For most people the city, particularly the industrial city, is the antithesis of the aesthetic. While there may be sections that have their charm, trucks and automobiles have conquered the urban streets and pedestrians scurry before them like vanquished before a victor. Gardens and parks are occasional oases amidst the stone desert of concrete and asphalt, but the dominating features of urban experience remain mechanical and electronic noise, trash, monolithic skyscrapers, and moving vehicles. The personal and intimate are (...) swallowed up in mass structure and mass culture. And the human place—precarious and threatened. (shrink)

The goal of this article is to deepen the concept of emerging urban mobility technology. Drawing on philosophical everyday and urban aesthetics, as well as the postphenomenological strand in the philosophy of technology, we explicate the relation between everyday aesthetic experience and urban mobility commoning. Thus, we shed light on the central role of aesthetics for providing depth to the important experiential and value-driven meaning of contemporary urban mobility. We use the example of self-driving (...) vehicle (SDV), as potentially mundane, public, dynamic, and social urban robots, for expanding the range of perspectives relevant for our relations to urban mobility technology. We present the range of existing SDV conceptualizations and contrast them with experiential and aesthetic understanding of urban mobility. In conclusion, we reflect on the potential undesired consequences from the depolitization of technological development, and potential new pathways for speculative thinking concerning urban mobility futures in responsible innovation processes. (shrink)

This paper focuses upon "bebop" as a distinctively urban movement for the purpose of contributing to the articulation of a distinctively urban aesthetics. The author examines both how the music was taken up in such cities as New York, Los Angeles, Kansas City, St. Louis, and Chicago, and in turn how an urban sensibility was expressed in this particular movement.

The pervasiveness of technology has changed the way urban everyday is structured and experienced. An understanding of the deep impact of this development on everyday experience and its foundational aesthetic components is necessary in order to determine how skills and capacities can be improved in coping with such change, as well as managing it. Urban technology solutions—how they are defined, applied and used—are changing the sphere of everyday experience for urban dwellers. Philosophical and applied approaches to (...) class='Hi'>urban aesthetics offer perspectives on understanding technologically mediated sensory experiences within the urban realm. This chapter shows how new urban technologies act as an agent of change within the familiar urban environment. We outline how the perspective of philosophical aesthetics can be used to understand urban technologies and their role in the constitution of everyday urban lifeworlds. (shrink)

This paper is about the notions of the artistic, aesthetic, cognitive and moral value of art and their interconnectedness. The main concern is to try to advocate the cognitivist claim about the artistic value of artworks’ contribution to the advance of knowledge, as well as for the relevance of the moral dimension for artistic value. This is a discussion of the intersection of the debate about moral and aesthetic value. The central part of the paper is focused on a debate (...) with Peter Lamarque. The problem of immoral art-works and their cognitive value is discussed at the end of this paper in order to show that they are counterexamples of the thesis of artistic relevance of the moral dimension. (shrink)

This book explores the complex and multi-layered relationships between democracy and play, presenting important new theoretical and empirical research. It builds new paradigmatic bridges between philosophical enquiry and fields of application across the arts, political activism, children's play, education and political science. Play and Democracy addresses four principal themes. Firstly, it explores how the relationship between play and democracy can be conceptualized and how it is mirrored in questions of normativity, ethics and political power. Secondly, it examines different aspects of (...) play in urban spaces, such as activism, aesthetic experience, happenings, political carnivals and performances. Thirdly, it offers examples and analyses of how playful artistic performances can offer democratic resistance to dominant power. And finally, it considers the paradoxes of play in both developing democratic sensibilities and resisting power in education. These themes are explored and interrogated in chapters covering topics such as aesthetic practice, pedagogy, diverse forms of activism, and urban experience, where play and playfulness become arenas in which to create the possibility of democratic practice and change. Adding extra depth to our understanding of the significance of play as a political, cultural and social power, this book is fascinating reading for any serious student or researcher with an interest in play, philosophy, politics, sociology, arts, sport or education. (shrink)

