Editorial

• Autor(a) principal: Neves, Pedro Soares
• Data de Publicação: 2020
• Tipo de documento: Artigo
• Idioma: eng
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://doi.org/10.25765/sauc.v6i2.336

We place here in discussion the maturity of the academic and pedagogical field that graffiti, urban and street art, urban creativity constitute. It’s in fact identified a consistency of knowledge and structure of thought in the several disciplinary areas. As we are convinced that this trend will continue in multiple forms including experimental ones bridging theory and practice, here’s the result of the invite for participation in this reflection. Here is also combined the conference outcomes. There were two main results to achieve during the dialogues of the 2020 online conference. One was to observe the maturity of the academic and pedagogical field that graffiti, urban and street art, well, urban creativity in general have. On the 2020 conference was in fact proven that the consistency of knowledge and structure of thought in the several disciplinary areas regarding the urban creativity topics, are giving way to multiple approaches to classes integrated in master courses, informing the teaching of art historians, the work of designers, and research of cognitive scientists and educators. It was evident that this trend will continue in multiple forms including experimental ones bridging theory and practice, sometimes inverting the role of researchers and authors, but always enlarging audiences, practitioners and studious. The second main result was to observe how the relation evolved between UX and Urban Creativity topics, and the result was fantastic. This observations originated one article that will be published on the UXUC Journal. Urban Creativity User Experience Online Conference ​ 9, 10 and 11 July 2020, 31 presenters 99, participants per day average (full capacity). Closing panel with Henry Chalfant, Jim Prigoff, Susan Farell and John Fekner. With contributions from Australia, France, Italy, Greece, Belgium, Austria, USA, Netherlands, Sweden, Norway, England, Spain, Japan, China, Russia and Portugal.