Identity

However, the motif of rejection and protest in this movement is by no means the last place: adolescents, the authors of these works have been indifferent to the audience, they played for themselves, ignoring the presence of others in the same space. Thus, transgression and indifference to others show how interconnected and integral elements of the subculture of graffiti. Sense application of its on behalf of the urban surface consisted of self-expression, a kind of advertising their own behalf. For these reasons, gradually among the "members" of the new movement principle: the one whose name occurs most often considered a leader and is respected by others. That is, we can say that this way of expression of an individual is reflected in the circles of a certain age category if not the world, then a separate territory.

Space of the city belongs to no one, and this is why people, mostly teenagers who tirelessly strive to keep it a track record of its history - this evidence and all sorts of obscenities in public places, and inscriptions such as "Here was John", in which, in fact, and expressed the essence of graffiti. All these inscriptions was originally aimed at layman who had become fertile ground for achieving the goal - recognition and acceptance. However, to adequately respond to the situation could only opponents, for whom the identity of another "writer's" perceived as an alien, and made they label - as a gesture of encroachment on the territory does not belong to him. The notion of "your / someone else" also was characterized by the form of graffiti, which is reflected in the "gangster hip-hop culture: teenagers from the" black "neighborhoods the warring parties of the city (East coast, West coast) were combined in the gang (crew) and used the experience of graffiti for their own purposes, namely for marking the boundaries of their territories. Over time, the number of writers depicting increased so that selection of his mark among countless others, in addition to increasing ratios scale / intensity "needed was some new way. Began a process of active search stylistic evolving from simple to complex, from the unpretentious "tags" to the intricacies of unreadable "wildstyle" (crowning stage of the plastic language of graffiti), overloaded with visual effects, the concept of emancipated calligraphic graffiti quickly exhausted itself. Quantitative growth of active artists on the street, everywhere put their existential message, gradually led to a process of differentiation of styles and their subsequent standardization excluding ordinary spectator of the circle of readers "by narrowing its exclusive to themselves as artists.