"This book is about the many approaches to the creation, dissemination and maintenance of alternative, "bottom-up" models for social or economic organisation, and the practical and theoretical implications, consequences and possibilities of these self-organised structures."--Publisher's website.

This book critically examines the philosophy of the term ‘transgression’ and how it shapes the utopian vision of contemporary urban design scenarios. The aim of this book is to provide scholarly yet accessible graphic novel illustrations to inform narratives of urban manifestos. Through four select case studies from the UK, Cyprus and Germany, the book highlights the paradoxes and contradictions in architecture and provides detailed evaluation of the limits and contemporary forms of sustainable urban regeneration. The book proposes an ‘utopian urban vision’ approach to social, political and cultural relations, trends and tensions – both locally and globally – and seeks to inspire an awakening in architectural discourse. The book argues that the philosophical undermining of transgression is the result of a phenomenon from a different perspective – its philosophical background, social construction, experimental research process and design implications on the city. As such, the book provides a critical examination of how architectural design interventions contribute to sustainable urban regeneration and gentrification and can impact local communities. This book provides a significant contribution to both undergraduate and postgraduate students, as well as early career researchers working in architecture, planning and sustainable urban design. It offers effective guidance on adopting the state-of-the-art graphical illustrations into their own design projects, while considering contradictions between architectural discourse and the philosophy of transgression.

After the Great Refusal offers a Western Marxist reading of contemporary art focusing on the continued presence (or absence) of the avant-garde’s transgressive impulse. Taking art’s ability to contribute to a potential radical social transformation as its point of departure, Mikkel Bolt Rasmussen' analyses the relationship between the current neoliberal hegemony and contemporary art, including relational aesthetics and interventionist art, new institutionalism and post-modern architecture. '...a trenchant critique of neoliberal domination of contemporary art.' Gene Ray, author of Terror and the Sublime in Art and Critical Theory

This is an introduction to the secrets of Urban Design Management (UDM). The book examines the roles of the players involved in land-use projects and describes good collaborative methods of practice in project-based urban design and planning, putting emphasis on the creative co-operative skills and the wide knowledge of the participants in a working group. The role of the architect is examined in relation to design, planning and project management with particular emphasis on collaboration and negotiation skills. Specific issues considered include: The make-up of a good project team Ways to make the project team function together Objectives and benefits of project-orientated planning The need to take local characteristics into account in project-orientated planning The preparation required for a co-operative planning process and how initial information can be collected and used How to define project content, and outlining the project itself Partner-specific strategies Urban Design Management contains international examples and many diagrams and photographs, making it a useful and accessible guide for all built environment professionals working in the public realm and those studying architecture, urban design and planning at a graduate level.

In the 1970s, Yugoslavia emerged as a dynamic environment for conceptual and performance art. At the same time, it pursued its own form of political economy of socialist self-management. Alienation Effects argues that a deep relationship existed between the democratization of the arts and industrial democracy, resulting in a culture difficult to classify. The book challenges the assumption that the art emerging in Eastern Europe before 1989 was either “official” or “dissident” art; and shows thatthe break up of Yugoslavia was not a result of “ancient hatreds” among its peoples but instead came from the distortion and defeat of the idea of self-management. The case studies include mass performances organized during state holidays; proto-performance art, such as the 1954 production of Waiting for Godot in a former concentration camp in Belgrade; student demonstrations in 1968; and body art pieces by Gina Pane, Joseph Beuys, Marina Abramovic, and others. Alienation Effects sheds new light on the work of well-known artists and scholars, including early experimental poetry by Slavoj Žižek, as well as performance and conceptual artists that deserve wider, international attention.

From Francis Alÿs and Ursula Biemann to Vivan Sundaram, Allora & Calzadilla, and the Center for Urban Pedagogy, some of the most compelling artists today are engaging with the politics of land use, including the growth of the global economy, climate change, sustainability, Occupy movements, and the privatization of public space. Their work pivots around a set of evolving questions: In what ways is land, formed over the course of geological time, also contemporary and formed by the conditions of the present? How might art contribute to the expansion of spatial and environmental justice? Editors Emily Eliza Scott and Kirsten Swenson bring together a range of international voices and artworks to illuminate this critical mass of practices. One of the first comprehensive treatments of land use in contemporary art, Critical Landscapes skillfully surveys the stakes and concerns of recent land-based practices, outlining the art historical contexts, methodological strategies, and geopolitical phenomena. This cross-disciplinary collection is destined to be an essential reference not only within the fields of art and art history, but also across those of cultural geography, architecture and urban planning, environmental history, and landscape studies.

The early 21st century has seen contemporary art make continued use of audience participation, in which the spectator becomes part of the artwork itself. In this book, Kaija Kaitavuori claims that the `participator' is a new artistic role that does not fall under the auspices of artist or spectator and in proving such she devises a four-group typology of involvement. Her classification distinguishes between different forms of engagement and identifies their specific features. The key criteria she proposes are how concepts of authorship and ownership shift in relation to collectively created work, how contracts regulating the use and production of shared work are arranged and the extent to which involvement in making art can be regarded as democratic. This highly original book thus offers students and teachers the tools with which to improve their understanding of participatory art and removes the confusing terminology that has characterized so many other discussions.