Public Art Practice Research Articles

Endowed with positive values and fatal weaknesses: Public art practices in post-industrial landscape --- A systematic review

Public art, due to its convenient participatory function and strong social integration ability, is being widely used in the protection, adaptive reuse and innovation of urban post-industrial landscape. In the process of urban renewal, although different forms of public art practice have brought many positive values and benefits to post-industrial landscape, such as the preference for sustainable development of the city, the continuation of urban context or the concern for local community residents based on “top-down” and “bottom-up” cases. Meanwhile, a series of fatal weaknesses arise are ultimately attributed to fragment and single protection of post-industrial landscape. The goal of this study is to systematically review and classify articles on the involvement of public art in post-industrial landscape (a process for screening articles was designed) in order to more clearly find out the positive values and fatal weaknesses of public art practice in various process of post-industrial landscape protection based on both “top-down” and “bottom-up” models. Most previous studies have focused on case analysis and have not discussed this issue or used this method. Therefore, the study is valuable. The conclusions of the study show eight positive values and seven fatal weaknesses in the application of public art practice in post-industrial landscape. It should be pointed out that “inspiring interaction and involvement” and “strengthening community identity,” are the most important factors in the practice of public art in post-industrial landscape. In the future stage, we should focus on and address the issue of "how to establish long-term artistic practice?” and “how we can better balance interests and rights among multiple stakeholders?" within public art academic ocean.

Creativity, Practical Ability, Self‐Identity: Public Art Practice with Primary School Students in China

AbstractPublic art is increasingly recognised for its pedagogical value, especially in higher education, where it enhances institutions’ educational outcomes and expands students’ learning experiences. However, its potential in basic education remains under‐exploited. This study aims to bridge the gap by investigating how public art is effectively integrated into school curriculums and the educational benefits it offers students in their learning journey. Researchers, therefore, designed a student‐centred public art intervention project, Dreams and Hopes, at a Chinese nonprofit primary school incorporating the school's educational goals. The project recruited 5th and 6th graders to create a giant mosaic mural for the campus’ public space during the school's club and regular curriculum. To determine the educational benefits of the public art practice, researchers collected qualitative data using ethnographic methods in the project. The results showed that students at different stages (design, making, exhibition) gained competencies in three key themes: creativity (divergence, convergence, expression), practical ability (operation, innovation, collaboration), and self‐identity (satisfaction, achievement, confidence). These competencies align with the school's educational goals and enhance students’ learning experience. Problem‐based guidance, a relaxed and enjoyable atmosphere, effective communication and a connection to reality are essential to these critical competencies. The study reveals that public art may support educational goals and benefit students. It also enhances the practical experience of public art in basic education and provides a model of intervention to educators. The study recommends that schools actively collaborate with external resources, emphasise the art practice's educational value, and provide platforms for student arts participation.

Countryside, Borderlands, Nature—Public Art beyond the City☆

AbstractThis article emphasizes several primary realms of contemporary artistic endeavors in public art, specifically those unfolding outside urban metropolises. I analyzed the examined practices in terms of their functions and goals, the forms they take, and the problematic areas they address. This allowed for identifying certain symptomatic areas of artistic activities; domains shaped by diverse perceptions of the Polish countryside and rural life. Some feature an exploration of folk beliefs, ritual practices, religiosity, liturgy, and a connection to the land and the rhythms of nature—an ethnographic trend. Others delve into themes associated with historical heritage and the legacy of serfdom (an emancipatory trend). Moreover, I identify a trend focused on the specificity of “borderlands” and an ecological trend. The analysis focuses on questions: How does public art manifest itself beyond urban areas, particularly in rural settings? What social functions does it serve? And what significance does the examination of artistic activities hold for advancing research in rural sociology? The main aim of the article is to transpose Polish public art practice into the realm of public art in rural studies.

