While voices in the comparative urbanism literature call for researchers to approach comparison with more experimental and critical methodologies, there remains no consensus on how to design and realize these studies. This essay examines the implications of comparative urbanism for researching the 'Asian City'. Given the critique of existing modes of comparison embedded in recent calls for a new comparative urbanism, researchers are faced with a number of pressing questions: How do we approach this 'regional' topic in a way that both resists categorizing the 'Asian City' as an exotic 'other', elevating it onto a mythical pedestal, yet appreciates its differences, localisms and unique 'cosmopolitan vernacular' (Clifford, 1997; Werbner and Modood, 1997)? This essay thus highlights the multiple challenges of applying the comparative lens to the 'Asian City', arguing that broader conceptualizations of the 'Asian City' help to address the dangers in isolating Asian research into its own canon of parochial urban theory and offering a greater diversity of possibilities for justifying case selection in comparative approaches. In doing so, we hope that this essay responds to the comparative turn by illuminating to some extent its inherent complexity and methodological challenges.

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.

This article revisits the complex intersections of identity and meaning in the context of a world in which cosmopolitanism is increasingly questioned. The role of the artist with regard to activism and cosmopolitan flows becomes difficult to navigate but important to probe. Findings drawn from fieldwork indicate that the artist is highly conflicted; often ephemerally aligned with various social movements that may or may not be related; and in a constant state of self‐negotiation and identity formation that are highly dependent on local context. Intersectionality may be a useful frame to reconceptualize the artist as a relationally connected set of constantly shifting identities rather than an assumed category, as sometimes portrayed. Key to this is an appreciation of the role of the observer in this process. Singapore is envisioned as a place of intersecting identity; so, too, are the artists within it, caught between local context and global currents.

No abstract