The goal of this article is to deepen the concept of emerging urban mobility technology. Drawing on philosophical everyday and urban aesthetics, as well as the postphenomenological strand in the philosophy of technology, we explicate the relation between everyday aesthetic experience and urban mobility commoning. Thus, we shed light on the central role of aesthetics for providing depth to the important experiential and value-driven meaning of contemporary urban mobility. We use the example of self-driving vehicle (SDV), as potentially mundane, public, dynamic, and social urban robots, for expanding the range of perspectives relevant for our relations to urban mobility technology. We present the range of existing SDV conceptualizations and contrast them with experiential and aesthetic understanding of urban mobility. In conclusion, we reflect on the potential undesired consequences from the depolitization of technological development, and potential new pathways for speculative thinking concerning urban mobility futures in responsible innovation processes.

Sustainability transformations call forth new forms and systems of knowledge across society. However, few tools and processes exist for promoting dialogue among different interests and normative stances in knowledge co-creation. In this article, we build on the notion of thought collectives to argue that understanding and moderating normative tensions are necessary if sustainability science is to provide successful solutions. Drawing on an analysis of the normative tensions between rival high-tech and low-tech thought collectives in the mobility and food production sectors, we discuss three strategic approaches: applying common evaluative frameworks, building contextual convergence and embracing complexity. We argue that these strategies indicate a need to distinguish different kinds of reflexivity in managing tensions among thought collectives. As a practical conclusion, we establish sets of reflexive questions to help sustainability scientists deploy the knowledge management strategies discussed.

The role and function of public art is currently undergoing some large-scale changes. Many new artworks which are situated within the already existing urban sphere, seem to be changing the definition of public art, each in their own way. Simultaneously, there exists a trend that endorses more traditional forms of public art. Juxtaposing and comparing the aesthetic implications of different types of artworks, it is possible to see how they contribute to the contemporary understanding of the urban sphere. In this paper, I take a look at the explicit and implicit aesthetic values that these simultaneously existing contemporary forms of public art are based on. The cases selected for closer look are examples of prominent and recent works of public art from downtown Helsinki: He who Brings the Light (unveiled in 2017) by Pekka Kauhanen and Running Man (performed in 2016-17) by Nestori Syrjala. What space and what kind of position is subscribed to the perceiver by these very different types of yet equally established artworks? What kind of experiences and possibilities of participation do these works entail? The focus is on the undergoing redefinition of public art that revolves around these questions.

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