Streetness & Inopinatum: the “sense of the street” and the “unexpected impertinence”.

For a binary code in street art.

Abstract

It was December 2003, exactly 16 years ago. That morning, a few of us were at the Circumvesuviana train station in San Giorgio a Cremano, the town the famous Neapolitan actor Massimo Troisi was born in, waiting for something to happen. Kaf and Cyop were amongst the graffiti writers that had been called to paint the walls of that infrastructure, on the side of the unelectrified railway track. We had been told that the local entity managing railway transports had a mind of entrusting its stations to graffiti writers from them to paint them on, since the managers had had enough of the graphic vandalism burdening them. And we went there, spurred by curiosity. In the beginning, we questioned the communications and PR experts of the entity that managed the regional railway transports, as we believed that they did not provide truthful information on the matter. It was usual at the time, and it is usual even nowadays, but the nuisance was more heartfelt, almost as a pretext.