Nearby art: A new type of public art practice in the Pearl River Delta, China

With the development and transformation of contemporary Chinese urban areas, the production mechanism, place, and form of expression of urban public art are rapidly evolving. At the same time, urban planning is accelerating the disappearance of the urban “nearby” as a buffer zone and innovation space. Taking the Pearl River Delta region in China, and in particular, the historic city of Guangzhou and the immigrant city of Shenzhen as examples, this paper analyzes how urban groups perceive the nearby environment through the action of art through the evolution of urban culture. This paper proposes “nearby art,” a term that refers to the art form in which urban individuals or small groups from different backgrounds subtly target social issues and practice locally in complex urban surroundings. The concept of nearby art is based on the examination of trends toward diversification in public art. First, groups with different backgrounds have been playing a unique role in public art. Second, the places where public art is situated has extended to diverse and mixed urban spaces. In addition, diverse ways of interacting with public art have enriched the forms of expression of public art. Through nearby art, both creators and participants can better reflect on their present situation in life and rebuild social relations through interaction. This kind of art is increasingly becoming an important part of residents’ daily lives as it creates a more visual and fluid life esthetic. Simultaneously, it is constructing and disseminating narrative elements within urban culture by uncovering and integrating the diverse cultural content.

The politics of restor(y)ing: towards a conflictual approach to art in urban public space

This paper investigates the political implications of public art using frameworks of conflict and antagonism. We introduce ‘restor(y)ing’ as an analytical scaling device for examining public art’s potential to destabilise official planning processes and reclaim cities through acts of re-telling (restorying) and re-making (restoring) urban spaces. We probe how commissioned/formal and unsolicited/informal public art practices can concurrently operate as artistic activism – or ‘artivism’ – to subvert the status quo in urban contexts that encounter rising socio-spatial inequalities. We deploy restor(y)ing both as an epistemic and real-world commitment to challenging hegemonic powers, and thus amplify activist agendas of marginalised communities. Our argument demonstrates how such politics of restor(y)ing works as a device to unpack conflictual interrelations between ‘æffects’: affects and effects that political public art can invoke simultaneously, yet potentially unevenly. The politics of æffects reveal contestations around public art in urban planning contexts and policies, public communication, and reception. They foreground intended inclusions vs. systemic exclusions (politics of effects) and the emanating impacts on urban belonging vs. alienation (politics of affects). While much public art scholarship accentuates its alleged positive benefits, we attend to the (oft-ambiguous) negative, conflict-attuned æffects of public art. Ultimately, we advocate for an intersectional approach to restor(y)ing urban justice through public artivism.

Features of Digital Public Art of the Twenty-First Century: Art of Physical and Virtual Space

The purpose of the article is to identify the peculiarities of contemporary practices of digital public art as one of the new forms of art of the twenty-first century that actively interacts with urban space. Research methodology. The method of systematic analysis and synthesis (to consider digital public art practices as part of contemporary art), the method of cultural and historical analysis (to study the trends in the development of public art at the early twenty-first century), the typological method and the method of comparative analysis (to identify the features and typology of digital public art practices, as well as to determine their differences). Scientific novelty. Contemporary digital practices of public art are studied. Artistic interventions of media art in public space as a means of social intervention are considered. On the basis of comparative analysis, the differences between the practices of digital public art as an independent subgenre of public art created, managed, and distributed in cyberspace are revealed. Conclusions. Digital public art is a unique form of contemporary art existence outside the artistic infrastructure, which is created and disseminated in public space through cyber technologies in order to problematise various topical issues of both the art of the early twenty-first century and the space in which it is presented. At the present stage, digital public art objects are an integral part of the urban space. Despite the availability of new technical means of presentation, public art remains a connection with conceptual issues (identity creation and inclusive community participation). Digital practices of public art in line with the aesthetics of postmodernism, according to which it is important to overcome the vacuum, a certain isolation of artistic practice, and to understand ontological states. Demonstrating the idea of accessibility of the cultural collage of the contemporary space, they illustrate the tendency of transgressive processes of the boundaries of cultural form, the convergence of mass and elitist culture. The main characteristics of digital practices of public art are interactivity, technology, dynamism, attractiveness, and sociality.

Public Art and Percent for Art Strategy

Public art plays a number of roles in the economic, social and cultural transformation of cities. The cultural policies of cities are significant for the interest in public art. The percent for art strategy as an important policy is one of the methods to promote public art in cities and finance artwork production. Many cities have been successfully implementing public art in their cultural policies. The cities of Chicago, Barcelona and Dublin can be mentioned as those which have different experiences in the implementation of this strategy. They can be taken as exemplars of cultural policies and public art strategies for the specific case of Izmir, Turkey. This article intends to discuss public art as part of cultural policies in Izmir, demonstrating how public art can find more space in the urban environment. In line with this purpose, the main question focuses on how the percent for art scheme can be applied as a method that ensures the realization of public art practices for Izmir. The resultant findings obtained from proposed models show that an alternative financial resource can be provided via the percent for art strategy in Izmir city. In the end, the percent for art program is believed to offer a range of opportunities which should increase the presence of public art in the city.

