Limits to Culture: Urban Regeneration Vs. Dissident Art, vol. 55581

__Limits to Culture__ outlines the cultural turn in urban policy from the 1980s to the 2000s, in which new art museums and cultural or heritage quarters lent a creative mask to urban redevelopment. Malcolm Miles challenges the notions of a creative class and a creative city, aligning them to gentrification, while exploring the history of cultural urban policy and its relationship to the real culture of dissent. As Miles shows, in the 1960s, creativity was identified with revolt, yet beginning in the 1980s it was subsumed by consumerism, as evidenced in the 1990s culture of cool. But in the wake of the 2008 crash, the money has run out and the illusory creative city has given way to urban clearances, ripe for a new kind of artistic regeneration. How Can We Unmask The Vested Interests Behind Capital's 'cultural' Urban Agenda? Limits To Culture Pits Grass-roots Cultural Dissent Against Capital's Continuing Project Of Control Via Urban Planning. Limits To Culture Starts By Outlining The Cultural Turn In Urban Policy Which Happened Between The 1980s And The 2000s, In Which New Art Museums And Cultural Or Heritage Quarters Lent A Creative Mask To Urban Redevelopment. Malcolm Miles Challenges The Notions Of The 'creative Class' And 'creative City', And Aligns Them To Gentrification And The Elimination Of Diversity And Urban Dynamism. He Explores The History Of Cultural Urban Policy And Its Antagonistic Relationship To Community And Political Art Internationally -- Across The Uk, Europe And The Us. In The 1960s Creativity Was Identified With Revolt, Yet From The 1980s Onwards It Was Subsumed In Consumerism, Which Continued In The 1990s Through Cool Britannia Culture And Its International Reflections. After The Crash Of 2008 Money Became Scarcer, Meaning That The Illusory Creative City Gave Way To Reveal Its Hollow Interior, Through Urban Clearances And Underdevelopment. Limits To Culture Straddles The Fields Of Cultural Studies And Urban Geography And Aims To Shine A New Light Into Some Of The Darker Corners Of The Political History Of Both--provided By Publisher. 1. Cultural Turns: A De-industrialised Estate -- 2. Creative Clashes: Aesthetics And Gentrification -- 3. Colliding Values: Civic Hope And Capital's Bind -- 4. New Cool: England's New Art Museums -- 5. Cultural Codes: Art Museums And The Social Order -- 6. New Air: Urban Spaces And Democratic Deficits -- 7. Refusals: Art And Dissent In A Period Of Neoliberalism -- 8. Limits To Culture: Art After Occupy. Malcolm Miles. Includes Bibliographical References And Index. How can we unmask the vested interests behind capital's 'cultural' urban agenda? Limits to Culture pits grass-roots cultural dissent against capital's continuing project of control via urban planning.

In the 1980s, notions of the 'creative class' were expressed though a cultural turn in urban policy towards the 'creative city'. De-industrialisation created a shift away from how people understood and used urban space, and consequently, gentrification spread. With it came the elimination of diversity and urban dynamism - new art museums and cultural or heritage quarters lent a creative mask to urban redevelopment.

This book examines this process from the 1960s to the present day, revealing how the notion of 'creativity' been neutered in order to quell dissent. In the 1960s, creativity was identified with revolt, yet from the 1980s onwards it was subsumed in consumerism, which continued in the 1990s through cool Britannia culture and its international reflections. Today, austerity and the scarcity of public money reveal how the illusory creative city has given way to reveal its hollow interior, through urban clearances and underdevelopment. A critical look at cultural urban regeneration and how it is used as a political tool by the ruling elite to police populations