Creative Cities and Aesthetic Journalism

Creative Cities was a concept created by Charles Landry, its basis is that every human being harnesses creativity, and by utilising this creativity great things for our economy and other aspects of society will arise. Creativity is becoming more and more essential in professions in the current day. I had never heard of this concept before the lecture, and I find it to be a very different and interesting idea. I feel as though this is a concept that makes sense when you really think about it, creativity is everything that pushes our society forward with change and innovation, otherwise we would be stuck in one place never progressing.

Aesthetic Journalism is art that has been created via journalistic methods. It is the blurring of the lines between journalism and art. Cramerotti explores this in his book What is Aesthetic Journalism: How to Inform Without Informing. He explains that art is not about giving answers or delivering information, it is about creating questions, whereas journalism wants to give answers (Cramerotti 2009). Art could never replace a journalistic perspective but it adds value to understanding it.

Documenta is an exhibition which takes place every five years in Kassel, Germany. Cramerotti mentions it in his book as an event which has assisted in making art as a form of practice investigation in social and political issues via aesthetics (Cramerotti 2009). In the lecture Marcus used an exhibition from Documenta “In search of vanished blood” by Nalini Malani as an example of aesthetic journalism. This immersive piece of art explores the idea of displacement as a refugee from her experiences of the partition of India. It demonstrates how art can create what could be a journalistic topic from aesthetics, and creates conversations of history, culture and identity.



Cramerotti, A 2009, “What is Aesthetic Journalism: How to Inform Without Informing, London.

Pratt, Andy C., 2011, “The cultural contradictions of the creative city,” City, Culture and Society 2 pp. 123–130


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