The sharing economy and collaborative consumption are attracting a great deal of interest due to their business, legal and civic implications. The consequences of the spreading of practices of sharing in urban environments and under daily dynamics are underexplored. This Special Issue aims to address if and how sharing shapes cities, the way that spaces are designed and lived in if social interactions are escalated, and the ways that habits and routines take place in post-individualistic society. In particular, the following key questions are of primary interest: Urban fabric: How is 'sharing' shaping cities? Does it represent a paradigm shift with tangible and physical reverberations on urban form? How are shared mobility, work, inhabiting reconfiguring the urban and social fabric? Social practices: Are new lifestyles and practices related to sharing changing the use and design of spaces? To what extent is sharing triggering a production and consumption paradigm shift to be reflected in urban arrangements and infrastructures? Sustainability: Does sharing increase the intensity of use of space and assets, or, rather, does it increase them to meet the expectations of convenience for urban lifestyles? To what extent are these phenomena fostering more economically-, socially-, and environmentally-sustainable practices and cities? Policy: How can policy makers and municipalities interact with these bottom-up and phenomena and grassroots innovation to create more sustainable cities? Scholars responded to the above questions from the fields of urban studies, urban planning and design, sociology, geography, theoretically-grounded and informed by the results of fieldwork activities.
In the postdictatorial era, Latin American cultural production and criticism has been defined by a series of assumptions about politics and art—expecially the claim that political freedom can be achieved by promoting a more direct experience between the textual subject (often a victim) and the reader by eliminating the division between art and life. The Vanishing Frame argues against this conception of freedom, demonstrating how it is based on a politics of human rights complicit with economic injustices. Presenting a provocative counternarrative, Eugenio Claudio Di Stefano examines literary, visual, and interdisciplinary artists who insist on the autonomy of the work of art in order to think beyond the politics of human rights and neoliberalism in Latin American theory and culture. Di Stefano demonstrates that while artists such as Diamela Eltit, Ariel Dorfman, and Albertina Carri develop a concept of justice premised on recognizing victims’ experiences of torture or disappearance, they also ignore the injustice of economic inequality and exploitation. By examining how artists such as Roberto Bolaño, Alejandro Zambra, and Fernando Botero not only reject an aesthetics of experience (and the politics it entails) but also insist on the work of art as a point of departure for an anticapitalist politics, this new reading of Latin American cultural production offers an alternative understanding of recent developments in Latin American aesthetics and politics that puts art at its center and the postdictatorship at its end.
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