According to the essence of industrial civilization, wilderness is bound to disenchantment. However, in the ecological civilization era, based on the demands of ecological balance, we must reserve a certain degree of wilderness in urban environment. Therefore, we need to bring back enchantment to aesthetic appreciation of wilderness. On the surface, the re-enchantment of wilderness seems to be a regression of agricultural civilization; however, in fact, it is a transcendental development of agricultural civilization. In recent years, there have been (...) some deviations in the application of “garden urbanism” and “landscape urbanism” have existed in contemporary Chinese urban landscaping. To some extent, the recovery of wilderness is a major mission in Chinese urban construction. (shrink)

Aesthetics and politics are intertwined in our everyday encounters and even nonverbal encounters are negotiations of meanings, values, and means of representation. The aesthetic political negotiation of urban encounters is politics beyond consensus and dissensus: an open-ended process of altered perception. Perception of difference, a feeling of safety, and a form of distanciation are required for the political potential to be actualized. This article begins by discussing urban encounters and the notion of politics. Politics takes place in (...) the public sphere and is actualized in political negotiations, which in ephemeral encounters take the form of pondering, or hermeneutic understanding and judgment. The second section discusses the prerequisites: safety, distance, and difference. Two points are made. Firstly, the political encounter contains a practical-ethical demand for effort in our everyday life. Secondly, training aesthetic sensibility assists in this pursuit. This article is an example of an approach of inquiry that can be called political aesthetics. (shrink)

Environmental aesthetics has become a matter of concern to many different groups in recent years—to conservationists, to legislators, reluctantly to industrialists, and indeed to the public at large. This interest seems to have a clear purpose. It is regarded as an effort, belated and desperate, to save the resources and beauties of our natural world from the possibility of complete and irrecoverable exploitation, and from the disfigurement and loss that must follow. It is an attempt to change the atmosphere (...) from a toxic medium that is often impossible to escape back to one that is fresh and invigorating. It is a proposal to rebuild our cities before they become unredeemable wastelands of physical and social decay. (shrink)

The experienced quality of urban environments has not traditionally been at the forefront of understanding how cities evolve through time. Within the humanistic tradition, the temporal dimension of cities has been dealt with through tracing urban or architectural histories or interpreting science-fiction scenarios, for example. However, attempts at understanding the relation between currently existing components of cities and planning based on them, towards the future, has not captured the experience of the temporal layers of cities to a satisfying (...) degree. Contemporary urban environments comprise both lasting and fairly stable elements as well as those that change continuously: change is an inevitable part of urban life. Different aspects of city life evolve with a different tempo: urban nature has its cycles, inhabitants their rhythms, and building materials and styles different lifespans, for example. Recognizing them becomes an especially important issue when future imaginaries are projected onto existing urban structures and when decisions about the details of urban futures are made. This paper aims at bringing environmental and urban aesthetics into the discussion about the possible directions of urban futures. The focus is on introducing the notion of aesthetic sustainability as a tool to better understand how urban futures unfold experientially and how aesthetic values of urban environments develop with time. This concept has some background in the field of design theory, more specifically in sustainable usage and product design, but it has not so far been used in order to study large scale living environments. The concept can prove to be a valuable supporting tool in urban sustainability transformations based on how it captures the experiential side of the physical and temporal dimensions of cities. (shrink)

