![]() ![]() So verschwinden täglich viele Graffiti unbemerkt und und-okumentiert vom Donaukanal. Ganz besonders wird dies an den Wänden des Wiener Donaukanal deutlich, wo die Kreation eines neuen Graffito meist die irreversible Zerstörung eines darun-terliegenden Graffitos bedeutet. Graffiti sind Teil des öffentlichen Raums und damit Teil unseres öffentlichen Lebens, unserer Gesellschaft. Manche sehen in Graffiti schützenswertes kulturelles Erbe, andere Vandalis-mus. Kurzlebig und doch allgegenwärtig, bewundert und gehasst, legal und illegal: Graffiti sind polarisierend. An experiment showed that 95 out of 100 tested graffiti photo sets were successfully orthorectified, highlighting the proposed methodology’s potential to improve and automate one part of contemporary graffiti’s digital preservation. Not only do these georeferenced photos support proper analysis, but they also set the basis for placing the graffiti in their native, albeit virtual, 3D environment. AUTOGRAF was developed in the framework of INDIGO, a graffiti-centred research project. Here, we present AUTOGRAF, an automated and freely-available orthorectification tool which converts conventional graffiti photos into high-resolution, distortion-free, and georeferenced graffiti orthophotomaps, a metric yet visual product. ![]() In other words, single photographs lack the spatio-temporal context, which is often of major importance in cultural heritage studies. In addition, a single graffito photograph often does not reflect the meaning and setting intended by the graffitist, as the creation is frequently shown as an isolated entity without its surrounding environment. Conventional photographs suffer from multiple image distortions and usually lack a uniform scale, which hinders the derivation of dimensions and proportions. One main technical challenge relates to the photographs themselves. However, proper photo-based digital documentation of such an entire scene comes with logistical and technical challenges, certainly if the documentation is considered the basis for further analysis of the heritage assets. This also holds true when documenting an entire graffiti-scape consisting of 1000s of individual creations. ![]() To document the geometric and spectral properties of a graffito, digital photographs seem to be appropriate. However, if one is among the steadily increasing number of heritage professionals and academics that value these short-lived creations, their digital documentation can be considered a part of our legacy to future generations. The text ends with some envisioned strategies to streamline image acquisition and process the anticipated hundreds of thousands of images.Īdmired and despised, created and destroyed, legal and illegal: Contemporary graffiti are polarising, and not everybody agrees to label them as cultural heritage. Given the project's aim to create a spatially, spectrally, and temporally accurate record of all possible mark-makings attached in (il)legal ways to the public urban surfaces of the Donaukanal, it seems appropriate to provide insights on the photographic plus image-based modelling activities that form the foundation of INDIGO's graffiti recording strategy. The second part of the text concentrates on INDIGO's graffiti documentation activities. The first part of this paper details INDIGO's goals and overarching methodological framework, simultaneously placing it into the broader landscape of graffiti research. The graffiti-focused heritage science project INDIGO aims to build the basis to systematically document, monitor, and analyse circa 13 km of Donaukanal graffiti in the next decade. Danube Canal), a recreational hotspot – located in the city's heart – famous for its endless display of graffiti. ![]() These conflicting traits are all present along Vienna's Donaukanal (Eng. Graffiti makes people laugh, wonder, angry, think. Graffiti is a short-lived form of heritage balancing between tangible and intangible, offensive and pleasant. ![]()
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