The Application of Virtual Learning Mode in the Design of Art Design Network Interaction Platform: Based on C++ Builder

:A system development platform based on C++ BUILD is introduced in detail, and how to configure OpenCV in C++Builder environment is discussed. Finally, two application examples are given on this basis. After the analysis of new media's intervention in public art design, the interactive digital public art design and practice of new media public platform is explained in detail, from the practice of interactive digital public art design and Chinese painting in interactive digital public art design The methods and methods of public art design are analyzed from the two aspects of reference and application significance. Based on the classification framework of research methods that combines hierarchical logic, process logic and the characteristics of this field, this paper analyzes the methods used in doctoral and master thesis in the field of virtual learning community research in my country with research methods.

Monumental failures: the contested bodies and sites of public art under lockdown

This article reads the events of June 2020 surrounding Bristol’s Colston statue and Maggi Hambling’s monument to Mary Wollstonecraft as examples of the tensions emerging around the idea of the monument under lockdown. If lockdown is understood as the suspension of personal and social freedoms, then it is not simply individual movement which is at stake, but the shared space of representation too. To use Judith Butler’s formulation, such space - which is already contested, commercialized, mediated - is precisely where the ‘concrete and sedimented artifices’ of the historically legitimized monument come into performative tension with those ‘empowered actors’ who seek to wrest political legitimacy and visibility. With regard to the Colston monument, its defacing, toppling, attempted destruction and subsequent symbolic repurposing by various audiences including protesters, other artists and the museum reflect the issues that surround contemporary public art discourse and practice under lockdown. Critical analysis of these issues is enabled by theoretical precursors such as Rosalind Krauss’s ‘Sculpture in the Expanded Field’ (1979). The crises around the status of public art are not only a result of singular events or changes in taste. Rather, there are broader historical causes for the failure or exhaustion of monumentality as form itself.

Elina Chauvet

Women and girls of Ciudad Juárez, Mexico, have been “disappearing” for decades. The language of vanishing used to describe these events masks the brute violence of their occurrence. In writing, speaking, and memorializing these events as mystic vanishings or bloodless disappearances, the colonial tropes of the magical brown body are conjured in the service of legitimizing murder, a fundamental component of imperial logic. Confronting the language of erasure and its associated myths, artist Elina Chauvet’s Zapatos Rojos (Red shoes) installations act as decolonial gestures of embodiment. This paper argues that in its many transnational iterations, Zapatos Rojos counters the disembodying and, therefore, dehumanizing language of colonial power through an emphatic marking of the corporeality of the vanishing while imaging the invisible workings of what Sergio González Rodríguez has called “the femicide machine.” Signaling the various colonial myths that have long perpetuated and naturalized these deaths, the red shoes denote the bodies of those murdered through their sexed and gendered implications as well as their status as commodities. Contextualized in relation to various activist groups and artists whose work enacts similar gestures, this essay examines the ways that Zapatos Rojos claims space for mourning while calling for accountability. What distinguishes Chauvet’s public art practices from many of her artist and activist contemporaries, I argue, is that they protest feminicide while simultaneously conjuring the colonial myths of promiscuity, disposability, and magic that sustain the “femicide machine.”

A Study of the Characteristics of Public Art Practice in Community Micro-Renewal

A Study of the Characteristics of Public Art Practice in Community Micro-Renewal

Research on the Application of Computer Digital Information Technology in the Practice of Urban Public Art

With the continuous improvement of the level of urbanization and the iterative progress of social economy, as well as the continuous improvement of people’s aesthetic level, the public has gradually become the participants and shapers of urban public art practice. Based on this, this paper first analyses the connotation and role of computer digital information tech, then studies the application of computer digital info tech in urban public art space, and finally gives the optimization of urban public art practice under computer digital info.

A Tram Ride You Would Talk About

As an artist and junior researcher for the project “Public Transport as Public Space,” my aim is to understand atmospheres on urban public transport and the ways in which they can be changed through performative public art practice. Indefinite yet powerful, atmospheres, which emerge in the relation between a perceived environment and perceiving bodies (Böhme 2017), can be created deliberately through aesthetic work and used as a tool for shaping certain experiences and behaviors in public space (Allen 2006). For instance, visually attractive public artworks permanently integrated into the public transport environment may create atmospheres of safety and comfort, navigating passengers through this regulated public space. On the other hand, on public transport, where unacquainted people must travel shoulder to shoulder, different atmospheres emerge not only through material modifications but also through unexpected encounters and events (Bissell 2010). In this sense, performative public art interventions can intentionally “drum up the ambience” (Thibaud 2015) and imbue the atmosphere of commutes with elements that are surprising and out of the ordinary. This paper outlines some of my art projects, which aim to carefully disrupt casual rides on public transport by creating moments of strangeness and humor.