Aesthetics is a crucial ecosystem service provided by biodiversity, which is believed to help improve humans’ quality of life and is linked to environmental consciousness and pro-environmental behaviors. However, how aesthetic experience induced by plants/animals influences the belief in the occurrence and significance of biodiversity loss among urban residents remains understudied. Thus, the current study aimed to examine how the diversity of pets and in-house plants affect urban residents’ belief in biodiversity loss in different scenarios of aesthetic (...) experiences (positive and negative aesthetic experiences at home due to plants/animals). Using the Bayesian Mindsponge Framework (BMF) analytics on a dataset of 535 Vietnamese urban residents, we found that the people’s aesthetic feeling about their house induced by plants/animals positively affects their belief in the occurrence and significance of biodiversity loss. The diversity of plants and pets also positively influences the level of biodiversity loss belief, but the effect is conditional on the aesthetic experience of the urban residents. Specifically, the positive impact of species diversity on the belief only exists when urban residents feel that their houses’ aesthetics are negatively affected by plants/animals. Moreover, the effect of pet diversity on biodiversity loss belief is less significant and reliable than that of plant diversity. These findings suggest that raising the houses’ aesthetics through in-house planting or pet ownership can potentially enhance biodiversity loss belief and subsequently build an eco-surplus culture among urban residents. (shrink)

This study examines the complex relation between spatial experience and aesthetic experience. It is argued that spatial experience specifically in the context of everyday spaces makes it possible to experience them aesthetically as well. A wide selection of research ranging from environmental and philosophical aesthetics to architectural theory, psychology, human geography, and other relevant disciplines is employed in order to achieve a more detailed picture of how spatial experience is formed in the first place. This experience is described mainly (...) in terms of phenomenology but is then related to other ways of understanding experiences and their prerequisites. -/- Different notions of space and spatiality and a more comprehensive articulation of the relation of perception to spatial experience, sensory perception, and how senses contribute to spatial experience are in the focus of attention at the beginning of the study. Different experiential layers that can be distinguished within the space which is closest experienced are explored. Interaction with environment is discussed and the notion of preaesthetic is presented to clarify the relation between the two different types of experiences. Following this, the notion of preaesthetic is studied against eminent notions such as aesthetic attitude and aesthetic engagement that show elements that have traditionally been considered to either lead to or define aesthetic experiences. -/- This study shows that the effect that spatial experience has on revealing aesthetic potentialities in everyday environments is far more complicated than has previously been understood. Due to its contingent qualities, spatial experience sometimes leads to "failed" aesthetic experiences even in situations where there is obvious aesthetic potentiality. Even though there are some overlapping qualities in spatial and aesthetic experiences, they cannot thus be equated, as has more or less been done in different branches studying the topics of art and architectural experiences, for example. In the final part of the study, some possible directions for future research are pointed out and the application possibilities of these new developments in aesthetic theory are presented by short case studies, in which a closer look is taken into a chosen set of urban everyday spaces. (shrink)

Urban places are of central significance for cities both as built structures and as centers of everyday life. Due to the emergence of various design-led place-making policies and practices, “urban place” has largely become a marketed and branded product. Aesthetics plays a major role in this project of place-making, and the related interpretation of “commodified aesthetics of place” emphasizes certain experiential and qualitative place-attributes—such as authenticity—despite apparent conceptual confusions and controversies. A thorough reconsideration of central place-concepts (...) is required to shed light on this problematic sphere. This article provides an alternative reading of urban places and the related aesthetic dimensions, based primarily on a Heideggerian account of human existence as placed being in the world. Such an approach emphasizes the decisive difference between an object-based and a contextual interpretation of place, providing also a framework for understanding the aesthetics of place and its fundamental lifeworld-constituting role anew. (shrink)

Urban places are of central significance for cities both as built structures and as centers of everyday life. Due to the emergence of various design-led place-making policies and practices, “urban place” has largely become a marketed and branded product. Aesthetics plays a major role in this project of place-making, and the related interpretation of “commodified aesthetics of place” emphasizes certain experiential and qualitative place-attributes—such as authenticity—despite apparent conceptual confusions and controversies. A thorough reconsideration of central place-concepts (...) is required to shed light on this problematic sphere. This article provides an alternative reading of urban places and the related aesthetic dimensions, based primarily on a Heideggerian account of human existence as placed being in the world. Such an approach emphasizes the decisive difference between an object-based and a contextual interpretation of place, providing also a framework for understanding the aesthetics of place and its fundamental lifeworld-constituting role anew. (shrink)

