The goal of this article is two-fold: to introduce the concept of augmented deliberation and to demonstrate its implementation in a pilot project.We look specifically at a project called Hub2. This community engagement project employed the online virtual world Second Life to augment community deliberation in the planning of a neighborhood park in Boston, Massachusetts. The local community was invited to gather in a physical space and a virtual space simultaneously, and a physical moderator and virtual designer orchestrated deliberation.This project demonstrates the design values central to augmented deliberation: (1) it is a multimedia group communication process which balances the specific affordances of digital technologies with the established qualities of face-to-face group deliberation; (2) it emphasizes the power of experience; and (3) it promotes sustainability and reproducibility through digital tracking. Augmented deliberation, when properly designed, provides a powerful mechanism to enable productive and meaningful public deliberation. The article concludes with directions for further research.
Art in public space in South Africa is
increasingly a more visible locus of sociopolitical resistance and recalibration
of the public sphere. This article focuses upon an emblematic example: the sculpture of a former colonialist, removed from its public university site in Cape Town following sustained protests. Since April 2015, the
empty plinth of Cecil John Rhodes has become a site of re-imagination – from graffiti interventions to performance and installation art. While the plinth continually morphs in symbolism and significance, its ousted artwork
waits at an undisclosed location for its fate to be decided. This interregnum represents a liminal condition that theorists call ‘third space’, extended in this research towards a fourth dimension of performativity. The
physical disappearance of the artwork has triggered a second life, its apogee a national protest movement with global resonance. Rhodes Must Fall and Fees Must Fall are student-led calls for university decolonisation and free education arguably best understood as provocation around systemic issues in society. As this deeper work ensues amid fractious contestations, the artwork's re-animation of the public sphere is clear. Its leftover plinth is political, making visible other kinds of structural voids. It is also poetic: a zombie monument demonstrating
through its reinventions public space as common space – contested, negotiated and performed in the daily creation of city futures.
