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The paper analyses the varieties of smart urbanism to be found in the contemporary urban landscape in the UK. In so doing, it builds on and extends two currently dominant sets of critiques of the smart city: those that call into question its technocratic and top‐down modes of governance, and those that describe the smart city as an empty signifier. The paper makes sense of the UK's variegated local smart urban practices by tracing the emergence of a national, state‐led cultural economy of smart urbanism. Based on an analysis of smart‐city programmes in 34 UK cities, we identify two broad discursive logics through which varieties of smart urbanism are produced and performed. First, the invocation of crisis forms a discursive foundation on which place‐specific logics are based. Second, sets of what we term variegated logics are differently combined to build on the "foundational story" of crisis in the construction of local smart agendas. We discuss three of these variegated logics: the city portrayed as technological simulacrum; the focus on specific sectoral activities; and a chameleonic tendency to envelop previous eco‐urban agendas into smart urbanism. By making these logics visible, the paper opens up a new critical space for debate about alternative future pathways that smart cities might take. The paper analyses the varieties of smart urbanism in UK cities. The paper makes sense of the UK's variegated local smart urban practices by tracing the emergence of a national, state‐led cultural economy of smart urbanism based on specific discursive logics. By making these logics visible, the paper opens up a new critical space for debate about alternative future pathways that smart cities might take. [ABSTRACT FROM AUTHOR]

As emblematic spaces of social and cultural contamination, the Victorian street and underworld have had remarkable afterlives in twentieth-century reinterpretations of Victorian cityscapes. This article explores what persists in our vision of the nineteenth-century city well over a century after it was, so to speak, first seen, and how what persists impacts on our attempts to reconstruct that act of seeing. In the lived spaces around us there is in fact continuity, in that the city is a palimpsest and patchwork of Victorian and post-Victorian materials. However, to see those spaces as Victorian is in fact to elide a historical process of physical accumulation and syncretism. This article explores spectral 'afterimages' of the Victorian street and underground, in a variety of contemporary sources, ranging from Gary Sherman's Death Line (1972) and John Mackenzie's The Long Good Friday (1980) to Salman Rushdie's The Satanic Verses (New York: Picador, 1988), the material culture of steampunk and the Telectroscope by the artist Paul St George. It traces two distinct genealogies of renderings of Victorian urban spaces in current popular culture. While filmic renderings are obsessed with the ghostly circulation of Victorian spectres haunting the present, steampunk artists imagine an alternative temporality, locating the origin of an alternative future in the mobility of Victorian metropolitan culture. [ABSTRACT FROM AUTHOR]