Evidence affirms that aesthetic engagement patterns our movements, often with us barely aware. This invites an examination of pre-reflective engagement within cities and also aesthetic experience as a form of the pre-reflective. The invitation is amplified because design has political implications. For instance, it can draw people in or exclude them by establishing implicitly recognized public-private boundaries. The Value Sensitive Design school, which holds that artifacts embody ethical and political values, stresses some of this. But while emphasizing that design embodies (...) implicit values, research in this field lacks sustained attention to largely unconscious background biases or values, rooted in cultural attitudes and personal interests, that lead theorists and planners—often too narrowly—to promote design organized around specific values such as defensibility. In examining these points, I draw on J. J. Gibson, a central figure for some writing on aesthetics and cities, and whom pragmatists and phenomenologists in turn influenced. Taking a cue from pragmatists in particular, I argue Gibson’s perceptual theory of affordances entails a theory of values, meaning our perception and therewith movements are inherently value-based. I advocate design that accounts for relatively constantly held values such as safety, while also handling the vast pluralism that exists and not crushing the aesthetic vibrancy of city life. (shrink)

New and complex technologies are exceedingly present and in widespread use in contemporary cities globally. The urban lifeworld is saturated with various applications of information and computing technologies, but also more rudimentary forms of technology construct and create the urban everyday life as we know it. Many forms of urban technologies are perceived first through their everyday aesthetic qualities: how they look, feel, sound, or are otherwise encountered within the streetscape. Philosophical aesthetics, however, has tended to (...) overlook everyday technologies as a topic, often due to unquestioned ideas of how a city should ideally look and feel. Thus, a more realistic approach to contemporary cities is needed, in which the deep-seated role of technologies is recognized and the experiences related to their entangled uses become acknowledged. This paper brings together recent developments in urban aesthetics with some of the core ideas of postphenomenological approaches to new urban technologies. (shrink)

The great popularity of homelessness as an artistic theme in the twentieth century and beyond may be explained by the frequency by which the everyday image of homeless persons impacts upon the passerby’s aesthetic perception of the urban environment. Nonetheless, as yet, homelessness has not been included in the field of the aesthetics of everyday life. This article is meant to fill this void. Being inspired by frequent personal encounters with homeless persons and drawing on parallels between the (...) effort of aesthetically appreciating mainstream artworks and the effort to cope with the negative aesthetic impressions generated by the homeless body, I argue that homelessness may not only be appreciated negatively but also may trigger lasting positive aesthetic experiences. (shrink)

The role and function of public art is currently undergoing some large-scale changes. Many new artworks which are situated within the already existing urban sphere, seem to be changing the definition of public art, each in their own way. Simultaneously, there exists a trend that endorses more traditional forms of public art. Juxtaposing and comparing the aesthetic implications of different types of artworks, it is possible to see how they contribute to the contemporary understanding of the urban sphere. (...) In this paper, I take a look at the explicit and implicit aesthetic values that these simultaneously existing contemporary forms of public art are based on. The cases selected for closer look are examples of prominent and recent works of public art from downtown Helsinki: He who Brings the Light by Pekka Kauhanen and Running Man by Nestori Syrjala. What space and what kind of position is subscribed to the perceiver by these very different types of yet equally established artworks? What kind of experiences and possibilities of participation do these works entail? The focus is on the undergoing redefinition of public art that revolves around these questions. (shrink)

As the aesthetic of the Polish cities became a topic of wider discussions, it is important to detect the potential role of human-place relations. Two studies were conducted to explore the relationship between place attachment, place identity and appraisal of urban landscape. Satisfaction with urban aesthetic was predicted by two dimensions of place attachment, local identity and national-conservative identity. Place discovered and European identity were also predictors of visual pollution sensitivity. Place discovered is considered as more active type (...) of attachment that permits both a positive bias concerning the aesthetics of one’s city, and a stronger criticism of the elements that can potentially violate the place’s landscape. (shrink)