Eco-didacticism in art and architecture: Design as means for raising awareness

The aim of this paper is to assess a distinctive form of environmentally-driven architecture and public art practice that has emerged in urban contexts over the last two decades. It appears that these environmental practices have been developing a distinctive, didactic discourse in recent decades. We formulate the hypothesis that this form of creative intervention, which we provisionally name the “eco-art installation,” is part of an “eco-didactic turn” that crosses disciplines, specifically art, sustainable design, and architecture. This type of intervention further mobilizes different publics within various urban landscapes, and engages new forms of collaboration with municipal authorities. In this sense, the urban eco-art installation does not simply demonstrate its alignment with pressing ecological issues; rather, it is driven by an urgent need to explain. This new form of explanatory discourse places the “eco-message” squarely in the public realm. After differentiating between didacticism and dialecticism, we present specific approaches to assess the installations' communicative properties. Preliminary results show that these eco-art installations exist for the sake of communicating their message. The adoption of the public realm is key, since it may foster human encounters and engagement with the issues collectively, contributing to the potential of ‘public space as political forum’.

Leslie Morris. The Translated Jew: German Jewish Culture outside the Margins. Evanston, IL: Northwestern University Press, 2018. 248 pp.

Reviewed by: The Translated Jew: German Jewish Culture outside the Margins by Leslie Morris Todd Samuel Presner Leslie Morris. The Translated Jew: German Jewish Culture outside the Margins. Evanston, IL: Northwestern University Press, 2018. 248 pp. doi:10.1017/S0364009419001090 Bridging the fields of cultural studies, transnational literary and visual studies, translation studies, and urbanism, The Translated Jew is a theoretically rich and strikingly original contribution to Jewish studies. Situated outside the contours of conventional national literary and ethnic studies, Morris argues that "the Jewish" is always already translated in multiple cultural and historical contexts, which give rise to new mappings for the study of Jewish culture and identity. Placing translation at the center of her analysis, Morris undertakes a reassessment of German Jewish textuality by focusing on what she calls the "trans-Jewish." More than merely the act of "moving" from one language to another, the trans-Jewish is [End Page 218] about the continual accrual and dispersion of meaning that exceeds the referents "German" and "Jewish." In this sense, "trans" refers to translation, transnationality, and transformation—all processes that productively deterritorialize the object of study (the text, the work of art, the cultural artifact) as well as the very notion of Jewishness. As such, Morris problematizes the linkage between place and language—a connection that has been productively undone, she notes, by other scholars such as Werner Sollors and Marc Shell—to imagine modes of analysis that are unbound from assumptions that govern the study of national literatures. The theoretical framework of Morris's book is formed by a complex dialogue with a number of thinkers, including Hélène Cixous, Walter Benjamin, Jacques Derrida, Yosef Yerushalmi, Roland Barthes, and many others. Her aim is to open up new conceptual and imaginative spaces of inquiry between Jewish studies and German studies by exploring zones of contact, intertextuality, transnationality, and translation. "Jewishness," like "Germanness," is hardly a given or authentic object of inquiry, Morris argues, but is instead something that is formed through various acts of translation, transmission, and movement. Rather than simply arguing this idea, she performs it through the original interweaving and staging that make up the structure of the book's chapters. Much more than an astute bricolage, the book coheres around a remarkably rich and highly nuanced set of cultural analyses of German and Jewish textuality, in its broadest possible sense, during the postwar period. To wit, she not only analyzes works of literature and poetry (such as that of W. G. Sebald, Paul Celan, and Rose Ausländer) but also delves into the interplay between urban spaces (Berlin's Sculpture Park) and public art practices, digital art, memory politics, and multidirectional translation (such as the works of Alfred Kazin and Daniel Blaufuks). As a whole, the book reconceives of the status of the "Jewish" literary, visual, and urban text (itself an unstable signifier and object of analysis) in ways that are provocative for literary studies writ large. Placing the Jewish text outside of the predefined and predetermined strictures of national literature, Morris focuses on the "klezmerical" dimensions of the object, unbounded and translated into the broadest possible range of cultural contexts. As she demonstrates so cogently in her chapter on Berlin's Sculpture Park, for instance, the indeterminate translation and movement of cultural objects and signifiers give rise to generative paradigms of entanglement between "Jewish" and "German" and, thus, new ways of thinking about cultural memory, public art, digital media, and urban spaces. This is also the approach she pursues in her "tangential" analyses of literary and visual texts that variously confront the representation of the Holocaust, such as the works of W. G. Sebald, Raymond Federman, Kazin, and Blaufuks. As such, she opens up and dismantles the hyphen between "German-Jewish" in ways that interrogate the basic categories of author and identity in the post-Holocaust world. As Morris argues, that which is "German" is already "Jewish," and that which is "Jewish" is already "German." By showing that the overdetermined space between the very words and concepts "German" and "Jewish" represents a kind of third space of encounter, Morris looks to the ways that fields and objects of study are intimately interwoven, and...

