces in

rundown areas to make them meaningful vibrant spaces

• Police and Criminal Justice provide free educational

resources on vandalism and designate Urban Art and

Graffiti Spaces

• Tourist Industry highlight the creative economy “Graffiti

and Street Art” as Sassari being the walkable city

(Example of Barcelona and Amsterdam)

• Some funds for basic art materials once person has

attended workshop and signed up to a commitment to

respect property and has an understanding of Usufruct.

Benefits for Graffiti Artist

PEST Analysis

• Political advantages in engaging younger people into creating a

vibrant and attaractive labour economy attracting tourism and

consumers

• Economic advantages stimulates creativity and motivates

unemployed labour power to generate their own economy

• Social advantages in opening up social and cultural dialogue

(meaningful spaces) between unemployed labour power (Creative

Agents) and City Shop Keepers representing consumer power

(Economic Agents)

• Technological advantages Graffiti Artists begin to take of

technologies of the self that socially order and self-police artistic

articulations in the city

Benefits for Shop Keepers

SWOT Analysis

• Strength in that it opens up dialogue between those considered

vandals (Creative Agents) and the Shop Keepers for their business

needs to attaract tourists and consumers into shop

• Weakness in that if the shop keeper does not participate in the

social enterprise they may loose custom to businesses employing

local talent

• Opportunity to utilise the creativity and skills of design from a

generation of marketing aware and brand savy young people

• Threat vandals may deface the shop front without graffiti adverts,

although this is no different to what currently happens. What the

policy encourages is Graffiti Artists to socially order and police their

own sub-culture in Sassari (ie shops with advert currently no

vandalism)