This short paper is a reply to Sanna Lehtinen’s article Living with Urban Everyday Technologies whose aim is to introduce the complexity of the problem of everyday technologies in contemporary aesthetics. Thanks to most recent information, computing, and communication technologies, urban technologies have indeed become an indispensable part of human living standards. In connection with Lehtinen’s primary interest in visible technologies with invisible effects, my reply appeals to W. Welsch’s use of the term anaesthetics, which refers to (...) the absence of the ability to feel, as a parallel to this group of technologies. The reply also emphasises that it is necessary to study urban technologies together with a focus on human privacy, social justice, and human wellbeing and that everyday aesthetics has to be ready to reflect on the extremely fast development of these technologies. (shrink)

The Aesthetics of Human Environments is a companion volume to Carlson's and Berleant's The Aesthetics of Natural Environments. Whereas the earlier collection focused on the aesthetic appreciation of nature, The Aesthetics of Human Environments investigates philosophical and aesthetics issues that arise from our engagement with human environments ranging from rural landscapes to urban cityscapes. Our experience of public spaces such as shopping centers, theme parks, and gardens as well as the impact of our personal living (...) spaces on the routine activities of our everyday life are discussed in terms of their aesthetic value and the nature of our aesthetic appreciation. This volume will appeal to any reader concerned about the aesthetic quality of the world in which we live. (shrink)

Applying Aesthetics to Everyday Life surveys current debates in the field of everyday aesthetics, examining its history, methodology and intersections with cognate research areas. Lisa Giombini and Adrián Kvokacka bring together an international team of renowned scholars who are shaping the present and future of the discipline. They demonstrate how the historical origins of everyday aesthetics emerges across the history of Western aesthetic thought, from Renaissance thinkers to the modern German philosophers Baumgarten, Kant and Heidegger. Chapters shed (...) light on the field's methodological underpinnings, tracing its theoretical foundations back to epistemology and ethics and assess the potential of everyday aesthetics as a theoretical tool. They reveal its interdisciplinary nature and how it assists various fields of inquiry, including environmental and urban aesthetics, conservation ethics and the philosophy of art. Through fresh explorations of its origins, background and contemporary developments, this collection advances a new definition of everyday aesthetics and provides a cutting edge reflection on the world we inhabit today. (shrink)

The end of aesthetic experience -- Don't believe the hype -- The fine art of rap -- Affect and authenticity in country musicals -- The urban aesthetics of absence : pragmatist reflections in Berlin -- Beneath interpretation -- Somaesthetics and the body/media issue -- The somatic turn : care of the body in contemporary culture -- Multiculturalism and the art of living -- Genius and the paradox of self-styling.

Aesthetic sensibility rests on perceptual experience and characterizes not only our experience of the arts but our experience of the world. _Sensibility and Sense_ offers a philosophically comprehensive account of humans' social and cultural embeddedness encountered, recognized, and fulfilled as an aesthetic mode of experience. Extending the range of aesthetic experience from the stone of the earth's surface to the celestial sphere, the book focuses on the aesthetic as a dimension of social experience. The guiding idea of pervasive interconnectedness, both (...) social and environmental, leads to an aesthetic critique of the urban environment, the environment of daily life, and of terrorism, and has profound implications for grounding social and political values. The aesthetic emerges as a powerful critical tool for appraising urban culture and political practice. (shrink)