The Translated Jew: German Jewish Culture outside the Margins by Leslie Morris

Reviewed by: The Translated Jew: German Jewish Culture outside the Margins by Leslie Morris Todd Samuel Presner Leslie Morris. The Translated Jew: German Jewish Culture outside the Margins. Evanston, IL: Northwestern University Press, 2018. 248 pp. doi:10.1017/S0364009419001090 Bridging the fields of cultural studies, transnational literary and visual studies, translation studies, and urbanism, The Translated Jew is a theoretically rich and strikingly original contribution to Jewish studies. Situated outside the contours of conventional national literary and ethnic studies, Morris argues that "the Jewish" is always already translated in multiple cultural and historical contexts, which give rise to new mappings for the study of Jewish culture and identity. Placing translation at the center of her analysis, Morris undertakes a reassessment of German Jewish textuality by focusing on what she calls the "trans-Jewish." More than merely the act of "moving" from one language to another, the trans-Jewish is [End Page 218] about the continual accrual and dispersion of meaning that exceeds the referents "German" and "Jewish." In this sense, "trans" refers to translation, transnationality, and transformation—all processes that productively deterritorialize the object of study (the text, the work of art, the cultural artifact) as well as the very notion of Jewishness. As such, Morris problematizes the linkage between place and language—a connection that has been productively undone, she notes, by other scholars such as Werner Sollors and Marc Shell—to imagine modes of analysis that are unbound from assumptions that govern the study of national literatures. The theoretical framework of Morris's book is formed by a complex dialogue with a number of thinkers, including Hélène Cixous, Walter Benjamin, Jacques Derrida, Yosef Yerushalmi, Roland Barthes, and many others. Her aim is to open up new conceptual and imaginative spaces of inquiry between Jewish studies and German studies by exploring zones of contact, intertextuality, transnationality, and translation. "Jewishness," like "Germanness," is hardly a given or authentic object of inquiry, Morris argues, but is instead something that is formed through various acts of translation, transmission, and movement. Rather than simply arguing this idea, she performs it through the original interweaving and staging that make up the structure of the book's chapters. Much more than an astute bricolage, the book coheres around a remarkably rich and highly nuanced set of cultural analyses of German and Jewish textuality, in its broadest possible sense, during the postwar period. To wit, she not only analyzes works of literature and poetry (such as that of W. G. Sebald, Paul Celan, and Rose Ausländer) but also delves into the interplay between urban spaces (Berlin's Sculpture Park) and public art practices, digital art, memory politics, and multidirectional translation (such as the works of Alfred Kazin and Daniel Blaufuks). As a whole, the book reconceives of the status of the "Jewish" literary, visual, and urban text (itself an unstable signifier and object of analysis) in ways that are provocative for literary studies writ large. Placing the Jewish text outside of the predefined and predetermined strictures of national literature, Morris focuses on the "klezmerical" dimensions of the object, unbounded and translated into the broadest possible range of cultural contexts. As she demonstrates so cogently in her chapter on Berlin's Sculpture Park, for instance, the indeterminate translation and movement of cultural objects and signifiers give rise to generative paradigms of entanglement between "Jewish" and "German" and, thus, new ways of thinking about cultural memory, public art, digital media, and urban spaces. This is also the approach she pursues in her "tangential" analyses of literary and visual texts that variously confront the representation of the Holocaust, such as the works of W. G. Sebald, Raymond Federman, Kazin, and Blaufuks. As such, she opens up and dismantles the hyphen between "German-Jewish" in ways that interrogate the basic categories of author and identity in the post-Holocaust world. As Morris argues, that which is "German" is already "Jewish," and that which is "Jewish" is already "German." By showing that the overdetermined space between the very words and concepts "German" and "Jewish" represents a kind of third space of encounter, Morris looks to the ways that fields and objects of study are intimately interwoven, and...

