This post allows me to venture into a subject I love discussing- cities. Not in terms of their concrete, geographical meaning but rather, the role they play in communicating creativity and means of aesthetic journalism. Alfredo talks about art, and this term ‘aesthetic journalism‘, noting that “we no longer consider artists as specialized craftspeople: to produce sense socially and politically, one has to abandon the notion of artisanship in favour of innumerable forms of expression, which include film festivals, newspapers, television, internet, radio and magazines” (Alfredo, 2011).

I’ve often heard the phrase “style is speaking without having to say a word”. To some, this may seem unrelated to the topic, however I feel it extends the boundaries of fashion, and is relevant when describing the ways spaces communicate meaning and ‘inform without having to inform’. This is aesthetic journalism.


I have once again used Instagram as a research platform to explore the ways cities and spaces are represented by individuals within the public sphere, how they are presented, used and circulated within this world.

What defines a city? On top of this, what defines a culture? I believe that Alfredo is touching on a very important point here, stating that these ‘innumerable forms of expression’ are what define modern aesthetic journalism and expressions of art. The pictures above need no description or justification- the cities and their aesthetic appeal are art in its itself. And the experiences and possibilities these spaces offer are what define the culture.

“With art and journalism, if we open up and re- think our conception of traditional information formats, allowing imagination and open-endness, we might perceive things in ways we remain unaware of.” (Alfredo, 2011)

Cramerotti, Alfredo, 2011, “What is Aesthetic Journalism”, in Cramerotti, Alfredo, Aesthetic Journalism: How to Inform without Informing, Intellect, London

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