Abstract
This article explores the relationship between material change and social change under a proposed theory of aesthetics of change. Suggesting a particular understanding of the aesthetic as concerned with feeling and perception, as opposed to artistic representation, the article explores different ways in which practices of seeing, walking and engaging with the material environment significantly affect our experience of social change. Borrowing from Walter Benjamin's notion of the flaneur and his idea of history as directly embedded into space and the material environment, the article explores the way in which two different forms of visual and spatial manipulations—the Painting Tirana Project, and the Czech Dream Documentary—significantly affect the way in which the post-communist transition was negotiated in Tirana, Albania and Prague, Czech Republic, respectively.
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