Assembling Birrarung Wilam: a case study of Indigenous public artwork in the city

ABSTRACTIndigenous public artworks in Australian urban spaces have challenged assumptions of Indigenous absence from the city. This paper examines the construction of Birrarung Wilam, in central Melbourne, in the period 2005–2008. We use archival documents and semi-structured interviews to analyse the collaborations between Indigenous and non-Indigenous participants in a project sponsored by the city. We show the particular mediating contribution of ‘fabricators’: a group of commissioned workers and tradespeople with material-specific expertise. Person to person encounters occurred through the modules of project management, with limited scope for long-term engagement. Despite being embedded in formal state-based recognition, Birrarung Wilam asserts Indigenous self-recognition through the renewal and adaptation of Indigenous material practices and traditions and the refusal to provide straightforward interpretive materials at the site. The study provides support for arguments that challenge a simple binary of co-option and resistance in interpreting such public art practice.

“BEING-IN-THE-CITY EXPERIENCE AS A SUBJECT OF AESTHETICS OF THE EVERYDAY”

The article is devoted to the consideration of theoretical methodological foundations and practical manifestations of the being-in-the-city experience as a key element of the subject field of such branch of modern aesthetics as the aesthetics of the everyday. The article defines and analyzes the subject field of modern studies of everyday aesthetics aesthetics of the everyday; defining the specific transformation of the concept of aesthetic experience in the context of studies of aesthetics of the everyday; defining of the aesthetics of urbanism as a research direction of the aesthetics of the everyday and being-in-the-city experience as the main subject of this research (according to the ideas of A. Berleant); studies of aesthetics of urbanism, in particular the issues most relevant within the aesthetic studies of the being-in-the-city experience of contemporary Ukrainian city dwellers and tourists. Aesthetics of everyday life is one of the most relevant areas of modern aesthetic research within exploring the everyday experience of human in the variety of its scale and value modes (industrial and rural landscapes, public and personal, large and small locations, places, practices, experience of sports and food; gardening, landscape and object design, architecture, works of art, artistic practices and institutions. The main task of aesthetics of urbanism (urban aesthetics) is the focus on the city-wide environment, exploring the concept of the city in the context of human experience in all its diversity, involving both positive and negative factors. Experience in the city is a fundamental element of the subject field of aesthetics of everyday life and the aesthetics of urbanism for the analysis of urban space as forming human, and human as transforming urban space within a complex aesthetic evaluation process. The problems of urban aesthetics are gaining ground in such subject areas as the study of human and nature interaction, urban landscape and its negative aspects, public art and art practices as a way of forming the collective aesthetical and ethical values.

The Public Utteraton Machines: Recording What People Think of Public Art in New York City

In 2015–2016 the author installed interactive public artworks on sidewalks in Brooklyn and Queens using ordinary city permits. The locations were chosen in counterbalance to the dominant choices of location for public art in New York, which tends to be placed in Manhattan or other tourist-concentrated areas. The works are entitled the Public Utteraton Machines and enable passersby to utter their opinions about other public art in the city as well as art’s role in society. The device’s earpiece recorded over 100 open-ended narratives and 391 responses to quantitative data questions via an integrated e-paper display screen. This public art project combines social practice with object-based public art into a conceptual public art practice that forms a commons or civic art. Sound archives of the responses can be found at local libraries in Queens and Brooklyn and at http://utteraton.com/ .

Digital geographies of public art: New global politics

Responding to geography’s digital and political turns, this article presents an original critical synthesis of the under-examined niche of networked geographies of public-art practices in today’s politicised digital culture. This article advances insights into digital public art as politics, and its role in politicising online public spaces with foci on: how digital technologies have instigated do-it-yourself modes for the co-creation of art content within peer-to-peer contexts; the way art is ‘stretched’ and experienced in/across the digital public sphere; and how user-(co-)created content has become subject to (mis)uses, simultaneously informed by digital ‘artivism’ and a new global politics infused with populism.