In this paper I investigate how different modes of urban transportation shape our experience of the urban environment. My goal is to argue that how we move through a space is not merely a question of convenience or efficiency. Rather, our transportation technologies can fundamentally shift how we experience where we are. I propose a framework for considering mobility from the standpoint of phenomenological everyday aesthetics considering the social, somatic, temporal-epistemic, and affective characteristics of experience. I then (...) suggest a typology of different forms of urban mobility distinguishing between private and public forms of transportation as well as between faster and slower modes. I next suggest a trio of factors—speed, ability to survey one’s surroundings, and ease of interruption—that play into how we experience an urban environment while discovering it by means of mobility. By applying the framework of experience and the trio of factors to the typology of transportation modes I show how each of them can foster or hinder an aesthetic experience of the urban environment. I conclude by reflecting on some further issues for investigation including the role of power in urban space, questions concerning mobility and difference (class, race, dis/ability, etc.), the place of technological mediation in urban mobility, and the role of spatial planning. (shrink)

In this paper I investigate how different modes of urban transportation shape our experience of the urban environment. My goal is to argue that how we move through a space is not merely a question of convenience or efficiency. Rather, our transportation technologies can fundamentally shift how we experience where we are. I propose a framework for considering mobility from the standpoint of phenomenological everyday aesthetics considering the social, somatic, temporal-epistemic, and affective characteristics of experience. I then (...) suggest a typology of different forms of urban mobility distinguishing between private and public forms of transportation as well as between faster and slower modes. I next suggest a trio of factors—speed, ability to survey one’s surroundings, and ease of interruption—that play into how we experience an urban environment while discovering it by means of mobility. By applying the framework of experience and the trio of factors to the typology of transportation modes I show how each of them can foster or hinder an aesthetic experience of the urban environment. I conclude by reflecting on some further issues for investigation including the role of power in urban space, questions concerning mobility and difference, the place of technological mediation in urban mobility, and the role of spatial planning. (shrink)

This book aims at drawing the reader’s attention to the sound of the urban environment. Using an interdisciplinary approach, it examines a heterogeneous selection of experimentations from the domains of music, art and architecture. Significant case studies of pieces of music, public art works and scientific research in the field of urban planning are analyzed, investigating the methods that have been adopted and the aural processes that have been generated. It then uses the findings to reconstruct the underlying (...) theories and practices and to show what might be drawn from these procedures applied to urban planning. (shrink)

Interest in sensory atmospheres and architectural and urban ambiances has been growing for over 30 years. A key figure in this field is acclaimed German philosopher Gernot Böhme whose influential conception of what atmospheres are and how they function has been only partially available to the English-speaking public. This translation of key essays along with an original introduction charts the development of Gernot Böhme's philosophy of atmospheres and how it can be applied in various contexts such as scenography, commodity (...) aesthetics, advertising, architecture, design, and art. The phenomenological analysis of atmospheres has proved very fruitful and its most important, and successful, application has been within aesthetics. The material background of this success may be seen in the ubiquitous aestheticization of our lifeworld, or from another perspective, of the staging of everything, every event and performance. The theory of atmospheres becoming an aesthetic theory thus reveals the theatrical, not to say manipulative, character of politics, commerce, of the event-society. But, taken as a positive theory of certain phenomena, it offers new perspectives on architecture, design, and art. It made the spatial and the experience of space and places a central subject and hence rehabilitated the ephemeral in the arts. Taking its numerous impacts in many fields together, it initiated a new humanism: the individual as a living person and his or her perspective are taken seriously, and this fosters the ongoing democratization of culture, in particular the possibility for everybody to participate in art and its works. (shrink)

The emergency of aesthetics -- Measurable contemplations -- Indifferent beauty -- Emergency through art -- Social paradoxes -- Urban discharges -- Environmental calls -- Historical accounts -- Emergency aesthetics -- Anarchic interpretations -- Existential interventions.

Offers new insights, tools, and methodologies for the design of urban environments in relationship to noise and sound.

