Was reading an article about the idea of illusion in painting and how some Modernist painters thought they were dealing with real surfaces rather than those with illusion. Eventually, they realised that they couldn’t escape illusory motifs. Minimalism was an attempt to deal with materials in their real form. Some aerosol work deals with illusion and effects. Some deals with graphics and have an almost digital quality. One of the strangest qualities of graffiti is how it can emulate a philosophical stance with no clear content through its dimensionality in architectural space. Even the most disorganised collection of marks and abstract letterforms can transform a space into a position of ‘threat’ as opposed to any neutral position. The idea of the broken window theory was an attempt to clarify the ethos of graffiti but only clarifies its position as a collective abstract illusion. The threat is the illusion. In fact, the threat is its occupation of a ‘property’ or ‘properties’. It grows and multiplies its occupation of tangible space though it reaches further into the illusive. What is it exactly? Where does it go or point to? An illusion of space and understanding on a surface that reaches into a digital world that can be both sound and vision through its existence as data. Data can be interpreted in many ways as essentially it emulates and augments space real and illusionary. Graffiti could just be an augmentation of space that is possible to be read as a digital augmentation first and foremost. It displays the actualisation of a dimension beyond our own like a choir in a church or a symphony that can be either disharmonious or harmonious. At other times it is simply just part of a noise field that goes unnoticed in a world that seems mundane and boring. At any rate, it can be an attempt to bring us temporarily out of the everyday and into the dimension that sits behind reality.