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This paper aims to discuss the place-making processes of street art within the context of Toronto, Canada, and potential for street art as alternative tourism to contribute to new urban tourism and encourage urban regeneration in the city.

The study applies reflexive thematic analysis to analyse secondary data sources such as reports, maps, videos, websites, news articles and official documents alongside photographic documentation and field research.

Street art in Toronto has been found to coincide closely with processes of creative place-making. While there is some indication that municipal street art organizations and destination marketing organizations are aware of the possibilities for street art to contribute to tourism in the city, it remains an untapped resource for new urban tourism. As a component of creative place-making, it has great potential as a form of alternative tourism to regenerate a still struggling tourism economy.

This paper explores the nascent research area and practical application of street art as an alternative form of urban tourism in Toronto, Canada. It also fills a gap by connecting the concept of creative place-making with street art, urban regeneration and tourism specifically; a focus that needs wider attention.

The purpose of this paper is to begin unfurling the cultural value of street art experiences by opening up an audience-centred research stream sensitive to the nuances of this art form.

The paper develops a two-part model through which to investigate how everyday citizens experience street art. The methodology involves a purposeful literature review, and direct assessment of how the nuances of street art could pertain to audience experiences.

The first part of the model conceptualises the characteristics that distinguish contemporary street art from other art forms. To help further guide future research, the second part distinguishes six layers that frame street art audience experiences: (1) “the art”, (2) artist's intentions for the art, (3) the street artist, (4) experiential context, (5) social contexts and (6) audience interpretive lenses.

The investigative model provides a constructive stimulus for substantive empirical inquiries into the dynamics, complexities and implications of everyday street art experiences.

The research stream developed could inform appropriate approaches to facilitating street art, and collaboration amongst street artists, facilitators, municipal representatives and policymakers.

The paper helps to open up an audience-centred approach to street art that intersects with recent developments in arts experience, cultural value and arts marketing.

Trompe l’oeil as a novel art technique can not only promote art tourism but can also transform the landscape of a city into a platform for negotiation. Furthermore, trompe l’oeil aims to create a joyful, entertaining, new experience and an interactive environment for tourists in the cities. This paper highlights the introduction of trompe l’oeil as a new tourist attraction in Shiraz (Iran). Moreover, the goals of this study are to explore the role of trompe l’oeil (three-dimensional [3D] street painting) in promoting art tourism, to investigate the tendency of tourists toward experiencing art tours and trompe l’oeil and to determine the priority of trompe l’oeil themes from the domestic tourists’ perspective.

Qualitative and quantitative methods were used in this research study.

On the basis of the results of this study, it can be concluded that domestic tourists are eager to experience art tours and trompe l’oeil attractions and activities, except for buying and wearing 3D-printed clothes. In addition, trompe l’oeil on street floors and walls with funny, joyful and cultural-artistic and national-historical themes is more attractive for them.

No significant academic work has been undertaken in the field of art tourism to evaluate the attitude of tourists toward the trompe l’oeil attractions and activities.

The aim of this paper is to identify the different values that were communicated through the visuals of the Egyptian revolution of January 25th, 2011 with reflections on those that were communicated historically in Germany to highlight how these visuals can act as tools of informal education and social marketing campaigns to citizens of a country.

The current research paper takes a qualitative exploratory approach. The method that was utilized is content analysis, with the sub‐method used to analyze the content of the street visuals being semiotic analysis.

The main social and religious values communicated between citizens in Egypt and Germany were about freedom, peace, unity, and victory. These street visuals help in communicating social and religious values to citizens of a country at the time of the revolution and recording them keeps their messages for future generations to come. Accordingly, these visuals help in informally educating citizens and act as social marketing campaigns from and to the people.

The results here should not be regarded as conclusive results as they are of a qualitative nature and should be followed and tested by future quantitative research.

The main contribution of this research paper is to fill the gap in literature by blending all the different research domains about informal education research, social marketing, graffiti and street art papers, and the historical revolution accounts. There was no prior research conducted with either a similar aim or under all these previous domains.

This paper aims to discuss the spatial interactions of street music in public spaces. It proposes to clarify why relationship between street music and people in public spaces is important and how street music evokes an external stimulus on people.

