Exportar Publicação

A publicação pode ser exportada nos seguintes formatos: referência da APA (American Psychological Association), referência do IEEE (Institute of Electrical and Electronics Engineers), BibTeX e RIS.

Exportar Referência (APA) 
Castellano, C. G. & Raposo, O. (2024). Public art and social media: Street art tourism, sociocultural agency and cultural production in contemporary Lisbon. Community Development Journal. 59 (3), 533-552
Exportar Referência (IEEE) 
C. G. Castellano and O. R. Raposo,  "Public art and social media: Street art tourism, sociocultural agency and cultural production in contemporary Lisbon", in Community Development Journal, vol. 59, no. 3, pp. 533-552, 2024
Exportar BibTeX 
@article{castellano2024_1730816712672,
	author = "Castellano, C. G. and Raposo, O.",
	title = "Public art and social media: Street art tourism, sociocultural agency and cultural production in contemporary Lisbon",
	journal = "Community Development Journal",
	year = "2024",
	volume = "59",
	number = "3",
	doi = "10.1093/cdj/bsad018",
	pages = "533-552",
	url = "https://academic.oup.com/cdj"
}
Exportar RIS 
TY  - JOUR
TI  - Public art and social media: Street art tourism, sociocultural agency and cultural production in contemporary Lisbon
T2  - Community Development Journal
VL  - 59
IS  - 3
AU  - Castellano, C. G.
AU  - Raposo, O.
PY  - 2024
SP  - 533-552
SN  - 0010-3802
DO  - 10.1093/cdj/bsad018
UR  - https://academic.oup.com/cdj
AB  - This essay engages with Guias do Mocho [Mocho’s Tourist Guides], a bottom-up cultural tourism initiative emerging in Quinta do Mocho, a ‘peripheral’ neighbourhood of Lisbon, as a way of problematizing the relationship between public and street art and social media aesthetics. Scholarship on digital creative industries and street art tourism tends to emphasize the complicities of this kind of cultural experience with neoliberal understandings of the urban space. By examining an example of bottom-up, localized guided tours that operates through social media in the context of peripheral areas of Lisbon, we argue that public art and social media should be seen as part of a more complicated correlation, one in which the affects and effects of creative, site-specific projects are actively developed and expanded in unforeseen ways. Our research demonstrates that public art and social media are mutually developing a renewed economy of attention and system of valorization. The critical examination of both elements is compulsory when measuring the impact of art-driven processes of community development.
ER  -