The response of micro‐businesses to sustainability issues, and their use of environmental management tools and systems, are often presented as simply scaled‐down versions of those of larger businesses in the small and medium‐sized enterprise (SME) sector as a whole. This paper presents the findings of a series of focus groups with the owners of tourism micro‐businesses in South East Cornwall about their awareness, understanding and adoption of sustainable tourism practices. The results reveal a complex and diverse response to the concept that resists such generalizations. A genuine need for measures to increase awareness and integrate sustainability issues within business practice is highlighted. Initiatives that do not account for the heterogeneity of the sector are likely to have only limited success. Copyright © 2003 John Wiley & Sons, Ltd. and ERP Environment.

This paper addresses ways in which artists and cultural practitioners have recently been using forms of urban exploration as a means of engaging with, and intervening in, cities. It takes its cues from recent events on the streets of New York that involved exploring urban spaces through artistic practices. Walks, games, investigations and mappings are discussed as manifestations of a form of ‘psychogeography’, and are set in the context of recent increasing international interest in practices associated with this term, following its earlier use by the situationists. The paper argues that experimental modes of exploration can play a vital role in the development of critical approaches to the cultural geographies of cities. In particular, discussion centres on the political significance of these spatial practices, drawing out what they have to say about two interconnected themes: ‘rights to the city’ and ‘writing the city’. Through addressing recent cases of psychogeographical experimentation in terms of these themes, the paper raises broad questions about artistic practices and urban exploration to introduce this theme issue on ‘Arts of urban exploration’ and to lead into the specific discussions in the papers that follow.

This paper is concerned with urban walking and the work of contemporary artists and writers who take to the streets in order to explore, excavate and map hidden spaces and paths in the city. The focus is on an audio-walk by the Canadian artist Janet Cardiff entitled The missing voice (case study B), which is set in east London. Connections are also drawn with other recent projects in the same area by Rachel Lichtenstein and Iain Sinclair. The paper discusses how these artists raise important issues about the cultural geographies of the city relating to subjectivity, representation and memory. Cardiff’s audio-walk in particular works with connections between the self and the city, between the conscious and unconscious, and between multiple selves and urban footsteps. In so doing, she directs attention to the significance of dreams and ghostly matters for thinking about the real and imagined spaces of the city.

Challenging perspectives on the urban question have arisen in recent years from beyond academic realms through the work of artists and cultural practitioners. Often in dialogue with urban theory and political activism, and employing a range of tactical practices, they have engaged critically with cities and with the spatialities of everyday urban life. They are typically concerned less with representing political issues than with intervening in urban spaces so as to question, refunction and contest prevailing norms and ideologies, and to create new meanings, experiences, understandings, relationships and situations. Such interventionist practices may rarely be seen as part of the traditional purview of urban studies. Yet in asserting their significance here, this essay argues that growing dialogues across and between urban and spatial theory, and artistic and cultural practice, have considerable potential for inspiring and developing critical approaches to cities. The essay highlights a number of specific challenges thrown up by such interconnections that are of political and pedagogical significance and in need of further debate. Copyright (c) 2008 The Author. Journal Compilation (c) 2008 Joint Editors and Blackwell Publishing Ltd.

Walking has moved into increasing visibility in social, cultural, and geographical studies as well as art and cultural practice in recent times. Walking practices are often mobilised as a means for sensing and learning about spaces, for enabling reflection on the mutual constitution of bodies and landscapes, and for finding meaning within and potentially re-enchanting environments. Through the influence of Michel de Certeau in particular, the idea that walking ‘encunciates’ spaces and is a creative, elusive, and resistive everyday practice, counterpoised to the ‘solar eye’, has become commonplace. This paper focuses on projects by the artist Francis Alÿs that are based on walking in London and other cities, to consider their engagements with the politics of urban space. Attention is paid to walking as his method of unfolding stories, and to its potential to unsettle and bring into question current realities, especially in the context of the regulated, fortified, and surveilled zones of London. Addressing the poetics and politics of his spatial practices, however, reveals the inadequacy of undifferentiated models of creative resistance, nomadism, and subversion beloved of much recent theory, and often endorsed through a partial reading of Certeau. Instead, the openness and ambivalence of these practices suggest a need for a more nuanced approach to the multiple rhythms, trajectories, and narratives that constitute urban spaces as well as to their contested (in)visibilities.