Free Culture and the City examines how and why free software spread beyond the world of hackers and software engineers and became the basis for an urban movement now heralded by scholars as a model for emulation. By the late 1990s, digital activists embraced a philosophy of free software and "free culture" in order to take control over their cities and everyday lives. Free culture, previously tethered to the digital realm, was cut loose and used to reclaim and resculpt the city. In Madrid the effects were dramatic. Common sights in the city were abandoned as industrial factories turned into autonomous social centers, urban orchards, guerrilla architectural camps, or community hacklabs. Drawing on two decades of ethnographic and historical work with free culture collectives in Madrid, Free Culture and the City shows how, in its journey from the digital to the urban, the practice of liberating culture required the mobilization of, and alliances between, public art centers, neighborhood associations, squatted social centers, hackers, intellectual property lawyers, street artists, guerrilla architectural collectives, and Occupy assemblies.

Free Culture and the City examines how and why free software spread beyond the world of hackers and software engineers and became the basis for an urban movement now heralded by scholars as a model for emulation. By the late 1990s, digital activists embraced a philosophy of free software and "free culture" in order to take control over their cities and everyday lives. Free culture, previously tethered to the digital realm, was cut loose and used to reclaim and resculpt the city. In Madrid the effects were dramatic. Common sights in the city were abandoned as industrial factories turned into autonomous social centers, urban orchards, guerrilla architectural camps, or community hacklabs. Drawing on two decades of ethnographic and historical work with free culture collectives in Madrid, Free Culture and the City shows how, in its journey from the digital to the urban, the practice of liberating culture required the mobilization of, and alliances between, public art centers, neighborhood associations, squatted social centers, hackers, intellectual property lawyers, street artists, guerrilla architectural collectives, and Occupy assemblies.

Routledge Library Editions: The City reprints some of the most important works in urban studies published in the last century. For further information on this collection please email [email protected].

A classic work advocating ecological urban planning—from a civic visionary and former architecture critic for the New Yorker. Considered among the greatest works of Lewis Mumford—a prolific historian, sociologist, philosopher of technology, and longtime architecture critic for the New Yorker—The Culture of Cities is a call for communal action to “rebuild the urban world on a sounder human foundation.” First published in 1938, this radical investigation into the human environment is based on firsthand surveys of North American and European locales, as well as extensive historical and technological research. Mumford takes readers from the compact, worker-friendly streets of medieval hamlets to the symmetrical neoclassical avenues of Renaissance cities. He studies the squalor of nineteenth-century factory towns and speculates on the fate of the booming twentieth-century Megalopolis—whose impossible scale, Mumford believes, can only lead to its collapse into a “Nekropolis,” a monstrosity of living death. A civic visionary, Mumford is credited with some of the earliest proposals for ecological urban planning and the appropriate use of technology to create balanced living environments. In the final chapters of The Culture of Cities, he outlines possible paths toward utopian future cities that could be free of the stressors of the Megalopolis, in sync with the rhythms of daily life, powered by clean energy, integrated with agricultural regions, and full of honest and comfortable housing for the working class. The principles set forth by these visions, once applied to Nazi-occupied Europe’s razed cities, are still relevant today as technological advances and overpopulation change the nature of urban life.

The author argues that "race" as a social construction is one of the most powerful categories for constructing urban mythologies about blacks, and that this is significant in a dominant white supremacist culture that equates blackness and black people with both danger and the exotic. The book examines how these myths are realized in the material landscapes of the city, in its racialization of black residential space through the imagery of racial segregation. This imagery along with the racializing of crime portrays black residential space as natural "spaces of pathology," and in need of social control through policing and residential dispersion and displacement. It is in this context that Haymes proposes the development of a pedagogy of black urban struggle that incorporates critical pedagogy.

This lively and highly innovative book reconstructs the texture and meaning of popular pleasure in the Victorian entertainment industry. Integrating theories of language and social action with close reading of contemporary sources, Peter Bailey provides a richly detailed study of the pub, music-hall, theatre and comic newspaper. Analysis of the interplay between entrepreneurs, performers, social critics and audience reveals distinctive codes of humour, sociability and glamour that constituted a new populist ideology of consumerism and the good time. Bailey shows how the new leisure world offered a repertoire of roles that enabled its audience to negotiate the unsettling encounters of urban life. Bailey offers challenging interpretations of respectability, sexuality, and the cultural politics of class and gender in a distinctive, personal voice.