The Origins of 21st Century Graffiti. How Authorities Should Deal With it in City Centres (original) (raw)
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Foresight Study
The aim of this paper - to sketch out the possible future cultural dimension of cities - is a challenging task; one where culture in both its old and new forms will have a greater impact than has been previously evident. We preface the review of the past 50 years, which is sub-divided into three temporal sections, with some definitional issues regarding culture, the creative industries in the UK; these two parts constitute the first half of the paper. In broad terms, four iterations of city-culture modalities can be identified: heritage, cultural and creative industries, regeneration, and the experience economy. In the second half of the paper, arising from the review of the past, we identify five drivers of change likely to influence the future (education and income, migration, technology, governance and deindustrialisation); these constitute the platform for developing six scenarios of the future city and its cultural dimensions
Cultural Sensibilities and Places : Manchester 1976 – 1997
2007
This paper's claim is that popular music is able to implement places in powerful ways, forming new modalities to conceive and perceive them. This is the result of a layering: popular music mediates places as textscapes, soundscapes and landscapes. Song lyrics referring to places make up a band's textscape. The use of local music tradition, vernacular or typical city noises constitute a band's soundscape. Finally, the landscape consists of all the visual elements (e.g. covers) referring to the same particular locality. Turning to the regeneration level, it seems important to note that music in itself is ethereal, but its production, circulation and fruition rely on material factors located in cities. This kind of implementation on the representational and regeneration level could be analysed in Manchester. Since the late 1970s, the local popular music scene has adopted a particular 'cultural sensibility'. Bands such as The Smiths, The Fall, and Joy Division were able to root their poetics in the city, offering a chance to re-imagine it. In the same period, the independent music entrepreneur Tony Wilson developed The Haçienda FAC 51, which set the trend for the regeneration of a whole district. This case represents a convincing example of a cultural innovation, which relies on redefining the symbolic value of the city's architectural and social past.
How is culture, and in particular the cultural and creative industries (CCI), to be a motor of transformation of our cities? This essay explores the challenges and opportunities that this question poses. Culture is complex, it always was; but arguably, it has become more complex recently where the for-profit has been added to the not-for-profit or public-supported spheres, and where technology and social behavior have become more closely entwined. As urban citizens we are presented with a number of defining tensions that, I argue here, we need to negotiate. I will give a definition of what I mean by the CCI below, but the debate is framed by three questions about culture, CCI, and the city.
Avant: Journal of the Philosophical-Interdisciplinary Vanguard, 2020
This study examines the complex relationship between music and cities. More specifically, it explores how, when and why distinct urban atmospheres and unique urban spaces are created through music, specific sounds or creative social practices such as busking. As Andreas Reckwitz has shown, it has become a social regime in accordance to the creativity dispositif to act creatively and to strive for originality and uniqueness. Busking and other creative expressions in public sphere seem to satisfy this demand, but at the same time, they also tend to symbolise practices of resistance against neo-liberal discourses. According to Reckwitz, this social aestheticisation can be observed especially in cities, for example, in neo-liberal discourses such as city marketing. To examine this ambivalent if not contradictory divide, this empirical study focuses on STAMP, an international street arts festival in Hamburg, Germany, and especially, on related music practices. It considers macrostructure...
Cities and Cultures is a critical account of the relations between contemporary cities and the cultures they produce and which in turn shape them. The book questions perceived ideas of what constitutes a city's culture through case studies in which different kinds of culture-the arts, cultural institutions and heritage, distinctive ways of life-are seen to be differently used in or affected by the development of particular cities. The book does not mask the complexity of this, but explains it in ways accessible to undergraduates. The book begins with introductory chapters on the concepts of a city and a culture (the latter in the anthropological sense as well as denoting the arts), citing cases from modern literature. The book then moves from a critical account of cultural production in a metropolitan setting to the idea that a city, too, is produced through the characteristic ways of life of its inhabitants. The cultural industries are scrutinised for their relation to such cultures as well as to city marketing, and attention is given to the European Cities of Culture initiative, and to the hybridity of contemporary urban cultures in a period of globalisation and migration. In its penultimate chapter the book looks at incidental cultural forms and cultural means to identity formation; and in its final chapter examines the permeability of urban cultures and cultural forms. Sources are introduced, positions clarified and contrasted, and notes given for selective further reading. Playing on the two meanings of culture, Miles takes a unique approach by relating arguments around these meanings to specific cases of urban development today. The book includes both critical comment on a range of literatures-being a truly interdisciplinary study-and the outcome of the author's field research into urban cultures.
IMAGINING THE CITY AS A SPACE FOR CULTURAL POLICY
On the basis of empirical evidence from a comparative study of public spaces in five European cities (Sofia, Budapest, Manchester, St. Petersburg and Lvov) the author comes to conclusion that more than ever urban public space at the present moment turns into arena of clash between private and public interests, on the one hand, and, on the other, a cross-point between official urban policy and increasing self-enlightened consciousness of the 'urbanites' as a process of critical public debate. From such point of view recent social developments on the territory of European cities contest the Habermasian diagnosis, that in late modern societies the critical discourse is non-public, while the public activities are non-critical. The public life of modern cities forms part of new cultural policy understood as a result of complex interplay between citizens and key actors of urban governance.