Double Text Phenomenon Ingraffiti Art

This paper is developed around the consideration of the ideographic logic of graffiti art.In the specific discussion,the article takes the relationship between images and carrier contexts as the starting point,analyzes and illustrates the representation of graffiti art in detail,taking into account the characteristics of graffiti art,social background,development lines,and the composition and meaning presentation of images in specific cases.To make the ideational logic prevalent in graffiti art clearer and more accurate,the author introduces the concept of "text" in semiotics and the literary narrative technique "double narrative",and by dismantling the composition of graffiti meaning,the two are combined to generate the concept of "double text",aiming to emphasize the ability of the vehicle and space to shape the sense of graffiti and to open up a new perspective for future research on graffiti art.This paper is divided into four chapters.Chapter 1 mainly aims to clarify the research subject and determine the research method.Chapter 2 outlines the development of graffiti art,then analyzes the composition of graffiti,introduces the semiotic theory,and analyzes the relationship between graffiti and symbolic texts.Chapter 3 takes the perspective of " double textual representation" with practical examples and illustrates the representation of graffiti texts in different situations from the viewpoint of graffiti’s own "temporality" and the creator’s subjective consciousness.Chapter 4 explores the phenomenon of double textual representations of graffiti in public space,taking the relationship between the individual and space as the main subject,and interprets the graffiti hotspots in public space around this logic.Graffiti is an art form full of contradictions,both in terms of identity perception and its semantic composition and ideographic structure,which justifies this point.To begin with,modern graffiti art has undergone multiple identity shifts or changes,including subculture,pop culture,public art,and commercial culture.Such complex identities have shaped graffiti artists and recipients with different conceptions,each of whom insists on their own truths and in some cases rejects each other,showing that graffiti art is contradictory in its own identity.Still,it is this contradiction that is driving the development of graffiti.Secondly,the conflicting aspect of the semantic composition is determined by the carrier of the graffiti.The concept of "carrier" that the author points out is not just a purely image-bearing plane,but in its full sense,the existing patterns before the graffiti activity should also be counted in the overall scope of the carrier,and the real contradictory meaning is the context behind the carrier.Thus,it seems that a considerable amount of information can be read from the relationship between the pattern in front and behind,the pattern and the carrier context,and the carrier and space,which may seem unrelated to the graffiti pattern itself,but appears quite profound as an entry point to study graffiti ideography.Guided by contradictions,graffiti confirms the existence of its own double textual ideographic logic.