The conceptual framework of this paper is based on the triangulation process of Whyte and the qualities of public spaces, forming a relationship between space and people produced from the seminal literature of the paper. Accordingly, a case study based on the qualitative research method was conducted in Istiklal Avenue, where street music performances can be observed for long term. During the field work which spans a period of 12 months, 10 spots of street music performances have been observed and photo–video documentation was collected.

This paper provides empirical insights on how the triangulation process reflects social interactions in public spaces. This also suggests the triangulated position of street music as an external stimulus relating with the people as actors of daily urban flux.

Regarding to the chosen research approach which is based on deeper understanding, this paper interrelates the interactions of street music and people in public space.

This paper includes qualitative research steps of data collection and disaggregates findings with a “Cross Matrix Table” proposed at the end of the study.

The proposed disaggregating “Cross Matrix Table” and case study fulfil an architectural need to research how everyday street art activity can reflect the qualities of public space.

This paper aims to explore the opinions of business owners in an industrial area of Abu Dhabi that could be potentially turned into an art tourism destination.

By mobilizing the concept of “gentrification aesthetics,” the authors use a recall technique to explore support toward art from business owners, regression analyses to understand how the type and content of art predicts gentrification support and chi-square to research the differences between respondents who support the area to become a creative place and those who do not.

A model that explains the connection between gentrification aesthetics and art tourism is presented.

The authors’ proposed model results from testing the possibilities for expanding art tourism specifically and may not apply to other types of tourism. Future research is needed to understand whether and how the model can be applied to other forms of tourist consumption.

The current research presents a case study on how tourism can be strategically expanded into more rural places in a city.

The authors found significant differences between respondents who would like to see Mussafah becoming a creative place in five years and those who believe Mussafah needs to be(come) something else.

While work on tourism gentrification has been conducted, the nexus between gentrification aesthetics and art tourism cannot be found. Their relation can help to expend (art) tourism from busy cultural attractions to industrial areas. The present research fills this gap.

Outdoor arts festivals have been proposed as a means of rehearsing democratic practices and of placemaking interventions in the space time of contemporary capitalism. I consider whether they are really able to repurpose civic and pseudo public space and challenge the production and reproduction of that space as a colonial and neoliberal territory, or are they merely examples of the ‘pseudo-fête’ prolonging such structures by other means?

This chapter uses case studies of two outdoor arts festivals in the United Kingdom, at which I have performed rhythmanalyses, to explore festivalised spaces and the extent to which they might empower people. Empowerment here relates not only to individual agency, autonomy and self-determination but also to the development of shared, social identity within crowds. The role of festival management, the arrangement of festival space/times and the codification of behaviour are of particular relevance to these effects. I use time-lapse videography to capture data around flows and accretions of audiences, combined with my embodied presence in the lived space of the festival, sensing its rhythms and atmospheres.

Using the concept of polyrhythmia to comprehend and unpick complex durational patterns, I focus on how public spaces are transformed when animated by performances and how public space can redefine both performance and audience dynamics. The adaptation and application of rhythmanalysis in this project has revealed patterns of behaviour and evidenced characteristic qualities of outdoor arts which were previously ignored or only assumed.

This chapter begins with a brief journey through the history of art in order to point out art serves both social and psychological functions and how it is tinged by civilizational and historical context by accumulating layers of purposes and sense from the past times and diverse mind frames. Art produced in the first quarter of the twenty-first century has absorbed the late trends of the twentieth century and has traced and reinforced some paths, especially those in connection to economy (art as a valuable market product) and society (art as statement, critical posture and participatory citizenship). The chapter brings together these ideas with examples showing, on one side, the economic connection of art to the market and mass consumption, while other projects, on the other side, include a politicized facet and activism through self and collective curatorship, participatory art and glocalization of its matters of interest, audiences and social impact.

This chapter is part of a broader research project on popular culture tourism that is designed to explore new destination branding strategies that utilize cultural resources as a key strategy. This study promotes the role of urban cultural attractions as an additional significant resource category for destination development. Through the arrival of new and diversified cultural experiences, destinations such as Australia can improve their existing tourism portfolios. The study is concerned with qualitative aspects of the cultural economy, namely the subjective experiences and expectations of past, existing, and potential tourists. It offers recommendations and comments on the use of alternative cultural attractions in national tourism campaigns.