Limits to Culture : Urban Regeneration vs. Dissident Art download FB2, EPUB
9780745334356 English 0745334350 How can we unmask the vested interests behind capital's 'cultural' urban agenda? Limits to Culture pits grass-roots cultural dissent against capital's continuing project of control via urban planning.Limits to Culture starts by outlining the cultural turn in urban policy which happened between the 1980s and the 2000s, in which new art museums and cultural or heritage quarters lent a creative mask to urban redevelopment. Malcolm Miles challenges the notions of the 'creative class' and 'creative city', and aligns them to gentrification and the elimination of diversity and urban dynamism. He explores the history of cultural urban policy and its antagonistic relationship to community and political art internationally - across the UK, Europe and the US. In the 1960s creativity was identified with revolt, yet from the 1980s onwards it was subsumed in consumerism, which continued in the 1990s through cool Britannia culture and its international reflections. After the crash of 2008 money became scarcer, meaning that the illusory creative city gave way to reveal its hollow interior, through urban clearances and underdevelopment.Limits to Culture straddles the fields of cultural studies and urban geography and aims to shine a new light into some of the darker corners of the political history of both., Limits to Culture outlines the cultural turn in urban policy from the 1980s to the 2000s, in which new art museums and cultural or heritage quarters lent a creative mask to urban redevelopment. Malcolm Miles challenges the notions of a creative class and a creative city, aligning them to gentrification, while exploring the history of cultural urban policy and its relationship to the real culture of dissent. As Miles shows, in the 1960s, creativity was identified with revolt, yet beginning in the 1980s it was subsumed by consumerism, as evidenced in the 1990s culture of cool. But in the wake of the 2008 crash, the money has run out and the illusory creative city has given way to urban clearances, ripe for a new kind of artistic regeneration., What can cultural work do against capital's continuing project of control and co-option? How can we unmask the vested interests behind the 'cultural' urban agenda?Limits to Culture outlines the cultural turn in urban policy from the 1980s to the 2000s, in which new art museums and cultural or heritage quarters lent a creative mask to urban redevelopment. Malcolm Miles challenges the notions of a creative class and a creative city, aligning them to gentrification. The book explores the history of cultural urban policy and its relationship to the real culture of dissent. In the 1960s creativity was identified with revolt yet from the 1980s onwards it was subsumed in consumerism, as in 1990s cool culture. After the 2008 crash, the money has run out and the illusory creative city gives way to urban clearances.Limits to Culture straddles the fields of cultural studies and urban geography and is sure to find an eager readership in both.
9780745334356 English 0745334350 How can we unmask the vested interests behind capital's 'cultural' urban agenda? Limits to Culture pits grass-roots cultural dissent against capital's continuing project of control via urban planning.Limits to Culture starts by outlining the cultural turn in urban policy which happened between the 1980s and the 2000s, in which new art museums and cultural or heritage quarters lent a creative mask to urban redevelopment. Malcolm Miles challenges the notions of the 'creative class' and 'creative city', and aligns them to gentrification and the elimination of diversity and urban dynamism. He explores the history of cultural urban policy and its antagonistic relationship to community and political art internationally - across the UK, Europe and the US. In the 1960s creativity was identified with revolt, yet from the 1980s onwards it was subsumed in consumerism, which continued in the 1990s through cool Britannia culture and its international reflections. After the crash of 2008 money became scarcer, meaning that the illusory creative city gave way to reveal its hollow interior, through urban clearances and underdevelopment.Limits to Culture straddles the fields of cultural studies and urban geography and aims to shine a new light into some of the darker corners of the political history of both., Limits to Culture outlines the cultural turn in urban policy from the 1980s to the 2000s, in which new art museums and cultural or heritage quarters lent a creative mask to urban redevelopment. Malcolm Miles challenges the notions of a creative class and a creative city, aligning them to gentrification, while exploring the history of cultural urban policy and its relationship to the real culture of dissent. As Miles shows, in the 1960s, creativity was identified with revolt, yet beginning in the 1980s it was subsumed by consumerism, as evidenced in the 1990s culture of cool. But in the wake of the 2008 crash, the money has run out and the illusory creative city has given way to urban clearances, ripe for a new kind of artistic regeneration., What can cultural work do against capital's continuing project of control and co-option? How can we unmask the vested interests behind the 'cultural' urban agenda?Limits to Culture outlines the cultural turn in urban policy from the 1980s to the 2000s, in which new art museums and cultural or heritage quarters lent a creative mask to urban redevelopment. Malcolm Miles challenges the notions of a creative class and a creative city, aligning them to gentrification. The book explores the history of cultural urban policy and its relationship to the real culture of dissent. In the 1960s creativity was identified with revolt yet from the 1980s onwards it was subsumed in consumerism, as in 1990s cool culture. After the 2008 crash, the money has run out and the illusory creative city gives way to urban clearances.Limits to Culture straddles the fields of cultural studies and urban geography and is sure to find an eager readership in both.