Abstract
In this contribution it will be argued how public artworks tend to project morally coded auras on their surrounding territory. Analysing a number of well-known works of public art the argument will be made that territorial coding always and inevitably implies censure. Censure thus understood works largely through the sensory, bodily experience of the artwork's aesthetic impact on those who cross its coded territory. Such aesthetic impact remains largely at a pre-conceptual or indeed even pre-linguistic level. Censure, in other words, does not necessarily need language. Censure also operates at the pre-conceptual level of sensory experience.
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Lippens, R. (2017). Sensure? Public Art, Territorial Coding, and Censure. In: Amatrudo, A. (eds) Social Censure and Critical Criminology. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-349-95221-2_12
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DOI: https://doi.org/10.1057/978-1-349-95221-2_12
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