Street ArtUrban Creativity Journal Center Periphery Theory

After the Lisbon Street ArtUrban Creativity International Conference and book publishing in 2014 Seminar and Volume 1 numbers 1 and 2 of the Street ArtUrban Creativity Scientific Journal in 2015 the quality quantity and originality of contributions from distinctive disciplinary fields confirm the pertinence and relevance of our collective ongoing work For the 2016 open call we invited contributions from all disciplines to discuss the tensions and complementarities of Center Periphery Theory and Practice as concepts and as concrete characteristics of the Street ArtUrban Creativity research topic What makes it distinct to be in the center or in the periphery of the urban context of the practice or theory? How the approach from the practitioners the art critics the bloggers the followers contact the academic research and scientific approach? This are examples of the kind of issues that we were looking for to be addressed The 2016 edition volume 2 is composed by 2 numbers number 1 “Center Periphery Practice” and number 2 “Center Periphery Theory” The number 2 is devoted to Theoretical approaches to Center Periphery Addressing tangible geographies like Uruguay and Brazil methodological geographies centered in values also about digital geographies having space also for one philosophical essay and one book reviewAfter the Lisbon Street ArtUrban Creativity International Conference and book publishing in 2014 Seminar and Volume 1 numbers 1 and 2 of the Street ArtUrban Creativity Scientific Journal in 2015 the quality quantity and originality of contributions from distinctive disciplinary fields confirm the pertinence and relevance of our collective ongoing work For the 2016 open call we invited contributions from all disciplines to discuss the tensions and complementarities of Center Periphery Theory and Practice as concepts and as concrete characteristics of the Street ArtUrban Creativity research topic What makes it distinct to be in the center or in the periphery of the urban context of the practice or theory? How the approach from the practitioners the art critics the bloggers the followers contact the academic research and scientific approach? This are examples of the kind of issues that we were looking for to be addressed The 2016 edition volume 2 is composed by 2 numbers number 1 “Center Periphery Practice” and number 2 “Center Periphery Theory” The number 2 is devoted to Theoretical approaches to Center Periphery Addressing tangible geographies like Uruguay and Brazil methodological geographies centered in values also about digital geographies having space also for one philosophical essay and one book reviewAfter the Lisbon Street ArtUrban Creativity International Conference and book publishing in 2014 Seminar and Volume 1 numbers 1 and 2 of the Street ArtUrban Creativity Scientific Journal in 2015 the quality quantity and originality of contributions from distinctive disciplinary fields confirm the pertinence and relevance of our collective ongoing work For the 2016 open call we invited contributions from all disciplines to discuss the tensions and complementarities of Center Periphery Theory and Practice as concepts and as concrete characteristics of the Street ArtUrban Creativity research topic What makes it distinct to be in the center or in the periphery of the urban context of the practice or theory? How the approach from the practitioners the art critics the bloggers the followers contact the academic research and scientific approach? This are examples of the kind of issues that we were looking for to be addressed The 2016 edition volume 2 is composed by 2 numbers number 1 “Center Periphery Practice” and number 2 “Center Periphery Theory” The number 2 is devoted to Theoretical approaches to Center Periphery Addressing tangible geographies like Uruguay and Brazil methodological geographies centered in values also about digital geographies having space also for one philosophical essay and one book review