Search

Copyright of Journal of Planning Education & Research is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

All operate galleries that exhibit art, facilitate the production of new art and support artists' practices. Beyond What is Finished in Practice The integration of art projects as essential components of so-called "culture-led regeneration" has necessitated an interdisciplinary working practice be forged between planners and artists and art professionals. (Dis)Ordering Space and Sense in the Built Environment Danny McNally and Katie McClymont Robin Hood Gardens: The Aesthetic Politics of Listed Buildings Edward Brookes Screaming Public Art: Tonalities of Agonism in Planning Politics and Practice Friederike Landau-Donnelly and Jason Luger Mapping Cities - Intersections in Art and Planning Gloria Lanci Beyond Beauty - Re-Discovering Planning as Civic Art Katy Lock and Rebecca Lambert From the Ground Up: Non-Profit Galleries and Planning Gerda R. Wekerle Creative Practices for Planning Urban Mobility Elahe Karimnia Beyond What is Finished in Practice Julie Crawshaw Planning and Urban Imaginaries: A Reflection on Speculative Planning with Slum-Dwelling Children in the Philippines Aireen Grace Andal Planning for Environmental Change and Learning from Engaged Creative Practice George Revill and Liza Griffin A Speculative Afterword: (Dis)Ordering Space and Sense in the Built Environment Danny McNally and Katie McClymont Planning, Art, and Aesthetics: (Dis)Ordering Space and Sense in the Built Environment This I Interface i presents nine pieces which engage with the broad theme of "art and planning" in a new and diverse way. Outlook: Art, Planning and the Complex Tones of Our Time Thus, given the a(nta)gonisms, complexities and shifting tonalities of art's interface with urban planning, we return, critically, to the possibilities and challenges between planning and art. [Extracted from the article]

Fieldwork encounters are not only contingent to biographical subjectivities, but are mediated by a confluence of identity, place and embodiment. This paper offers reflexive accounts of researchers with various socio-cultural and disciplinary backgrounds, who collaborated as a team to examine the varied funerary experiences and needs of established minorities and recent migrants in England and Wales. Focusing on the researchers' varied personal experiences with death and bereavement and on their performances of minority and majority ethnic and migrant identities, the paper highlights the mediated and embodied nature of fieldwork. It argues that reflection on the various aspects of intersectional researcher identity is necessary for a rigorous fieldwork practice that takes transparency and politics into account. This facilitates a deeper understanding of the positionality of both researchers and interlocutors, and the situated co-production of knowledge. In doing so, the paper illustrates that conducting research with a diverse team of researchers contributes to better understanding the complexity and multifacetedness of social phenomena. [ABSTRACT FROM AUTHOR]

'I am Tower of Hamlets, as I am in Tower of Hamlets, just like a lot of other people are' (2011-2012) was an artwork by Argentinian artist Amalia Pica, and involved a pink-granite sculpture touring around different homes in the London Borough of Tower Hamlets for one year. This paper offers a geographical investigation into the type of encounters and relations created by this artwork. Rather than assume the progressive role of such art encounters, the paper casts a critical eye on to the actual forms of association that they foster and the normative social logics they may perpetuate. In doing so, it suggests that while enchanted, 'meaningful' encounters did occur between participants and the sculpture, these occurred within a pre-existing art community, something which compounded problematic class boundaries. Thus, the paper utilises this artwork to identify how encounters can be meaningful whilst maintaining embedded social and cultural divisions. It concludes with a discussion on the relationship between art and the geographies of encounter. [ABSTRACT FROM AUTHOR]

Copyright of Catalonian Journal of Ethnology / Revista d'Etnologia de Catalunya is the property of Direccio General de Cultura Popular, Associacionisme i Accio Culturals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)