• Screens and Beyond
    Vol 2 No 2 (2020)

    On the 2020 conference was in fact proven that the consistency of knowledge and structure of thought in the several disciplinary areas regarding the urban creativity topics, are giving way to multiple approaches to classes integrated in master courses, informing the teaching of art historians, the work of designers, and research of cognitive scientists and educators.  It was evident that this trend will continue in multiple forms including experimental ones bridging theory and practice, sometimes inverting the role of researchers and authors, but always enlarging audiences, practitioners and studious.
    On this issue you can observe how the relation evolved between UX (User Experience) and Urban Creativity topics.

  • Art’s Dialectical Role in Urban Struggles
    Vol 2 No 1 (2020)

    The issue opens with Philipp Shadner’s discussion of the 1970s punk movement, which not only questioned and provoked aesthetic values but also has had a major influence on the multitude of styles of urban art until the present. Shadner gives us insights into the history of the punk movement, the symbols and slogans punks used and still use not only for tagging urban spaces, but also put temporarily or permanently on their skins and/or their clothes to create a visual struggle against the conformist mainstream society. Arthur Crucq’s article analyses the social and political role of collaboratory art in an urban community in The Hague, Netherlands. Using examples of textile installations, Crucq’s discussion centers on recognizing community art projects as autonomous platforms for the development of political agency in the urban space.  Jeni Peake looks at street art activism from the perspective of linguistics.  Peake explores English graffiti found in urban spaces in the city of Bordeaux, France. With a large number of the graffiti examples adhering to many themes of social struggle, Peake’s article seeks to establish to what extent the use of English could be understood as a political or at least rebellious and creative act. Angelos Evangelidis examines the political posters on the walls of the streets in Athens that worked as both a visual and political platform for the anti-austerity movement in Greece (2010-2015). Furthermore, Evangelinidis’ literature review shows that the dialectical relationship between urban space and visual practice is the key to map the process of art’s role in social struggles.

  • Urban User Experience
    Vol 1 No 1 (2019)

     As travelers come and go worldwide, many leave marks in a silent exchange, communicating that I was here, I exist. They embrace and taunt each other over time and distance, sharing in-jokes, and making rude gestures against surveillance and control. Marks about seeking community, personal bests, creating a customized, personalized experience of neighborhoods. This is ours. You are welcome. Some people and some experiences are still free. 

    Unsurprisingly, some graffiti and experience design professionals connect, emerge, cross over, and enhance the many disciplines in each. Artists bring graffiti writing and design skills to the digital, sculptural, and architectural worlds. Experience designers document, facilitate, and embrace graffiti culture and experience in their own lives and work, recognizing the importance of people owning, co-creating, and humanizing the artifacts and environments we share.

    With this journal, we hope to illuminate some of the compelling work being done at these intersections of people, concerns, design, research, media, environments, liberty, trespass, and aesthetics.

  • How can cities become better human habitat?
    Vol 1 No 2 (2019)

    As travelers come and go worldwide, many leave marks in a silent exchange, communicating that I was here, I exist. They embrace and taunt each other over time and distance, sharing in-jokes, and making rude gestures against surveillance and control. Marks about seeking community, personal bests, creating a customized, personalized experience of neighborhoods. This is ours. You are welcome. Some people and some experiences are still free.

    Unsurprisingly, some graffiti and experience design professionals connect, emerge, cross over, and enhance the many disciplines in each. Artists bring graffiti writing and design skills to the digital, sculptural, and architectural worlds. Experience designers document, facilitate, and embrace graffiti culture and experience in their own lives and work, recognizing the importance of people owning, co-creating, and humanizing the artifacts and environments we share. With this journal, we hope to illuminate some of the compelling work being done at these intersections of people, concerns, design, research, media, environments, liberty, trespass, and aesthetics.