People across the world seek out beautiful sounds in nature, such as a babbling brook or a nightingale song, for positive human experiences. However, it is unclear whether this positive aesthetic response is driven by a preference for the perceptual features typical of nature sounds versus a higher‐order association of nature with beauty. To test these hypotheses, participants provided aesthetic judgments for nature and urban soundscapes that varied on ease of recognition. Results demonstrated that the aesthetic preference for nature (...) soundscapes was eliminated for the sounds hardest to recognize, and moreover the relationship between aesthetic ratings and several measured acoustic features significantly changed as a function of recognition. In a follow‐up experiment, requiring participants to classify these difficult‐to‐identify sounds into nature or urban categories resulted in a robust preference for nature sounds and a relationship between aesthetic ratings and our measured acoustic features that was more typical of easy‐to‐identify sounds. This pattern of results was replicated with computer‐generated artificial noises, which acoustically shared properties with the nature and urban soundscapes but by definition did not come from these environments. Taken together, these results support the conclusion that the recognition of a sound as either natural or urban dynamically organizes the relationship between aesthetic preference and perceptual features and that these preferences are not inherent to the acoustic features. Implications for nature's role in cognitive and affective restoration are discussed. (shrink)

Western aesthetics has privileged contemplation as a necessary condition for authentic aesthetic experience. In contrast, I argue that the adequacy of aesthetic comportment must be measured by the self-presentation of the object in question, shaped by the place from which such presentations issue. Thus, the specific character of many forms of art, particularly in urban contexts, solicits a kind of “distracted” engagement rather than contemplative attention. Distraction is a positive mode of aesthetic engagement. I begin with a critical (...) account of the formalist theories of Kant and Bell as examples of this privileging of contemplative hermeneutics. I then consider Walter Benjamin’s theory of mimesis as a basis for a more fruitful account of aesthetic form, of which certain “distractive” artworks serve as examples. Distraction is an appropriate response to certain presentations, in the face of which absorption would be a kind of aesthetic failure. (shrink)

The paper discusses the aesthetic aspects of place‑making practices in the urban environment of Western metropoles that are struggling with the progressive undifferentiation of their space and the weakening of communal and personal bonds. The paper starts by describing the general characteristics of an urban environment as distinct from the traditional vision of a city as a well‑structured entity, and in relation to formal and informal aesthetics and participatory design ideas. The author then focuses on two contrary (...) but complementary tactics for translating a space into a positively evaluated p l a ce: by dome ticating it through introducing nature into an urbanscape; and by accentuating its alienness with the example of the urban exploration movement. The growing popularity of the latter is presented in relation to the discourses related to the decline of cities and the romantic endeavours for reaching into the realm of the unknown or the uncanny in order to rediscover and enrich the unique identity of a place. The paper ends with conclusions that present the necessity for the cultivation of a multidimensional aesthetic awareness and an aesthetic engagement as a crucial issue in the complex task of endowing places with a density of meaning. (shrink)

For the New Objectivity art, both literature and paintings, urban reality played a significant role. The aesthetics of the New Objectivity, movement that bloomed in the 20s and 30s, was defined through urban issues. This tendency can be observed primarily in the so-called Zeitroman that became a topic of interest for German literary studies earlier. In contrast to the prose, the New Objectivity poetry was rarely an object of studies. In the article, selected urban verses are (...) analysed and connected with the New Objectivity paintings on a modernist background. (shrink)

This article engages with current discussions on the politics of aesthetics to theorize the role of popular art in reproducing or contesting urban orders. Specifically, we engage with scholars who have taken up the work of Jacques Rancière to understand how power structures are normalized through ‘the distribution of the sensible’. Building on and critically engaging with debates on the ‘post-political city’, we suggest that all too often scholars fall back on a binary, state-centric approach that depicts non-state (...) popular aesthetics as either revolutionary and disruptive, or as indicative of an alternative form of oppression. Drawing on our work in Kingston, Jamaica, and Rio de Janeiro, Brazil, we argue that sensorial-political, art-based urban struggles shape multiple urban orders that are distinct but not necessarily antagonistic. Applying Stuart Hall’s work on popular culture to contexts of criminal governance, we show how art is often simultaneously supportive and disruptive of urban orders. (shrink)