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Creative Margins
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Table of Contents

List of illustrations

Acknowledgements

Chapter 1

Introduction: creating from the margins

Chapter 2

The geography of somewhere: the suburbs

Chapter 3

(Un)usual suburbanites? Explorations and interventions at the cultural frontier

Chapter 4

Why (not) here? Valuing the intermediate landscape

Chapter 5

Suburban cultural infrastructure planning formulas: from district to multiplex

Chapter 6

The creative art of place complexity in suburbia

Chapter 7

Networked geographies of suburban cultural workers

Chapter 8

Conclusion: culture from the outside in

Appendix 1

Notes

References

Promotional Information

"The field of creative cities research sorely needs more books like Creative Margins that focus on real people and real experiences in different times and places. Building on a fantastic research project - careful interviews with diverse creative practitioners that resulted in strong, engaging narratives and case studies - it is lively, textured, rich, and refreshingly different from the orthodoxy in the field. Alison L. Bain, a well-established figure in the area, has once again anticipated, rather than followed, trends in urban cultural scholarship." -- Chris Gibson, Australian Centre for Cultural Environmental Research, University of Wollongong "Creative Margins is a valuable contribution to the fields of urban planning, urban development, culture planning, culture policy, creative urban development, and the like. Its focus on creativity in the suburbs is innovative, and its documentation and findings equally so. They have the potential to inspire a new strand of research in suburban development and cultural planning in comparative perspective." -- Anne Lorentzen, Department of Development and Planning, Aalborg University

About the Author

Alison L. Bain is an associate professor in the Department of Geography at York University.

Reviews

‘This logically organized book, written in accessible style, is rich in fact and anecdote, making it engaging reading for varied audiences.’ - Ginny Ratsoy (BC Studies spring 2017 # 193)

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