Abstract:In this essay we reflect on the relationship between aesthetic practices and racialised conceptions of belonging. In particular, we explore attributions of beauty and ugliness, order and disorder, as these are made in relation to local space, and we consider how these attributions can be linked to proprietorial claims about who is welcome in those spaces. Our focus is thus on the everyday aesthetics of location: the ways in which aesthetic judgements are tied to the inhabitation of space and, in this case, the… Show more
“…This will lead to a reduction in groups “hanging around” and litter around the squareSmith et al (2021) illustrate how everyday esthetic judgments are potentially racialising through repeated juxtapositions of the material consequences of poverty, such as squalor and disorder, with the presence of diverse populations. The examples above demonstrate this relationship which is compounded by proposed interventions aimed at establishing integration through orderliness, reinforcing the notion that “perceived disorder or messiness of local space can thus be taken … as aesthetic evidence of … (racialised) disorder” (Smith et al, 2021,p. 105).…”
Section: Resultsmentioning
confidence: 99%
“…30–33) propose to improve migrants' awareness of “social norms” by implementing “Nudge Theory principles”:Spraying foot prints on the walk ways in the square will direct individuals and groups to key points such as seating and waste facilities to further support the reduction in ASB [Anti‐Social Behaviour] incedents [sic] in the market square. This will lead to a reduction in groups “hanging around” and litter around the squareSmith et al (2021) illustrate how everyday esthetic judgments are potentially racialising through repeated juxtapositions of the material consequences of poverty, such as squalor and disorder, with the presence of diverse populations. The examples above demonstrate this relationship which is compounded by proposed interventions aimed at establishing integration through orderliness, reinforcing the notion that “perceived disorder or messiness of local space can thus be taken … as aesthetic evidence of … (racialised) disorder” (Smith et al, 2021,p.…”
This is an open access article under the terms of the Creative Commons Attribution License, which permits use, distribution and reproduction in any medium, provided the original work is properly cited.
“…This will lead to a reduction in groups “hanging around” and litter around the squareSmith et al (2021) illustrate how everyday esthetic judgments are potentially racialising through repeated juxtapositions of the material consequences of poverty, such as squalor and disorder, with the presence of diverse populations. The examples above demonstrate this relationship which is compounded by proposed interventions aimed at establishing integration through orderliness, reinforcing the notion that “perceived disorder or messiness of local space can thus be taken … as aesthetic evidence of … (racialised) disorder” (Smith et al, 2021,p. 105).…”
Section: Resultsmentioning
confidence: 99%
“…30–33) propose to improve migrants' awareness of “social norms” by implementing “Nudge Theory principles”:Spraying foot prints on the walk ways in the square will direct individuals and groups to key points such as seating and waste facilities to further support the reduction in ASB [Anti‐Social Behaviour] incedents [sic] in the market square. This will lead to a reduction in groups “hanging around” and litter around the squareSmith et al (2021) illustrate how everyday esthetic judgments are potentially racialising through repeated juxtapositions of the material consequences of poverty, such as squalor and disorder, with the presence of diverse populations. The examples above demonstrate this relationship which is compounded by proposed interventions aimed at establishing integration through orderliness, reinforcing the notion that “perceived disorder or messiness of local space can thus be taken … as aesthetic evidence of … (racialised) disorder” (Smith et al, 2021,p.…”
This is an open access article under the terms of the Creative Commons Attribution License, which permits use, distribution and reproduction in any medium, provided the original work is properly cited.
“…The fourth tenet of CRT asserts that Black people endure “different radicalisation,” resting on racial stereotypes. Othering Black people dehumanizes them, greenlighting acts of covert and overt racism (Smith, Byrne & Garratt, 2021:96). Suddenly, it becomes normative to stop the black man rather than the white one on the systemic racist premise that Black people are inherently dangerous.…”
Section: Mapping Baldwin Against Black Nationalist Politicsmentioning
James Baldwin stands as an enigma: the fiery, race-conscious sculptor of Go Tell It, The Fire Next Time, and the homosexual creator of Giovanni’s Room, Another Country, and Just Above My Head. His essays on racial, and national identities are archived in Nobody Knows My Name and Notes on a Native Son. In life and death, Baldwin’s quest for an inclusive humanism has been received both negatively and positively by black and white audiences. Baldwin has also become the subject of a revisionist impeachment for his unending provocativeness. This ambivalence in reading Baldwin defies an epistemological and ontological center on intersectionality and questions of gay and queer literature, migrants, civil rights, politics, and the role of the artist in the African American archive. This article contributes to critical conversations on periodizing Baldwin and racial identities at a time when America in 2021 glowers under telling dramaturgy embedded in #BlackLivesMatter and #ICan’tBreathe.
“…Additionally, it is common for the subject's sensitivity to be found atrophied. Without something akin to objective values, this sensitivity soon falls into apathy or anaesthesia where evil or grotesqueness might become banal (Arendt, 2006;Smith et al 2021).…”
Section: Discussing Mandoki's Expansive and Dewey's Restrictive Aestheticsmentioning
This article proposes to resolve an internal ambiguity in the subdiscipline called Everyday Aesthetics (EA), systematized by the researcher Horacio Pérez-Henao, according to whom the extension of aesthetics to the everyday has been done, on the one hand, by means of a consideration of an expansive object and subject according to aesthesis itself, as mainly proposed by Katya Mandoki, and, on the other hand, by means of a restrictive object and subject according to the parameters of an authentic aesthetic experience, a theory headed by John Dewey. Methodology: To resolve this tension, a hermeneutic methodology known as the fourfold sense of being, related to Hegelian dialectic, albeit with important modifications supplied by William Desmond was used. This methodology allows a suitable way to explore and discuss different approaches in everyday aesthetics epitomized by Mandoki and Dewey, and makes possible the proposal of a third way, epitomized by G. K. Chesterton. Results: Bearing in mind the original intention of EA—according to which the everyday must be revitalized from an aesthetic perspective, as explained by Joseph Kupfer, it is argued that the two alternate positions of Mandoki and Dewey are unsatisfactory; an attempt is therefore made to respond to this through the analysis of the aesthetic approach of G. K. Chesterton. From his aesthetic reflections, it can be ascertained that to revitalize daily life, the object must be expansive and the subject, restrictive, from a certain méthodos and according to patterns that qualify an everyday aesthetic experience. All of this seeks to pave the way for subsequent investigations of EA being both expansive and restrictive. Finally, it is argued that this Chestertonian EA converges with and extends the aesthetics of design of Jane Forsey, and thus shows that design itself can be revitalized in keeping with a restrictiveexpansive approach to everyday aesthetics. Conclusion: aesthetics should be expansive every day, in that it should concern itself with any aspect of daily life, and restrictive, in that it should set certain limits on the self and its intentions with regard to the possibilities of aesthetic experience.
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